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This morning enjoy your bowl of Batman Cereal, and watch this video from The Shins.Pink Bullets
Saturday, July 14, 2007
Saturday Morning Cartoon
This morning enjoy your bowl of Batman Cereal, and watch this video from The Shins.Pink Bullets
Friday, July 13, 2007
Band of the Week
Little WingsKyle Field has been releasing delicate indie folk under the moniker of Little Wings for quite sometime. However, his latest release, Soft Pow'r, is something unique. Not only has Kyle created a brand new sub-label of Marriage Records called RAD, but he has also enlisted some very talented friends. Playing along side Kyle on this album are Jona Bechtolt (YACHT), Lee Baggett, Adam Forkner (White Rainbow), and Curtis Knapp (Marriage Records).
Musically, this album is ideal for a lazy summer afternoon or a quiet and cool summer evening. It is soft and delicate, but it moves along in melody and passion. Gentle guitar strums and lightly layered drums lay down a perfect canvas for Field's quivering voice. The sound resonates for awhile and then graceful disappears. It is a perfect album.
Field also recently released a book of drawings and paintings titled Put It In A Nutshell, which can be purchased on the Marriage website, or viewed here. The sub-label RAD will exist as an imprint of Portland's Marriage Records and the label is planning on offering hand-sewn patches by Rick Swan, a label skateboard from Nat Russell, and an album by The Be Gulls (a band whose goal is to sound like a perfect blend of The Beatles and The Eagles) in the near future.
Little Wings - Soft Pow'r (Sept. 18th RAD Records):
Scuby/Gone Again/Warming/Saturday/Free Bird/Beep About/What Button?
Check Out: Scuby (mp3)
For more information on Little Wings for now visit their artist page on K Records. There should be a website for RAD up shortly.
Thursday, July 12, 2007
Writer's Corner
Amy King
"Poetry is a city of words, a complex heterogeneity that functions both as its parts and as a whole. It’s full of systems—metaphoric, symbolic, sonic—analogous to the sewage, electrical, and transportation systems that animate a city." - Cole Swensen from Poetry City
The poem as a city, the city as a poem, and the relationship between the two is a concept that has revolutionized the way many people perceive poetry. This goes beyond simply being influenced by your environment, and reveals a correlation that is deep and so true. The way it buzzes and hums, the way it rushes back and forth, and the way it can appear to completely stand still. One poet who feels an ever growing bond with her city, Brooklyn, New York, is Amy King.
Amy moved to Brooklyn shortly after receiving her M.A. in American Studies with emphasis on Poetics. Since then Amy has gone on to obtain an M.F.A. in Creative Writing from Brooklyn College and taught there as well. She has penned three books, the most recent of which is "I'm The Man Who Loves You" (Blazevox, 2007). She also teaches a variety of composition, literature, and creative writing courses in Nassau Community College’s English Department.
Recently, Amy was able to answer a few of our questions in between classes regarding the city, her poetry, and poetry in general.
Orange Alert (OA): In an interview you did with Curve, you talked about urban poetics and Cole Swensen's "Poetry City". Now that we are approaching the two year mark of that incredible publication, how has her work affected you as a poet and/or your outlook poetry in general?
Amy King (AK): The idea that “poetry and cities mirror each other, shed light on each other, and remain together in important works” (Swensen) is more relevant now than ever. Despite the bad rap cities get in general as dangerous and sordid places, cities act as barometers for the overall state of the world. They are the places that experiment with the hope that differences can co-exist, enrich, create, and thrive symbiotically together. The inhabitants are looked to for new ideas and innovations, yes; but also, they are looked to for reactions and resistance against the homogenizing (& eliminating) activities of the powers-that-be. In one way, the very existence of cities and their interdependent-though-very-different inhabitants betray and mock the simple-minded clarifications & claims for security in the “war of good versus evil.” Bah. Even with the threat of violence, from within and outside, hope is the ultimate glue – to abandon the city and retreat to some sprawling zone of suburban and rural safety where ideas don’t clamor and clang is a betrayal of that hope in the seemingly impossible. Likewise, the poet does not abandon the complexities, difficulties, and mysteries of the poem, no matter how it is received or dismissed by the world. The poet explores, diving into dirty sewers and dark recesses, sharing a drink on the rooftop of a poet who opposes her views, dancing to the beat of an instrument she’s never heard before, railing against the checkpoints that would strip her of her rights, finally lying down with the loveliest of “foreigners” – and reports her survival and lessons with her brand of eloquence to the rest of the world. The city and the poem serve as the vehicles for this kind of living. The urban poetic is essentially the personal and political the women’s movement harkened and another position on Robert Creeley’s claim that form is an extension of content.
Amy King (AK): The idea that “poetry and cities mirror each other, shed light on each other, and remain together in important works” (Swensen) is more relevant now than ever. Despite the bad rap cities get in general as dangerous and sordid places, cities act as barometers for the overall state of the world. They are the places that experiment with the hope that differences can co-exist, enrich, create, and thrive symbiotically together. The inhabitants are looked to for new ideas and innovations, yes; but also, they are looked to for reactions and resistance against the homogenizing (& eliminating) activities of the powers-that-be. In one way, the very existence of cities and their interdependent-though-very-different inhabitants betray and mock the simple-minded clarifications & claims for security in the “war of good versus evil.” Bah. Even with the threat of violence, from within and outside, hope is the ultimate glue – to abandon the city and retreat to some sprawling zone of suburban and rural safety where ideas don’t clamor and clang is a betrayal of that hope in the seemingly impossible. Likewise, the poet does not abandon the complexities, difficulties, and mysteries of the poem, no matter how it is received or dismissed by the world. The poet explores, diving into dirty sewers and dark recesses, sharing a drink on the rooftop of a poet who opposes her views, dancing to the beat of an instrument she’s never heard before, railing against the checkpoints that would strip her of her rights, finally lying down with the loveliest of “foreigners” – and reports her survival and lessons with her brand of eloquence to the rest of the world. The city and the poem serve as the vehicles for this kind of living. The urban poetic is essentially the personal and political the women’s movement harkened and another position on Robert Creeley’s claim that form is an extension of content.
OA: What is your opinion of the current state of poetry? Is it thriving in an internet era, or is it being watered down by an overabundance of outlets ( i.e. blogs/myspace/lit zines, etc)? Is there an audience for the modern poet?
AK: I don’t think there is an overabundance of poetry anymore than there is an overabundance of music or painting or any other discipline that uses a specific medium as a foundational basis. There are ranges and tastes that dictate how well a genre or artist is distributed, and as it goes now, sometimes the more-watered down, less artful work gets the most attention. As such, poetry in its older, more respected “proper” roles such as cultural lens and political conscience are no longer looked to by the general population, which is something of a loss to lament; nonetheless, poetry continues to thrive in the smaller spaces, as it always has, with next to no funding for poets’ survival – this is the poetry to look for because it is the most authentic, least self-serving (or capitalist-driven), earnest and honest in its endeavors. One can find it in the ‘free’ or moderately-funded places like blogs, hard-won independent bookstores, local community groups of poets who host readings and workshops, small press/small town publishers, etc. We, as a nation, need more of these pockets of poets and places/spaces for distribution than ever before, as they are comprised of artists who continue to bear witness, innovatively creating means and unpopular viewpoints, disseminating ‘alternative’ visions and ideas, etc. by as many free outlets as possible.
AK: I don’t think there is an overabundance of poetry anymore than there is an overabundance of music or painting or any other discipline that uses a specific medium as a foundational basis. There are ranges and tastes that dictate how well a genre or artist is distributed, and as it goes now, sometimes the more-watered down, less artful work gets the most attention. As such, poetry in its older, more respected “proper” roles such as cultural lens and political conscience are no longer looked to by the general population, which is something of a loss to lament; nonetheless, poetry continues to thrive in the smaller spaces, as it always has, with next to no funding for poets’ survival – this is the poetry to look for because it is the most authentic, least self-serving (or capitalist-driven), earnest and honest in its endeavors. One can find it in the ‘free’ or moderately-funded places like blogs, hard-won independent bookstores, local community groups of poets who host readings and workshops, small press/small town publishers, etc. We, as a nation, need more of these pockets of poets and places/spaces for distribution than ever before, as they are comprised of artists who continue to bear witness, innovatively creating means and unpopular viewpoints, disseminating ‘alternative’ visions and ideas, etc. by as many free outlets as possible.
