Graham Nash performs at The Greek Theatre on October 3, 2014 in Los Angeles.
Graham Nash shutter-shames concertgoers who’d rather take photos than listen to the music at his shows.
“We point it out,” says Nash, a two-time Rock and Roll of Fame inductee, once with The Hollies and again with Crosby, Stills & Nash. “It’s getting insane. Why would you pay good money to see a concert and watch it all through an iPhone? (Fans) are using their camera as their memory of an event rather than witnessing the event.
“There are 300 million cameras in this country, but only 12 photographers,” he adds with a laugh.
Nash, who seems to count himself among those dozen sharp shooters, will be moonlighting as a shutterbug when he shares a spotlight with fellow photographers Joel Bernstein and Henry Diltz at Wednesday’s Morrison Hotel Gallery photo exhibition in Tribeca’s The Roxy hotel. It’s called, obviously, “An Evening with Bernstein, Diltz & Nash.”
Diltz shot Crosby, Stills and Nash on a red couch for the band’s first album — though that photo would’ve forced the folk rock trio to have a slightly different name if someone had been a stickler for accurate photo captions.
“We realized we need a record cover of course so we went walking and we went by this old house and took many shots,” Nash recalled. “Well, the next day, we decided we’d call ourselves Crosby, Stills & Nash because that’s the way it runs off the tongue easiest. But when we got the (photo) proof sheets back, we realized we were sitting in the wrong order. So we went back to shoot and the house was gone. It was a pile of rubble. It had been bulldozed that very day.”
Diltz offers a different take on the classic 1969 album cover.
“There are various versions of that story,” he says. “We weren’t trying to shoot a record cover, we were trying to take publicity photos, adding that the quartet was driving, not walking, around Hollywood, and that a couple of days had passed before the first photos and when everyone went looking for the abandoned Hollywood house.
But he does agree with Nash that the house was gone when they finally stumbled upon the lot where it had once been. This building really did disappear — it wasn’t simply lost in the mists of the 1969 rock and roll lifestyle.
“We all saw it and there was a picture right?” he laughs. “It was definitely there.”
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