by Adrian Ioniţă
Two guys are sneaking in the back alley of my building. Lola Chicago and Johnny Payphone. They found out
that I have the largest steam boiler in Chicago, and are planning to dig a hole in the wall. I watch and hear them
through my miniature version of Paul St George's Telectroscope and wonder how in the world can they hire in
La Villita a Bagger 288 without being noticed Lola, who works as a carpenter by day, is a cross-dresser and
punk cabaret singer by night. She has a 6000 square ft. studio around the corner of my place, filled with the most
incredible stuff on earth. Johnny is the quintesence of a steam punk activist, member of the Chicago Rat Patrol,
cultural ambasador to Ghana through Sister Cities International, and Minister of Public Works for New
Zealand’s regional of the Burning Man. Or something like that. Before they’ll knock down the wall, I’ll better let
them inside, sacrifice some of my illegal Cuban cigars, open a bottle of 16 year old smoky Lagavulin Scotch
whisky, chew some fresh lovage, and talk about Steam Punk. Lola, who will be featured in our next number at
Egophobia took the photos, while Johnny introduced himself naturally, without any suggestions:
JP: My name is Johnny Payphone, that’s my assumed name, or professional name. I think that is important to
understand that I am a product of a very humble family, farmers on both sides, a family with a deep appreciation
for the past and simplicity in life. As a child, I was not given as many toys or material possessions as other children,
instead my parents invested in experiences for me, making sure I went to camp and the great outdoors and that
sort of things, for example, they will give me a pair of stilts before they will give me some little toy car which will
break over the time, because they felt that the physical and the symbol are more important in your life than
possessions.
AI: A philosophy of life so challenging today when it seems that we live in a different world. How do you feel
affected by change?
JP: In the 30 years that I have grown up, the world has become a horribly consumerist place, or at least, America
has, so everything I do is a sort of backlash against that. I try to remind people that the important things in our life
are our friends, good food, the time we spend with people we love, activities that we enjoy creating things with our
hands, and not at all, what the American people tend to desire, which is a flashy car, the latest large screen
television, various electronic devices, that I feel, only served to separate us from our life., on a cell phone or texting
on a thing, or watching a television show about some guys who were making motorcycles, when they themselves
could be on there, making and riding them. People were lured from the immediacy of their real life.
AI: How do you reconcile these conflicting feelings of living in a highly consumerist society and the escapist desire
to find a refuge in the past?
JP: It appears on the surface that I am a technophobe, that I don’t like the technology at all, but that’s not it, in fact
many steam punks are obsessed with technology, is just that we wish to return to a time when everything was user
serviceable and immediately available to understanding by the common person. The reason steam punk has settled
on this sort of 1890 timeframe, is because it was the last period in human history when a high school graduate
could be expected to grasp the fundamental principles behind all of human knowledge, and so, if you got a radio or
a tractor or a phonograph, you would be able to understand it inside and out, look at the pieces and know how they
work, and also be able to repair it, if necessary.
AI: I always wondered, why this fixation with the Victorian era?
JP: You can kind of look at it in terms of the class structure of the Victorian age, where you had a peasant class and
a craftsman class and you had an upper class, and the upper class consumed the product of the craftsmen. In the
Steam Punk world were a lot of people obsessed with making very shinny, very pretty covers for their computers or
flat screen televisions, but, within that scene, were also a lot of people interested in reviving technology, not letting
it die, getting steam power machines running, and running new art, also using old photographic techniques that
are in danger of dying out. There is also another element to it - just returning to a time, when people had manners -
when people dressed up to go out, when they took some care to their appearance.
[Johnny Payphone] ©2008 Adrian Ioniţă
AI: How do you blend your personality in the fabric of the object?
JP: Everything I make is functional in some way, even if the result is a parody and is quite nonfunctional by what it
is. In a sense, I can take functional objects and make them less functional but I have a very hard time expressing
myself in a purely artistic way. I always want to make on a blacksmith’s forge, a very nice fork or spoon or
something that I can give someone that may be able to use it. Regarding the sort of art that is just a shapeless hunk
of metal in a gallery, I believe that a lot of the value of that kind of art is based on the perception of the art
community. At the end of the day, something I make may not have much of an artistic value, but it still has its use,
so, I make bicycles, contraptions, trinkets and things for everyday life.
AI: I’d like to hear more from you, about Steam Punk and lifestyle.
JP: I would say that I was a steam punk before I even heard about that term.
For me Steam Punk is very much an expression of my lifestyle. There are examples of people from now, like Dr.
ASI, (Dr. Adrian Silvan Ionescu from Romania) extending back into the eighteen hundreds, who just sort of said,
this is the time I was meant to be born, and this is how I will behave. And then is Dr. Evermore in Wisconsin, who
is a scrap artist, who always made things and sign them with false states from eighteen hundreds, and the objects,
as you looked at them, looked like it could be that old, but then also, they looked too futuristic, producing steam
punk expressions you don’t quiet know if are hundred years in the future or in the past, or a combination of both.
AI: You are an active member of the Rat Patrol Organization from Chicago.
JP: I do kids programs in the ghetto with poor black kids, and we go bicycles. These are children without positive
male role models in their life. We teach them to fix bicycles, but what we really are teaching them is to resolve
conflicts as a man, which is to say - face to face - with words, rather than fighting or shooting. We teach them that,
the path of drugs and crack is not one that will make you successful in the world and we try to give them inspiration
were they can get out of the ghetto and hopefully come back and bring something in return to it.
AI: Please tell our readers something about your trip to Ghana.
JP: It turns out that Accra, the capital of Ghana is a sister city to Chicago, so I met a man who was set by the
Ghanaian government to figure out a way to make cargo bicycles for the Ghanaian farmers. They have jungle trails
that lead to very wealthy natural resources but have a very hard time transporting those crops to market because of
the petrol prices. We shipped over a container of bicycles and started a school for cargo bike modifications and
design. It was done through the cultural exchange of Sisters City Program. That’s why Ghana. Now, this could be
done in any number of developing world countries and it is done. I still try to send volunteers and bicycles to
Ghana. I have a container that should be shipped in August and I try to raise funds to send another volunteer to
run the school and teach people how to make cargo bikes.
AI: Johnny, it was such a pleasure having you for this exclusive interview. On behalf of our readers from
Egophobia I wish to thank you.
JP: No sweat, it was my pleasure too.