OA: Who are some of your biggest literary influences?
AK: I know you want “literary” ones, but just like poetry and storytelling, the literary extends into other disciplines for me, so I’ll give you a number of biggies that held me captive directly after my undergrad years in a kind of explosive way – many still do.
Cesar Vallejo, Günter Grass, Laura Riding Jackson, Samuel Beckett, Richard Foreman, Gertrude Stein, Charles Bernstein, Antonin Artaud, Roland Barthes, Susan Sontag, Chris Marker, Krzysztof Kieslowski, Frida Kahlo, Cindy Sherman, Robert Frank, Diane Arbus, John Ashbery, Susan Howe, Fanny Howe, George Oppen, Rosmarie Waldrop, Milan Kundera, Jeanette Winterson, Joseph Cornell, Guided By Voices, early Pavement, Palace Brothers, P.J. Harvey, Ludwig Wittgenstein, etc. etc.
AK: I know you want “literary” ones, but just like poetry and storytelling, the literary extends into other disciplines for me, so I’ll give you a number of biggies that held me captive directly after my undergrad years in a kind of explosive way – many still do.
Cesar Vallejo, Günter Grass, Laura Riding Jackson, Samuel Beckett, Richard Foreman, Gertrude Stein, Charles Bernstein, Antonin Artaud, Roland Barthes, Susan Sontag, Chris Marker, Krzysztof Kieslowski, Frida Kahlo, Cindy Sherman, Robert Frank, Diane Arbus, John Ashbery, Susan Howe, Fanny Howe, George Oppen, Rosmarie Waldrop, Milan Kundera, Jeanette Winterson, Joseph Cornell, Guided By Voices, early Pavement, Palace Brothers, P.J. Harvey, Ludwig Wittgenstein, etc. etc.
OA: I just finished reading your e-book "The Good Campaign", and I enjoyed all of the poems and the ability to access them in a .pdf format. However, do you feel that there maybe something lost in the transition from bound paper and ink, personally designed or created cover, and so on, to the e-books? Is there a difference between the printed word and the electronic word? How important is the presentation of your poetry to you?
AK: Again, it seems vaguely to come down to the issue of our consumerist –driven mentality in some devaluing way. I can turn electronic text into a paper product, assemble it as nicely or rough as I like, and have a product to pass out to my students or friends. I can also simply ask that they buy a book for the price of a movie ticket plus popcorn. While we value the product in this economy, we tend to look unkindly on the ‘virtual’ one, regardless of the merits of the work. Now that money has begun to permeate the virtual realm, this notion is changing slightly, but still, the majority of poets and readers of poetry will herald the bound book over the virtual-yet-printable one most days. I can hear the echoes, “But isn’t it much better to hold a book in one’s hand?” as if putting together a bound-copy of something from the internet were impossible or a waste. I think of a worthwhile chapbook I find online as an opportunity – first, it’s free and that means I can recommend it widely, and second, I can turn the book into a water-proof masterpiece ready for the beach and bathtub, if my artistic tastes are inclined toward laminating that day – the “product” becomes an interactive composition in a way. The idea that we are limited to waiting for a finished product to be handed to us for some money is a bit tragic as it really illustrates our laissez-fare attitudes, even when it comes to the non-product of poetry.
AK: Again, it seems vaguely to come down to the issue of our consumerist –driven mentality in some devaluing way. I can turn electronic text into a paper product, assemble it as nicely or rough as I like, and have a product to pass out to my students or friends. I can also simply ask that they buy a book for the price of a movie ticket plus popcorn. While we value the product in this economy, we tend to look unkindly on the ‘virtual’ one, regardless of the merits of the work. Now that money has begun to permeate the virtual realm, this notion is changing slightly, but still, the majority of poets and readers of poetry will herald the bound book over the virtual-yet-printable one most days. I can hear the echoes, “But isn’t it much better to hold a book in one’s hand?” as if putting together a bound-copy of something from the internet were impossible or a waste. I think of a worthwhile chapbook I find online as an opportunity – first, it’s free and that means I can recommend it widely, and second, I can turn the book into a water-proof masterpiece ready for the beach and bathtub, if my artistic tastes are inclined toward laminating that day – the “product” becomes an interactive composition in a way. The idea that we are limited to waiting for a finished product to be handed to us for some money is a bit tragic as it really illustrates our laissez-fare attitudes, even when it comes to the non-product of poetry.
And the old argument that better poetry gets published (i.e. is monetarily-invested in) simply doesn’t hold as we can see not all good poetry is in book form and all poetry books don’t offer the best poetry. This fact is easy to understand just by going through the shelves of your local B&N. Poetry doesn’t make money in most cases, no matter how it is disseminated, so why must poetry-as-published-book be the only way we can receive it? Poetry itself is not merely “received”; poetry is reliant on the reader’s active participation to make it become. Perhaps too simplistically put, value should not be synonymous with published product.
OA: List the top five chapbooks currently on your bookshelf or nightstand.
AK: Gina Myers – “Fear of the Knee of Bending Backwards” (H_NGM_N FLIP)
Joseph Massey – “Property Line” (Fewer and Further Press)
Ana Bozicevic-Bowling - “Document” (Octopus Books)
Betsy Wheeler & Dean Gorman – “Absolutely You” (sixwixiespress)
Barry Schwabsky – “For Despair” (Seeing Eye Books)
Stacy Szymaszek – “Pasolini Poems” (Cy Press)
Linh Dinh – “Drunkard Boxing” (Singing Horse Press)
Wait, that’s seven. Seven equals five in poetry. Just ask Orwell’s Winston.
AK: Gina Myers – “Fear of the Knee of Bending Backwards” (H_NGM_N FLIP)
Joseph Massey – “Property Line” (Fewer and Further Press)
Ana Bozicevic-Bowling - “Document” (Octopus Books)
Betsy Wheeler & Dean Gorman – “Absolutely You” (sixwixiespress)
Barry Schwabsky – “For Despair” (Seeing Eye Books)
Stacy Szymaszek – “Pasolini Poems” (Cy Press)
Linh Dinh – “Drunkard Boxing” (Singing Horse Press)
Wait, that’s seven. Seven equals five in poetry. Just ask Orwell’s Winston.
OA: What's next for Amy King?
AK: Amy King will write about herself in third person in an attempt to control her future better like some misguided-but-amiable fortune teller. She will spend the next few days enthusiastically diving into her latest acquisition, TRIPTYCH, by Jerome Rothenberg and then writing as influenced by the bounty she discovers. She will then fulfill all of the promises she’s left hanging and make nice with her enemies, or at least, find a way to secretly appreciate them and avoid dwelling on their flaws, which in some small way, are probably her own since they irk her enough to rise to the surface of her consciousness. She will also discover that even pseudo-predicting the future doesn’t hide the fact that she has no real plans to astound your readers with, and she kind of likes the open-endedness of being non-committal and sans plans, no matter how irresponsible she appears.
Bonus Questions:
OA: Coffee? If yes, what is your favorite kind of coffee, and where is your favorite coffee place?
OA: Coffee? If yes, what is your favorite kind of coffee, and where is your favorite coffee place?
AK: Gimme Coffee, for as long as she roasts her beans. Based in Ithaca, local shop in Williamsburg, Brooklyn. I grind my brew each morning and sip the Ethiopian all the live long day.
OA: What type of music do you enjoy listening to currently? Does music affect your writing in anyway?
AK: Music is an influence, though not as obviously as some may imagine. I do have direct references as detected by a few titles – there’s the long-standing, Guided By Voices/Robert Pollard, and the headliner of the book, Wilco. But while overheard and misheard lyrics may play a part, mostly I’m affected by the mood of whatever music plays in the background. My tastes range from the melancholic such as early Cat Power or Palace Brothers, to any number of long-standing folks I return to like Neutral Milk Hotel, REM, Sonic Youth, etc etc. I have newer likes such as CocoRosie, Akron/Family, Devendra Banhart, Antony, and oh loads of local bands.
