“When a man wants to murder a tiger he calls it sport:

when the tiger wants to murder him he calls it ferocity.

The distinction between Crime and Justice is no greater.”

—George Bernard Shaw

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This ad ran in China today… (perhaps inevitable, given the amount of scapegoating and slagging that Mr. Romney and the GOP have leveled at China in the past weeks and months).

Globalization is here to stay — circumspection is advised.

These statistics were announced on CBC this morning. Presumably the remaining 18% of Canadians are either undecided, would vote for anyone other than Obama or Romney, would spoil their ballot, or simply “couldn’t care less,” as the expression goes… here’s hoping that my many American friends will “do the right thing” and make 7 out of 10 Canadians happy today.

London, UK

Sony Music has unveiled a graphic installation documenting the company’s 125 year musical history. Designed by Alex Fowkes, the Sony Music Timeline runs throughout the central atrium of Sony’s open plan Derry Street offices. The installation features nearly 1000 names of artists signed to Sony Music and its affiliated labels from the foundation of Columbia Records in 1887 to the present day, including musical icons Elvis Presley, Jimi Hendrix, Bob Dylan, Bruce Springsteen, Janis Joplin, The Clash, Michael Jackson and many many more.

Interspersed among the artist names are certain key developments in technology, musical formats and corporate history — from the invention of early recording cylinders to vinyl, cassette, CD, radio, MTV, the Sony Walkman, the iPod and the introduction of digital streaming services. The work is organised by decade into 54 columns measuring over 2 meters tall and covering almost 150 square meters of wall space. It uses CNC cut vinyl as the sole medium for the whole installation.

Sony’s partnership with Fowkes is set to continue as the Sony Music Timeline will grow each year with the addition of new artist names signed by the major.

(Thanks to my colleague Adrian Shum for the link).

—Albert Camus

Buenos Aires, Argentina

This week, a lovely little cloth-bound book of photographs arrived at my studio, Revisiting the Sixties by my long-time friend Ronald Shakespear. You can see more of his eclectic collection of images in an exhibit (PDF) here, or flip through the book online (via issuu) here.

«One day in 1964, I took a plane to Spain to go see Orson Welles, who lived near Juan Perón in Puerta de Hierro. I knocked on his door, without an appointment, and was surprised that he opened the door to me — it did not matter that I had arrived “just like that.” There he was, the great Orson, washing down an old Buick (which never actually ran). The fact that I had no appointment mattered not at all: “Never ask permission,” he said, “Never.”

That cemented my admiration for him. He invited me to the Plaza de Toros in Madrid, I spent a lovely afternoon and took some pictures that I still love. We spent an unforgettable afternoon watching the master bullfighter Curro Giron… then we went to the Plaza Butchery (to buy meat) and Giron gave the bull’s ears to Orson.»

Ronald Shakespear has accomplished what only a few chosen ones do: a total work of art, his own life. As he would say, let us draw a compassionate veil on the long years of our friendship… and throughout those long years, I do not remember him ever stopping to rest, ever taking a break from his multi-faceted creative endeavors that have brought beauty to all things around us, by adding colour to the existing grey. And that includes his photographic work, one of his many talents, where black and white give his touching images the importance of being a precious document of his world and ours.

—Edouard Golbin, Photographer (Paris)

Ronald’s photographs are, first and foremost, photographs. They are pictures of light falling unto things and somehow discovering (and covering) them: direct, strong, bold, more shadow than light. The subjects come later… They are all a self-portrait, a portrait of intensity as a photographic theme. Once again, it’s all Ronald: that is how he talks. That is his language. Those are his signs. Frontal, straightforward, no beating about the bush. Why should his photographs be any different?

—Jorge Frascara, Icograda Past President (Padova, Italy)

Narrative talent is a constant in the work of Ronald Shakespear… “Revisiting the Sixties” is flooded with a poetic yet earthly presence that can be seen in every single portrait. Ronald’s eye is a lens that encompasses all the senses and enables us to share into that intimate, personal world, not only through our eyes, but also through that which is beyond our eyes.

—Marcelo Ghio, Dean, Isil University (Lima, Perú)

Today, we know Ronald Shakespear as a designer with a wide portfolio of celebrated identity and environmental graphics projects. But in the 1960s, one of his primary modes of visual expression was portraiture, harnessing black and white photography to capture friends and celebrities in intimate moments. In his book “Revisiting the Sixties” he shares these photographs again — and today, with the benefit of time and the breadth of his design career, we can appreciate the threads that tie these photos to the rest of Shakespear’s body of work. Like his most successful logos, these portraits are simple gestures and yet they are iconic in their ability to communicate a great deal within a modest format.

—Leslie Wolke, Writer (Austin, Texas)

Movember has arrived — it’s time to sport a moustache again. Movember is responsible for the sprouting of moustaches on thousands of men’s faces, in Canada and around the world, during the month of November.

“With their “Mo’s,” these men raise vital funds and awareness for men’s health, specifically prostate cancer. On Movember 1st, guys register at Movember.com with a clean-shaven face. For the rest of the month, these selfless and generous men, known as Mo Bros, groom, trim and wax their way into the annals of fine moustachery. Supported by the women in their lives, Mo Sistas, Movember Mo Bros raise funds by seeking out sponsorship for their Mo-growing efforts. Mo Bros effectively become walking, talking billboards for the 30 days of November. Through their actions and words, they raise awareness by prompting private and public conversation around the often ignored issue of men’s health.”

At the end of the month, Mo Bros and Mo Sistas celebrate their gallantry and valor by either throwing their own Movember party or attending one of the infamous Gala Partés held around the world by Movember, for Movember.

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(timely political commentary by my friend Chaz Maviyane-Davies)

Winnipeg, Canada

We buried my Dad yesterday. Thanks to the hundreds of friends and family members who came to his farewell ceremony—a celebration of a 92-year life well lived. Thanks also to the many who have written me with kind words of condolence and shared memories.

Among the simple things that gave Dad pleasure throughout his long life was poetry. During the time of fellowship following the lunch yesterday I shared one of his favorites—a piece that expresses well his egalitarian Weltanschauung, and a piece that he would delight in reciting from memory—in that deep and spirited voice that anyone who knew Dad is sure to miss.

…………………………………………………………………………………………………………………..

House by the Side of the Road

THERE are hermit souls that live withdrawn

In the place of their self-content;

There are souls like stars, that dwell apart,

In a fellow-less firmament;

There are pioneer souls that blaze the paths

Where highways never ran —

But let me live by the side of the road

And be a friend to man.

Let me live in a house by the side of the road

Where the race of men go by —

The men who are good and the men who are bad,

As good and as bad as I.

I would not sit in the scorner’s seat

Nor hurl the cynic’s ban —

Let me live in a house by the side of the road

And be a friend to man.

I see from my house by the side of the road

By the side of the highway of life,

The men who press with the ardor of hope,

The men who are faint with the strife,

But I turn not away from their smiles and tears,

Both parts of an infinite plan —

Let me live in a house by the side of the road

And be a friend to man.

I know there are brook-gladdened meadows ahead,

And mountains of wearisome height;

That the road passes on through the long afternoon

And stretches away to the night.

And still I rejoice when the travelers rejoice

And weep with the strangers that moan,

Nor live in my house by the side of the road

Like a man who dwells alone.

Let me live in my house by the side of the road,

Where the race of men go by —

They are good, they are bad, they are weak, they are strong,

Wise, foolish — so am I.

Then why should I sit in the scorner’s seat,

Or hurl the cynic’s ban?

Let me live in my house by the side of the road

And be a friend to man.