AK: Music is an influence, though not as obviously as some may imagine. I do have direct references as detected by a few titles – there’s the long-standing, Guided By Voices/Robert Pollard, and the headliner of the book, Wilco. But while overheard and misheard lyrics may play a part, mostly I’m affected by the mood of whatever music plays in the background. My tastes range from the melancholic such as early Cat Power or Palace Brothers, to any number of long-standing folks I return to like Neutral Milk Hotel, REM, Sonic Youth, etc etc. I have newer likes such as CocoRosie, Akron/Family, Devendra Banhart, Antony, and oh loads of local bands.
For more information on Amy King please visit her website and to purchase your copy of "I'm the Man who Loves You" to go Amazon.
Wednesday, July 11, 2007
Artist of the Week
Joey Potts
Joey Potts currently resides in Chicago, but was born in Indiana. He moved here from Baltimore a few years ago in hopes of kick starting his career as a designer/artist. He is beginning to gain some notoriety for his unique images, bright colors, and the ability and willingness to customize anything from skateboards to women's handbags. To label him prolific would be an understatement. He is involved in several different groups and mediums. As a painter, toy maker, clothing designer, Joey is always creating. However, it is the images that he can create, these alternate reality pop creatures, truly makes him one of the most colorful artists on Chicago.
With all of these projects and shows we were fortunate enough to get Joey to take some time and discuss his work with us.
Orange Alert (OA): How would you describe your work?
With all of these projects and shows we were fortunate enough to get Joey to take some time and discuss his work with us.
Orange Alert (OA): How would you describe your work?
Joey Potts (JP): My paintings are strongly based upon characters that I create from observation of everyday social and personal occurrences. As an observer I concern myself with the internal uncertainties, apathies, and underlying thoughts and emotions of myself and others in daily life. My palette is bright, friendly, and childish- yet my characters are bold, highly detailed, and "grotesque"---approachable, but with an air of caution.
OA: In the last few years there has been a huge increase in the acceptance of illustrators into the art community and galleries. Where do you think the illustrator fits into the art scene, and why has their popularity grown?
JP: I feel like illustrators have started taking themselves and their work more seriously. Back in the 19th and early 20th centuries, illustrators were revered for their talents. However, it seems as though through the 80's and 90's, illustrators were looked at as hired help---this can still be seen today in most business contracts. Companies and corporations pay you a small fee and own exclusive rights to your work. This means they can freely use your image for anything they see fit. I feel like a lot of illustrators got fed up with the lack of personal and professional respect they were receiving for their works- and in realizing this, started specializing their illustrations for certain companies that were respectful, or even taking the route of doing gallery and museum shows. Also, the demand for products that can be customized, or one-offs, has grown- and we as illustrators/artists have adapted to that demand.
OA: Where do you draw inspiration from when creating all of these interesting creatures?
JP: Everyday life and social situations. Anything from riding the train, riding my bike, watching TV., searching the internet, skateboarding, comic books, toys, listening to music, being stuck behind a computer for 8 hours a day at the 9-5, going to bars, walking down the street, people watching...anything. I like to put a spin on what I see, I like to create what may be going on in someone's head while they are going about their everyday life. Recently I've been drawing a lot of inspiration from religious iconography and Renaissance painting.
OA: You recently participated in a live art exhibition with DJ's playing while you and fellow artist created original pieces. In that situation how does the music affect your work? How does the crowd affect your work?
JP: Doing live painting is a lot of fun. In that environment, everything is affecting the work- the DJ's, the crowd, the drinks, the venue (some venues don't provide you with lighting, which always makes it tough!). It's great because you get energy from the music and the crowd; it's much different from painting in my house. While painting live I will be totally in the zone, just working as all of this chaos is going on around me, and I'll turn around and boom- the music is playing, people are dancing, some people are watching me paint, everyone’s having a good time, it's such a great feeling. It's also awesome because you can talk to people, they come up and tell you that they’re feeling what you're doing, and that's just fuggin’ awesome! The only bad part about live painting is when people want to give you advice on your painting, or won't leave you alone because they want you to paint something ridiculous for them- that always sucks. Besides that, the energy and hype you get from live painting is unbelievable.
OA: Your custom toys are some of the best that I have seen. Many artists have started releasing customer toys, how did you first come to realize that there was a market for this type of toy? How is the creative process different when creating a toy?
JP: Thanks! To be honest, it wasn't a matter of me thinking of it as market. I had started seeing more and more designer "urban vinyl" toys starting in about 2002 when I was living in Baltimore. Upon moving to Chicago I met Whitney and Kirby Kerr, the owners of Rotofugi. I frequented the shop and we talked a lot, and in January of 2005 they had a custom show and asked me to participate. I was so excited because at the time I was doing a lot of custom painted apparel for the Chicago based apparel/design collective Formula Werks. I was painting everything from shoes to wallets, jackets, and hand-bags-then suddenly I had the opportunity to paint a toy, and was extremely excited.
When creating a toy, I always start out, like with anything else I do, with sketches. I look at the shape of the toy in multiple positions and try to come up with my own character that will still use the basic shape of the toy, so that the toy itself and my character added to thetoy will have somewhat of a symbiotic relationship. As far as the execution, I use acrylic and brush, no markers and no spray-paint. Really though, the only difference between a toy and a canvas is the 3 dimensionality of the toy. I always think to myself "Oh, I'm gonna bust this toy out in a day or two, easy." In reality though, toys usually end up taking me longer to finish than a canvas!
OA: We have seen the shoes, the toys, the clothing, in your opinion what is> the next marketable product that artists will be creating?
JP: Spatula's. No, I don't know. It seems like the educated consumer is getting fed up with having everything look the same. I feel like more and more people are wanting customized or limited edition products, they don't want to have what everyone else has, and if they have that, they want something done to it so that it stands out from the rest of the flock. So next marketable product, anyone's guess really.
OA: What's next for Joey Potts?
JP: Well right now I have a custom Simpson Qee at the Taipei Toy Fest, and that will be traveling to the San Diego Comic Con at the end of the month. Up next I have the "BFF" show at Rotofugi on August 3rd. The show consists of Blutt, Joey D., Revise CMW, Peabe, Ken Keirns, Shawnimal,Veggiesomething, Phoneticontrol, Yunicorn, and I. I am custom painting a "Gwin" for a show in L.A. in October, the "Chicago Artists Show" at DVA Gallery on the 13th of October, and I'm sending a few pieces to a gallery in England for their opening show. I will also behaving a few new t-shirt designs coming out in the next couple of months through Formula Werks. Besides that I am trying to complete the building of "RoboJoe," a robot that can run Photoshop and take my place at the 9-5. I also want to curate a show again. Revise CMW and I curated a collaborative show entitled "(Im)Paired Visions" this last March, and it was a huge success. We had 18 artists that all collaborated on pieces together, it was unbelievable!
Bonus Questions:
Bonus Questions:
OA: Coffee? If yes, what is your favorite type of coffee and where is your> favorite coffee location?
JP: I drink a ton of coffee! My favorite kind is whatever the house coffee is, or whatever is on sale at Jewel. If I do go and get coffee, I go to Alliance Bakery around Ashland and Division.
OA: Who are some of your favorite musicians, currently and of all-time?
JP: Oh wow. Intel, Maker, and Pickel (The Comeups), the Analog Addicts, Quadrophonics, The Rub, No Request Sound, Misfits, Latyrx, Del, Roy Orbison, The Who, Super Tramp, ELO, The F**king Champs, Bill Withers, Nina Simone, GZA, Black Sabbath, Shuggie Otis, Meatyogre, Once A Month, Kid Static, Judas Priest, Gang of Four. My roommate spins a lot of soul and funk, and he collects old 45's, so I listen to and love a lot of that music, but I don't know the names of any of the musicians!
For more information on Joey Potts please visit his website and for the recent work and more frequent updates visit his myspace page.
For more information on Joey Potts please visit his website and for the recent work and more frequent updates visit his myspace page.
Tuesday, July 10, 2007
New Release Tuesday
Music:
4. Sexton Blake - Play the Hits! (mp3)
6. Gogol Bordello - Super Taranta Listen to: Supertheory of Supereverything (mp3)
10. Gravy Train!!!! - All The Sweet Stuff (mp3)
13. Rabbit in the Moon - Decade
14. The High Dials - The Holy Ground EP
15. CSS - Let's Make Love and Listen to Death from Above (Single)
DVD:
Monday, July 09, 2007
Monday Morning Mix
This week's mix features music that moves and dances along with the "Motion of the Horn". There is a wide range of music that can feature horns, and this mix attempts to take a look at the horn in different settings. It features music from Powerhouse Sound, Eels, The Bees, Dexter Gordon, Ben Neill, Mocean Worker, and more...Sample:
C.W. Stoneking "Handyman Blues" (mp3)
Hydo & EDH "Naughty Places" (mp3)
Artwork: "Motion Series" by Rene Fressola
Sunday, July 08, 2007
Orange Alert's Music Minute
Page France: The House Cafe (Dekalb, IL)Last night I had the honor of seeing the prolific Michael Nau and Page France perform in front of a polite crowd of 30 or 40 people, on a small stage in the corner of a local cafe. Four loyal fans stood in front of the stage and the rest of the gathering stayed seated enjoying the over sized cups of coffee. Despite the size and laid back nature of the crowd Page France, played with passion and power filling every inch of the space with tangerines, halos, elephants, burning bushes, dancing bears, and ruby rings.
Breaking a string on his acoustic guitar halfway through their third song "Hat & Rabbit", Michael switched to electric and finished the song and the show that way. The songs from the new album sounded great and really added to my growing appreciation for "...And the Family Telephone". However, the highlight of the show was for me was their moving performance of "Junkyard" from the band's second album "Hello, Dear Wind". This has always been my favorite song by them for too many reasons, and they completely cut straight into my soul with their live performance.
On July 10th Page France will release a digital ep entitled "...and the bonus telephone" through i-tunes. The ep will contain alternate versions of tunes from the Family Telephone LP. At the show I was able to acquire their tour ep from last year "Tomato Morning" and a plain white disc in a plain white sleeve with these words written upon it "The Cotton Jones Basket Ride". I was told by Whitney McGraw after the show that this is one of Michael's side project. Incredible! Well I don't have to tell you that for a huge Page France fan, this was a night to remember.For your enjoyment:
"Hat and Rabbit" (Page France) (mp3)
"Junkyard" (Page France) (mp3)
"Friends and Such" (The Cotton Jones Basket Ride) (mp3)
Check out Saturna: This ambitious group, who recently sent me a nice little e-mail, hail from Portland, OR. They say people have compared them to Jesus and Mary Chain, Black Rebel Motorcycle Club, Serena Maneesh, Spiritualized, Secret Machines or Silversun Pickups. I believe it... listen for yourself: Pop Rocks (mp3)
Check out Saturna: This ambitious group, who recently sent me a nice little e-mail, hail from Portland, OR. They say people have compared them to Jesus and Mary Chain, Black Rebel Motorcycle Club, Serena Maneesh, Spiritualized, Secret Machines or Silversun Pickups. I believe it... listen for yourself: Pop Rocks (mp3)
The Peel Back: Ben Neill "Goldbug"1998 was the year without guitars, at least for me anyway. It was peak of electronic music in regards to popularity and the quality of the releases were beginning to suffer. There seemed to be hundreds of Electronic sub genres, and each had their own set of fans. As a fan of Trip-hop, Drum 'n Bass, IDM, etc by 1998 the thrill was starting to wane and I was looking for something new. In June, Ben Neill completely blew me away with his inventive sound and complex beats. "Goldbug" combined classic jazz riffs with drum n' bass, hip hop, and othe genres to present a completely original product. I remember listening to this over and over trying to figure out how he was creating those unusual trumpet sounds. I had to dig a little further to find out that Ben was playing a "mutant" trumpet that he had created himself by adding MIDI controllers to a standard trumpet. According to his website, "Ben is currently working on a new mutantrumpet that will be unveiled in Summer 2007. This one is greatly expanded beyond the current instrument, with 16 on board MIDI controllers and a USB connection directly to the computer".
This album featured remixes from Dj Krust, The X-Ecutioners, and Spring Heel Jack, along with an appearance from Dj Spooky. The album was released by Polygram Records, but is no longer in print. However, you can find used copies on Amazon for $0.56.
Ben Neill "Goldbug" (Polygram, June 1998)
Tunnell Vision/Dark Gift (mp3)/Route Me Out (mp3)/Freezer Burn (mp3)/Looking Last/Shirt Waste/Goldbug/It's Only/Syntonic/Blue Maroon/Tunnel Vision (Spring Heel Jack Holland Tunnel Mix)/Tunnel Vision (X-Ecutioners Mix) (mp3)/Tunnel Vision (DJ Krust Levity Mix)
Tunnell Vision/Dark Gift (mp3)/Route Me Out (mp3)/Freezer Burn (mp3)/Looking Last/Shirt Waste/Goldbug/It's Only/Syntonic/Blue Maroon/Tunnel Vision (Spring Heel Jack Holland Tunnel Mix)/Tunnel Vision (X-Ecutioners Mix) (mp3)/Tunnel Vision (DJ Krust Levity Mix)
Lollapalooza Band of the Week: CSSSao Paulo, Brazil is home to this energetic electro rock group who puts on a show to remember every time. It was around this time last year when I got my first glimpse of lead singer LoveFoxx, crowd surfing, screaming, dancing, rainbow spandex pants... she's got it all! They performed in a side tent at Pitchfork 2006 and won the hearts and ears of many new fans. The band released their debut album, Cansei De Ser Sexy (or Tired of Being Sexy) via Subpop (the first South American group on Subpop) last July, and since then they have release 3 single and variety of remixes. CSS is playing Saturday, August 4th from 5:00 to 6:00 pm and they are competing with The Roots, The Hold Steady, Clap Your Hands and Say Yeah, and Regina Spektor, but they are definitely worth checking out.
Saturday, July 07, 2007
The Watch List
Listening:1. C.W. Stoneking - G. Love eat your heart out! C.W. is the real blue's man in town. That town is Fotscray, Victoria, Australia, and C.W. released his latest album "'King Hokum" internationally back in March on Voodoo Rhythm Records. Dusty and distant his vocals roll through the earbuds of my mp3 player and sound completely out of place, but at same time serve as a daydream escape to a 1920's saloon. Check Out: Bad Luck Everywhere I Go (mp3)
2. Hypo - Anthony Keyeux (a.k.a Hypo) is from Paris, France and he is laying down some serious beats. He is currently putting the finishing touches on his latest album due ou this September. Check Out: Naughty Place (mp3)
3. Shapes Have Fangs - There is so much quality music coming out of Texas lately.Shapes Have Fangs are currently unsigned, but they have a sound that wil definitly have them signed in the very near future. Check them out today!
Reading:
1. The 2007 CMG Halfstravaganza! - I thought about putting together a list of my own, but there were just too many quality releases in the last 6 months to limit it to a top 10. CMG goes through the top 30 here and they do a decent job, but left off a few of my favorites.
2. Mike Boyle "Domtar" - This story was published this week by 3 A.M. Magazine. It is an interesting look at going up in a Catholic neighbohood through the eyes of a 12 year old girl.
3. Don't miss two important readings here in Chicago: 7/7 at Quimby's TONIGHT! (Todd Dills, CT Ballentine, and Patrick Somerville) and 7/14 at Mojoe's Hothouse (Spencer Dew, Ben Tanzer, Nick Ostdick, Peter Anderson, and Josh Stevens).
Wishing:
1. Robert Hardgrave's "Bloodline" Limited Edition Print: Made from an exclusive drawing, the print measures 12 x 14.25, and is pressed in black on custom handmade Twinrocker paper. The edition is strictly limited to just 30 prints, and comes signed, numbered and with a certificate of authenticity. This print is beautifully done and being released by Pressure Printing. $100
Getting:
1. David Report #7 - The David Report Bulletin always has a design perspective, and issue 7/2007 is not an exception. This time they will take you on a trip into the ongoing convergence between design and art. It’s a growing phenomena that interests us in several reasons, and they have invited special friends to add more wisdom into the field. Get it here for free!
2. Five to Nine #3 - Romantic Gestures, or Another Conversation (Issue 03 of Five to Nine) has now been released. Working with the idea of portraits, this issue contains a lovely collection of photographs, illustrations, montages and frescos (!), and is now available for your viewing for free.
Watching:
1. "Hot Cross Bunnies" by Elizabeth Ito - This is a funny animated short that Elizabeth created as her second year film at CalArt's, but it was picked up by Channel Frederator.
2. Plans & Apologies new video "Mel Gibson's... IRAQ!". This song will be released by Pandaz Pop on September 17th with the bands other single "Meetoo". I am all for political satire, but this may cross a line or two. If you enjoy the tune, here is the mp3.
Saturday Morning Cartoon
This morning while your consume a nice bowl of Danish Go Rounds enjoy this cartoon from Los Campesinos.We Throw Parties, You Throw Knives
Friday, July 06, 2007
Band of the Week
Canon Blue
This is the story of Daniel James (a.k.a. Canon Blue) of Nashville, Tennessee. It is a story of passion and patience, of skill and friendship, and of sacrifice and reward. It was October of 2006 that Daniel, after five years of labor, put the finishing touches on his debut album, "Colonies". He announced the release via a post to his myspace blog, and began distributing the album for free to whomever inquired. The music on "Colonies" is a wonderful mix of soft piano pieces, graceful and skilled vocals, and electronics ranging from chaotic to controlled. This music is powerful and was being placed in the hands of whoever happened to stumble across Daniel's myspace page. However, behind the scenes he was also sending the album out to various labels and musicians in hopes of something bigger. One of the individuals who obtained a copy of "Colonies" just happened to be in the band Efterklang, and in turn closely related to the record label rumraket.
That brings us up to the present state of affairs for Canon Blue. "Colonies" has been remixed by Chris Taylor of Grizzly Bear, and mastered by Christian Vogel. It is receiving a face lift courtesy of Ben Tousley, who created the cover for Grizzly Bear's Yellow House album. The album is slated for a European release of Sept. 24th, but there has not been a US date set as of yet.
With all of this excitement, Daniel was still able to take a few minute and talk to us about his signing with Rumraket and what the future holds for Canon Blue.
Orange Alert (OA): How would you describe your music?
Canon Blue (CB): An overly self conscious, romanticized interpretation of my life.
OA: Your recently signed with Efterklang's label Rumraket label. How did that come about? Where there any other labels interested in your work?
CB: Rumraket came about rather casually. the label is run by efterklang and I had been emailing back and forth with one of the guys for a little while. When I finished my record I sent it to him...he was kind of enough to pass it on and it kind of went from there.
OA: Before your signing you were giving away copies of your self-released debut album "Colonies". What was the motivation behind that? What has the response been like to Colonies?
CB: The motivation was probably more guilt than anything. I think I felt bad about charging for something that I made on a laptop in my bedroom. Plus its a very personal record and I felt that if someone really wanted it, they should be able to have it as a gift.
OA: What is you opinion of the current state of the music industry? How has the interent (mainly file sharing) affected the musician? What is your opinion of the music blogs?
CB: I don't really have an opinion really. I'm more interested in growing as a writer/producer/engineer than in trying to figure out what the next stage is for the industry side of things. Obviously i'm affected by it whether I want to be or not, so i'm not completely oblivious. But, I'm going to be making music regardless of if and how its released so I tend to try and only focus on that.
As far as blogs go, I think they have pros and cons. It's a great and effective way to transmit information and communicate, but at the same time its added an incredible density to an already overpopulated medium. Its really hard to keep up with anything now, especially with regards to music.
OA: Who are some of your biggest musical influences?
CB: While I was making colonies, I was listening to a lot of Scott Walker, Cristian Vogel, Tom Waits, and Claude Debussy.
OA: Under band members on the myspace page for Canon Blue you only list yourself. Did you play all of the instruments in Colonies? Have you performed live, if so how different is the sound of Canon Blue live?
CB: I played almost everything minus the odd violin and drum track. it was more out of necessity than anything. I really like the idea of collaboration, but there wasn't anyone around really when I was writing so I just ended up doing it myself. Live, it will be a different setup. It will be me and one other guy on drums. A lot of samplers and keyboards. We'll need to reinvent a lot of the songs in order to pull it off, but I think that will keep it more interesting for everyone.
OA: What's next for Canon Blue?
CB: Working on a new ep for the fall, putting together some remixes, touring etc......
Check out the finished version of Pilguin Pop (mp3)
Check out the finished version of Pilguin Pop (mp3)
For more information on Canon Blue and to check out more of his music visit his myspace page or his Virb page.
Thursday, July 05, 2007
Writer's Corner
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Ben TanzerIt could be said, especially when Nick Ostdick was 18 when he published his first novel and Tao Lin was only 23, that Chicago writer Ben Tanzer is a literary late bloomer, or jumped in late in the game. It wasn't until Ben approached the his thirties that he decided to pursue writing, but since that moment he has becoming one of the more refreshing voices in Chicago. Besides, I contend that the you don't jump into the game of writing or bloom into a writer, but the writing comes to you. Whether you are 18 or 80, if you are meant to write you will. What seperates writers like Ben from others is his dedication and his unique ability to allow his sharp sense of humor to shine through even the darkest moments of his prose.
Since first learning that "Lucky Man" would be published by Manx Media in late 2006, Ben has plunged into a full on media assualt. He started a blog called "This blog will change your life", he created a myspace page, and he made a promotional video for distribution on youtube.
Recently, Ben was kind enough to take some time and talk to us about his debut novel and all that is invovled in becoming a published writer.
Orange Alert (OA): Tell us a little about your debut novel "Lucky Man".
Ben Tanzer (BT): Absolutely, first off, it's taking the literary world by storm which is such a nice surprise and very humbling. Second, its a spell-binding mix of road trips, father and sons, teen sex, Greatest American Hero, the Twilight Zone, adultery, the music of the Grateful Dead, and cocaine fueled bouts of deer strangulation. And third, it’s a story that follows four friends - Gabe, Jake, Louie, and Sammy - from their waning days of high school through their first few years out of college. My intent was to write about people of a certain age who are so close that their identities begin to merge, they have the same experiences, tell the same stories, and act somewhat like they are of one brain. I also wanted to create characters though, that despite this were unique enough to be identifiable, and have their own individual struggles. One way I tried to capture these dueling themes was to write the book from all four characters points of view, rotating each chapter from one perspective to the next, some times describing the same scene and other times picking-up where the last character left off. Again, all have their own struggles as well though, and so the book is also divided into four sections and in each section one character is somewhat highlighted even as the story moves along. Now, does any of this work, I think so, but its best if people buy the book, decide this for themselves, and then write me and let me know what they think. They should also feel comfortable buying multiple copied as needed.
OA: You have been reading parts of "Lucky Man" at various locations around the city lately, how do you feel on stage? Do you write with the intent that your work will be read aloud? At readings do you ever see your work in a different light?
BT: First off, I need to thank the various people and entities who have asked me to read because it is really appreciated. So, Quimby’s, Suzie T. and the Book Cellar, Amy Guth and The Fixx reading series, you rock, thank you. That said, I really enjoy being on stage and I am discovering just how incredibly narcissistic I am. It’s terrible, and I am embarrassed for myself, but I’m really having a good time and my reading style has actually gone through a bit of a transformation during the last year. I have done readings in the past, but always sort of struck to the script so to speak, talked a bit, but read whatever I was reading straight on. Along the way here recently though I realized that I don’t have to do that, it can be more of performance and I can editorialize and follow tangents and that’s cool, it’s entertaining for me, and I think the audience, and if it isn’t for them, again it is for me which is great, because of my tremendous ego. The other night I read as part of the Mortified!!! series and that I wrote a script for, but usually, always really, I just write what's in my head, and when I’m asked to read I start thinking about what I might like it to sound like, when to pause, raise my voice, whisper a bit, anything can become a script. With Lucky man in particular, the story can be bleak, but there’s all sorts of pop culture stuff in there, and drug use, and graphic sex, much of which is meant to be cartoonish, and funny, and reading it aloud I can hear the humor in it in ways that doesn’t always translate on the written page.
OA: What is your opinion of the Chicago literary scene?
BT: It’s a great scene and I look forward to joining it once I get the correct vaccinations. It’s funny really, whether you’re talking writing or art or whatever creative thing you’re into it’s not clear to me that it’s all that easy to be an artist here in Chicago and not have to work a day job of some kind. And I don’t know if you’re readers ever check out the Bad At Sports podcast which riffs on the local art scene and beyond, but its really entertaining, and they always talk about this, you can be supported and be creative as hell, but you’re going to work, same with writing, for me anyway. That said, there are so many great writers and performers here – Joe Meno, Don De Grazia, Amy Guth, Megan Stielstra, Linda Barry, Jonathan Messinger and on and on – and journals, both those that have been around like THE2NDHAND and those that are upcoming like RAGAD from Nick Ostdick, and great bookstores, not just those I mentioned above, but others like Myopic which I love to wander around. And then there are events like the Printers Ball and Printers Row Book Fair, and so many readings, with so many good writers, and happenings like The Dollar Store and 2nd Story, and venues like the Hideout. Man it’s great, there’s something for everyone, and I’m happy to be part of it in any form, even when I’m just listening and thinking about things I hope to someday do.
OA: I truly admire your drive and dedication to writing. In your recent interview over at Bigmouth Indeed Strikes Again , you said that you write for at least thirty minutes each day. How are you able to balance all of the various parts of your life (work, family, writing, etc.)?
BT: You are way too generous, and really its an illness, I have no control over it, though the meditation, acupuncture, and Jenny Craig help a lot. I also don't get enough sleep. More then that though I have a very cliche reponse - I'm really regimented about it. There is family and there is work and everything else is filtered through this - so, I am constantly asking myself when will I have a chance to write today, tomorrow, next Thursday, whenever. I am constantly planning out when I will be free, or semi-free in the coming day, or days, and I commit to that time, which means if I planned right, I write, whether I'm tired, or hungry, or stressed, I dive-in, wherever I am, whatever I'm doing. If the time I had in mind doesn't work out though I assess the rest of the day, and if nothing works out, I write at midnight, or 1:00am, or whenever everyone in the house is asleep. Some times that means I fall asleep on the keyboard, and when that happens I finish up and then go to bed. Ideally, everyone in the house is kind of sleeping normal hours, which is rare, but when that happens I get up at 5:30 and write, which is my favorite time to do so. I would add, that part of what fuels my focus on writing every day, or near every day, is desperation and hunger. I wanted to write for so long and I couldn't get started. And when I got started I really enjoyed it and wanted to keep doing it. I also felt though like I had lost a lot of time and I wanted to make up for it. I don't feel quite like that any more, but I'm also not doing all I want to do when I want to do it when it comes to writing and being an artist, and to accomplish these things - more novels, screenplays, whatever - I have to keep honing my skills and being the best I can, and that only comes with dedication to the craft, and it is a craft.
OA: Who are some of your biggest literary influences?
BT: This is such a good and tricky question, how do you separate influence from inspiration? I will leave that up to someone else to answer, what I will say, is that Jim Carroll and the Basketball Diaries was one of my first great inspirations and remains one of my long time inspirations. He was writing about a world I couldn't believe existed and he wrote it in such an evocative fashion. It killed me, really killed me. Another book in that vein was Fear and Loathing in Las Vegas by Hunter S. Thompson, and to ever write anything that wowed me like that would be very cool. There are influences though for sure, Raymond Carver and his ability to create this very clear and fully realized world all his own, Alice Munro for sure, I see both of them sneaking into my short stories, Elizabeth Crane as well, and Junot Diaz. Lynda Barry's novel Crummy made me want to read like few other books and I read all the time, and most recently Don De Grazia's novel American Skin and Haistyles of the Dammed by Joe Meno made be believe I could and had to write a novel on the one hand, but also that I can't set the bar high enough. Similarly, Fun Home by Alison Bechdel, Jimmy Corrigan - Smartest Kid on Earth by Chris Ware, and Scalawag by Steve Lafler, all of which are graphic novels, are books that make me think anything is possible if you can just picture it. Finally, and this is not meant to be snarky, but the songs and writing of Bruce Springsteen and The Ramones are touchstones of mine when I write for sure - keep it simple, keep it clean, and tell a story, loudly if necessary.
OA: Now that your debut novel has been out for a few months, looking back, how would you evaluate the overall experience of publishing a novel? Was it what you expected? What has happened that you didn't anticipate?
BT: It's been really interesting and it's still really hard to believe. I expected my publisher and I would have to hustle to get the book any attention and we have had to. I didn't assume people would find me or Lucky Man, but I did hope though that some people would find us eventually as the months went on and they have. People like you and Amy Guth from the Fixx reading series heard something, somewhere and gave me a shout, and I'm really enjoying that. What is somewhat unexpected is just how many things have been popping lately, but also how little impact the attention has had on sales. Further, while I appreciate all the opportunities that have come-up to talk about the book and the experience, its amazing just how many things haven't worked out, especially given how enthusiastic some people have seemed when I first encountered them. All that said, I would say two things in particular have been the most unexpected, the first of which is really cheesey. A lot of what I believed could happen if I just busted my ass have happened - interviews, readings, book clubs - and that's kind of gratifying, maybe busting your ass can make a difference. But also, the hustle has led me to do things I was kind of fascinated by - starting a blog - "This Blog Will Change Your Life," a MySpace page, creating a video for YouTube - and doing these things has made me realize that there are any number of other things I kind of thought about that maybe I could pursue at some point - working in film, performing, and who knows what else.
OA: What is next for Ben Tanzer?
BT: A very deep and scary question. I'm very excited to make my big screen debut in the upcoming sequel to the Breakfast Club. You know, Judd Nelson wasn't available, I did a screen test and there we are. Okay, that isn't true, but I am working on my next novel tentatively titled "Most Likely You'll Go Your Way and I'll Go Mine," and I'm really enjoying it. I've been writing brilliant, but quite un-optioned screenplays with my buddy Harley Grant who asked me to stress that he is single and looking, and we'll keep plugging away. I'm hoping to find more opportunities to not just read, but perform, though I'm not sure what that means. I want to learn more about making films, and some day, some how, I hope to collaborate with someone on a graphic novel, that's kind of the ultimate to me.
Bonus Questions:
OA: Coffee? If yes, what is your favorite type of coffee and where is your favorite coffee place?
BT: Yes, for sure, and I favor anything in the eye-opener family, i.e., half espresso/half coffee, ideally on ice, a splash of milk, no sweetener. My regular haunt is the new Intelligensia on the river walk across the street from my office on Michigan Avenue, but the pre-renovated Uncommon Ground will always be a favorite of mine, as is the Bourgeois Pig.
OA: What type of music are your currently enjoy, and who are some of your favorite artist?
BT: Current stuff I'm really enjoying is the new disc by the Ike Reilly assassination - we belong to The Staggering Evening, who I am just loving, and el-p's new one I'll Sleep When You're Dead, which is just awesome. In the last year, there's been a bunch of stuff I thought was great, Fishscale by Ghostface Killah, boys and girls in America by The Hold Steady, my favorite all year, Be Your Own Pet self-titled debut, 12 Songs by Neil Diamond, sparse and killer, and Nuclear Daydream by Joseph Arthur. I'm also digging these discs by Other World which are from Mark Hendryx the father of one of my son's friends, and have re-discovered Worry When We Get There by The Wrench a punk band that was fronted by and old friend of mine Tim Walikis. It's just great. I would add that the Beastie Boys, Billy Bragg, Lucinda Williams, Johnny Cash, Jay-Z, Bruce Springsteen, The Beatles, Avail, The Ramones, X, and Bob Dylan are sort of my core favorites, and in case anyone is wondering The Grey Album by Danger Mouse is start to finish one of my all time favorites.
For more information on Ben Tanzer visit his blog and to purchase your copy of "Lucky Man" go to Amazon.
Wednesday, July 04, 2007
Artist of the Week
Michael Paige Glover
When I saw that the fourth of July fell on a Wednesday this year I was overjoyed, and I made it my mission to find an artist the exemplified Orange Alert on the fourth of July. I wanted Americana, I wanted the American dream, the suburbs, the cities, but I wanted them in complex situations. I want to see the classic images of days gone by meshed with modern tragedy, innocence with chaos. I wanted Michael Paige Glover.
Michael Paige Glover currently lives in Brooklyn, NY, but he grew up in Decatur, AL. After completing his undergraduate degree in Graphic Design in 1996, he traveled to Venice, France for an apprenticeship with Nall Hollis at the N.A.L.L Art Association. Afterward, Glover studied with Italian Artist Andrea Spinelli in Florence Italy for 6 months. The artist received his MFA in Figurative Painting at the New York Academy of Art in 2001. He has participated in many group and solo shows in New York and across the country.
Michael recently completed his latest collection of pieces and took some time out to talk to us about his new work.
Orange Alert (OA): How would you describe your work?
Michael Paige Glover (MPG): My work can be described as kind of dysfunctional Americana that uses familiar imagery to tell a story. At first glance, it arouses a feeling of nostalgia and the good old days so-to-speak but woven into that idealism is a haunting or menacing presence. There is a contrast of innocence in youth verses the anxiety of adulthood and also, psychological themes which hint at the darker side of the suburban family. Adults and Children are juxtaposed or morphed into a background of chaos, destruction, or ambiguous imagery. I cut and paste images in photoshop and spend hours upon end arranging them and building compositions.
OA: What was the inspiration behind your latest series of paintings?
MPG: I had been playing with the idea of the typical American Dream going up in flames. People rush to the alter without finding out who they really are: you get the job, the car, have kids and think you are finally complete as an adult but a few years down the road, when you haven't really taken stock in yourself, you realize that the house with the white picket fence was just an illusion. I experienced a similar situation and I was at a turning point in my life where everything was changing. I realized the work I had previously made was not what I wanted to really express as an artist. So, I went back to the things that really interested me, the things that held my attention, so I began mixing nostalgic, 2-D illustration with hyper realistic images from various photo resources and films. For a long time, I had been collecting vintage photographs and magazines from flea markets, antique stores and basically anywhere you can imagine. It was like an obsession. They were images of random places and random people but there was an authenticity to them that kept begging to be painted in a meticulous manner. It turned into a passion actually and although the imagery is dated, it was fresh to me and I wanted to combine it with other elements that were not-so-dated. It was a liberating experience to combine all of these great images and develop a personal narrative that somehow relates to my life. It also has to do with growing up in a very religious environment in the South.
It was like creating a kind of finely detailed madness but an appreciation for the madness, if that makes sense.
OA: Do you have a specific color palette that you work from? Do you consciously try to evoke a specific theme or emotion through use color or is that the responsibility of the images?
MPG: I tend to use color both intuitively and consciously because it leads me to make accidental discoveries and develop combinations that I normally would never use. Other times, I already have the colors planned out and it's just a matter of using the right blue or green to compliment a crimson or a lavender. Cool tones vs warm tones. People have commented in the past that my colors evoke a lot of emotion and so I think it's something that comes out naturally. It has to have a visual impact on me before I can proceed with the next step and if not, I'll keep working at it until it feels right visually and emotionally.
OA: Who are some of your biggest influences artistically?
MPG: The filmmaker Terrence Malick is one of my influences because his visual compositions are so overwhelmingly beautiful and have a quiet but intense appreciation for nature. His characters are also mysterious, simple and at the same time, very complex human beings.
The Caprichos aqua tints, The Disasters of War and the Black Paintings of Francisco de Goya have been an undeniable resource as well.
Richard Scarry's children's books were some of the first books I remember seeing as a child and they still have an affect on me today. The aerial perspective of the towns and villages and the little characters are so unique. You can get lost in that world.
Also, I feel very in tune with the art that's currently coming out of the West Coast, especially in Los Angeles.
OA: In the last few years there has been a huge increase in the acceptance of illustrators into the art community and galleries. Where do you think the illustrator fits into the art scene, and why has the popularity grown?
MPG: I think illustrators bring a new life to the contemporary art scene because they are coming from a different perspective than fine artists. It seems they are more liberated in some respects, especially with the combination of traditional drawing, painting and collage techniques. It's not all commercially driven anymore. Making work for commercial reasons is one aspect of illustration but it no longer "defines" the illustrator as a whole, as it did in the past. It seems that for a long time, there was a huge rift between what is considered "fine art" and what's considered "illustration" and one could not mix with the other. Collectively, I think artists of all disciplines have grown a little tired of this debate. It's become an outdated concept in my opinion. I think the popularity has grown because boundaries have been broken down and Illustrators are simply doing what they want to do (like having solo gallery shows), instead of doing what's expected of them.
OA: I read in your blog that you "paint like a turtle or like Winnie the Pooh would paint". What is your typical starting point for a new piece and how long does it take to complete that piece? How long did you spend on the 15 pieces in your new collection?
MPG: Yes, my technique is very calculated and methodical and I don't know if that's an advantage or disadvantage. I wish it were more spontaneous at times. I can only go at my own pace, sort of like a turtle I guess. It's a lot of layering, glazing, overlapping, reworking and scumbling of the paint. I try to let each piece evolve on it's own and not force anything. If Winne the Pooh were a painter, he'd probably take forever to finish a piece and that's why I made the reference. I can imagine all of his friends around him saying " Are you finished yet?, you've been working on that thing for 3 months! what's taking so long?" But Pooh knows that he has to work in his own concentrated way and so he's content to put up with his friend's Bullsh*t.
I actually paint a little faster now simply because I have to get the ideas out or it drives me crazy. Before, I would over analyze the idea to death and paint on it forever.
I start out with several composed pictures and along the way, it changes into something else. I add things and take things away. I make an under painting and I focus on getting the drawing right from the beginning. I generally spend about two to three weeks on a large painting depending on how crazy my life is at the moment.
I recently had the opportunity to take time off for 3 months and paint full time. I worked about 6 to 8 hours a day and made about one large painting every one or two weeks. It was a productive time but I did suffer a little burn out. I've been working on this new series for about a year and a half. The first pieces were a completely different direction for me, so I let the creative process unfold naturally. Now, it seems to flow much smoother and each painting gives life to a new one.
OA: What is next for Michael Paige Glover?
MPG: I have a group show coming up at Aidan Savoy Gallery in New York City July 12th, and I'm exhibiting with very talented people, so it's going to be a great show.
Eventually, I plan to transfer this "Dysfunctional Americana" theme into a graphic novel, which will be somewhat autobiographical but it's still a long work in progress. I'm anxious to continue the progression of this work and put it out there for people to see.
Bonus Questions:
OA: Coffee? If yes, what is your favorite type of coffee and where is your favorite coffee spot? MPG: I'm a sucker for Irish Cream flavored coffee but I usually end up buying a brand called "Cafe Bustello" which is an espresso style coffee. My favorite spot is in front of my computer early in the morning, sipping and browsing.
OA: Do you listen to music while you work? Who are some of your favorites while working and in general?
MPG: My ipod is my musical Bible while painting. Lately I've been listening to Helmet, Thom Yorke, Keane, Morrissey, Beastie Boys, Tool and a lot of 90's music.
For more information on Michael Paige Glover please visit his website.
Tuesday, July 03, 2007
New Release Tuesday
It is a very slow week week for releases, but we will make up for it next week.Music:
Circus Diablo - Circus Diablo
Transformers Soundtrack - Featuring Mutemath, Smashing Pumpkins, Linkin Park, and more. (stream)
DVD:
Monday, July 02, 2007
Monday Morning Mix
This year I wanted to wish America a happy b-day in the most unusual way possible. Enjoy "Happy b-day America" with music from The 1900's, Mike Doughty, Mr. lif, David Bowie, Saul Williams and more.
Artwork: "Abraham Lincoln" by Mike Maxwell
Sunday, July 01, 2007
Orange Alert's Music Minute
1. Flosstradamus & Kid Sister offically added to the Lollapalooza line-up. Chicago hip-hop will be well represented at Lolla this year, with Flosstradamus and Kid Sister joining Rhymefest, Lupe Fiasco, and Matt Roan. The Cool Kids are also strongly rumored to be in attendance as well.
Flosstradamus - Laffy Grime (mp3)
Kid Sister - Southside (mp3)
The Cool Kids - Klever's Grill and a Pager (mp3)
Rhymefest - Dynomite (Going Postal) (mp3)
Lupe Fiasco - Much More (mp3)
2. Fields have been remixed! There is nothing better then a good remix.
“Song for the Fields” (Ewan Pearson Remix) (mp3)
“If You Fail We All Fail” (SebastiAn Remix) (mp3)
3. The Decemberists will be performing a free concert with the Grant Park Orchestra on July 18th at 6:30pm at the Jay Pritzker Pavilion in Millennium Park. For more information on the Grant Park Music Festival visit their website. Listen to: Yankee Bayonet (mp3)
4. The Magik Markers have set a release date and reveled the track list for the first studio album, "Boss".This album will be released via Ecstatic Peace on September 25th. The duo of Elisa Ambrosio and Pete Nolan will follow it up with an US tour beginning October 1st. Check out this video from Lee Ranaldo on the making of "Boss".The Magik Markers - "Boss"
Axis Mundi/Body Rot/Last of the Lemach Line/Empty Bottles/Taste/Four/The Ballad of Harry Angstrom/Pat Garrett/Bad Dream/Hartford's Beat Suite/Circle
5. The Peel Back: Public Image Ltd. "Flowers of Romance"
In 1978, John Lydon left the Sex Pistols to forge his own path and continue to change the face and the sound of music. That same year Public Image Ltd. (PiL) released their debut single, Public Image, and the band consisted of Lydon, Jah Wobble, Keith Levine, and a cast of always changing drummers. A key element of their first two albums, was the bass play of Wobble, but by the time the band set out to record "Flowers of Evil", Wobble had left the band. With a bass player Lydon chose to present a more stripped down style of post-punk, placing the attention on drums and vocals. This created almost a tribal, especially when the organic sounds and primitive samples were added. The drummer used on three of the nine tracks was Martin Atkins of Pigface/Ministry/Killing Joke fame. On the other tracks Lydon and Levine handled the procussion, using any suface they could to create a sound. Lydon also played saxaphone and Stroh violin on this album, but he had never been trained on either instrument.
The album itself is dense, but nearly danceable and cadence that makes you want to chant along. The music is not all that accessible, not very commercial, but this was a neccassry step foward in the music timeline. I would say without this album the sound of bands like The Knife or Liars would probably be different.
The album itself is dense, but nearly danceable and cadence that makes you want to chant along. The music is not all that accessible, not very commercial, but this was a neccassry step foward in the music timeline. I would say without this album the sound of bands like The Knife or Liars would probably be different.
Public Image Ltd. "Flowers of Romance"
Side One
"Four Enclosed Walls" – 4:44 (mp3)
"Track 8" – 3:15
"Phenagen" – 2:40
"Flowers of Romance" – 2:51 (mp3)
"Under The House" – 4:33
Side two
"Hymie's Him" – 3:18
"Banging the Door" – 4:49
"Go Back" – 3:46 (mp3)
"Francis Massacre" – 3:31
"Four Enclosed Walls" – 4:44 (mp3)
"Track 8" – 3:15
"Phenagen" – 2:40
"Flowers of Romance" – 2:51 (mp3)
"Under The House" – 4:33
Side two
"Hymie's Him" – 3:18
"Banging the Door" – 4:49
"Go Back" – 3:46 (mp3)
"Francis Massacre" – 3:31
6. Lollapalooza Band of the Week: Dear and the HeadlightsThis Arizona group of friends is in the business of making anthems. Their songs soar in and out of teenage memories, landing firmly and dramatic in adulthood. This bands debut, Small Steps, Heavy Hooves, was released this pasted February, and it has gained them quite a bit of attention. Despite only being together for a year and a half, this band is rising fast and performing like pros. They are opening up Saturday mornings events at Lollapalozza this year performing at 11:15am. Their only competition is, I'm From Barcelona, don't start up until 11:45, so you can find me front and center tossing the balloons around! Listen to : Sweet Talk (mp3) and It's Getting Easy (mp3)
Saturday, June 30, 2007
The Watch List
Listening:1. Canon Blue - Daniel James is Canon Blue, and he is about blow up. Last fall he independently released a four track ep entitled "Colonies", and sent it out to anyone who asked, free of charge. These four songs were so amazing, with gentle piano drops, soaring soundscapes, chaotic electronic, and Daniels honest vocals, that he was just signed to Rumraket this week. His songs are being remixed by Chris Taylor of Grizzly Bear and and mastered by Christian Vogel. Check him out today!
2. The Mare - Stockholm, Sweden is home to The Mare. They create sweet little indie pop morsals with heart and energy. Their latest album will be released by Cloudberry Records on July 15th. Listen to: I Didn't See You (mp3)
3. Vivek Shraya - I open my e-mail yesterday I find a nice little message from Toronto musician Vivek Sharaya introducing me to his fun and danceable brand of electro-pop. So now I am introducing him to you, and telling you to check his new album "If We're Not Talking". Listen to: Chemistry (mp3) and I Wont Envy (mp3)
Reading:
1. The latest from Zachary C. Bush, published in Silenced Press, "Her Eyes Are Cream-Pink The Color Of A Dog’s Shaved Undercarriage".
2. The Illuminati and The Council on Foreign Relations by Myron Fagan - This is the transcript (and the audio) to a recording made by Mr. Fagan back in the 1960's. I had listened to the recordings several years ago, but you can really did into the information he is presenting when you read the transcripts. He clearly explains the history of The Illuminati and it's connection to the government (specifically the United Nation) and to big business, and the "great conspiracy" for a "one-world government".
3. "New Poll Finds That Young Americans are Leaning Left" by Adam Nagourney - This doesn't seem new to me, but polls are always nice. Youth, especially through college years, seem to be drawn to a more liberal mentality, but with age, wealth, maturity, family, etc. many of those sharp points of view seem to dull and possibly swing the other way.
Wishing:
1. Rob Swift's "As The Table Turns" - This documentary follow the career of one of the most innovative turntablist of all-time. With never seen before live footage and appearances by the biggest and the best. $16.99
2. Mike Boyle's "Dollhouse" - Recently released by Thieves Jargon Press, this 176 page novel should be on your nightstand right now. Here is a sample from the book: "The Dakota". $10
Getting:
1. Rural Messengers Press Mini-Mailer 1.5 - Featuring the poetry and photography of Aleathia Drehmer. This is a free release, simply send your address to the following to rmpress@gmail.com.
2. Anti #4 - Showcasing all styles of visual media, this is a nice little zine. The theme for the fourth issue is "Seasons", and it is free.
Watching:
1. J Mascis vs. David Cross in a Guitar Hero II challenge - In my opinion J Mascis is the greatest living guitar player, and possibly the best of all-time. However, he was no match for comedian David Cross. As usual, J gives an incredibly energetic interview.
2. New Benni Hemm Hemm Video: "I Can Love You in a Wheelchair, Baby"
3. Black Gold - The Truth Behind Your Coffee. I have been drinking coffee for many years, and now I know the truth.
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