May 1-2, 2007: Claudia DeMonte
The Claudia DeMonte has more than 60 one-person shows and 300 group exhibitions nationally and internationally, including exhibitions at the Corcoran Museum, Modern Art Museum of Fort Worth, Mississippi Museum, Tucson Museum, Flint Institute of Art, Museum of the Southwest, just to name a few. Her work is in numerous museum permanent collections, including the Brooklyn Museum of Art, Stamford Museum, Boca Raton Museum, and in major corporate collections such as those of Hyatt Regency Hotels, Exxon, Citibank and Siemens. Her public commissions have come from the New York City Department of Cultural Affairs, Brooklyn Library System, Queens Supreme Court, Prudential Life Insurance, the State of New Mexico, and New York City School Construction Authority.
DeMonte became a worldwide figure in women's art promoting, "Women of the World: A Global Collection of Art" a traveling exhibition, with accompanying books, which includes works of women from 177 countries dealing with the images of women. As well her project, "Real Beauty", has once again put DeMonte at the forefront of women's art. When asked about her passion or art, she'll tell you, "...it became part of me, like breathing or eating." DeMonte is determined to make an art a "global village" and right now, it seems she is pretty close to accomplishing that goal. Read her XXQs, to hear her story...
XXQs: Claudia DeMonte
PensEyeView.com (PEV): How and when did you first get involved in art?
Claudia DeMonte (CD): Growing up in New York City, I was always taken to museums as a child and loved it. I use to help with holiday decorations in elementary and high school, but it was really in college, when I wanted to change from History to Art History Major and found out that you had to take a Studio course to do that, that I really started to be an artist.
PEV: Was there a certain moment when you decided that art was going to be a career?
CD: I think I found myself as an artist in college, I loved it and it became part of me, just like breathing and eating.
PEV: After 60 one-person shows and 300 group exhibitions nationally and internationally, describe the feeling of seeing your work in a gallery for the first time.
CD: I think I was proud, nervous and excited...There were MANY first times, Graduation exhibits in College, MFA show in Grad school, local gallery, first museum (that seemed to be a BIG moment for me)...the Corcoran in 76!
PEV: Explain your creation process. Do you sketch things our first? Go right to the canvas?
CD: I make mostly sculptures. I never plan. I buy materials and start to use them...letting them lead me to the finished product.
PEV: You have traveled and showed all over the world; which city has the best environment for artists?
CD: EVERYWHERE is the best environment for making art. It comes from within, so you make the place work.
PEV: Having pieces in paint and sculpture; what is your preferred medium to work with? Why?
CD: I prefer sculpture; I vary my media according to series I'm working on. Each media must FIT that idea...from pulp paper, to bronze... always changing according to the subject, timing, needs of what I am trying to say.
PEV: Tell us about "Women of the World: A Global Collection of Art".
CD: In Women of the World, the visionary and the everyday come together to render a global image of the female, circa 2000. Traditional art in ancient media gleefully joins with multimedia constructions that sing of glow. Individually superb, these works of art make an aggregate statement about the continuity of women's accomplishment. Women of the World is an affirmation of the survival of the will of commonality that subsumes difference, of courage under fire, and of grace in adversity. It is a powerful and moving expression of self from people whose voices have rarely been heard.
Each artist in the exhibition donated their work to be auctioned off at the end of the exhibition tour to raise money to help other women. However, in order to keep the exhibit as a whole, Richard Colton, a New Orleans businessman and art collector, made a donation in the name of all the women artists in the exhibition to the New York Women's Foundation. He plans to donate the collection to the International Museum of Women, which will permanently house the exhibition.
PEV: How important is it for young girls to see a successful female artist like yourself, displaying work on such a large stage?
CD: I personally think we are all influenced by everyone...so I HOPE it helps young women to have an artist role model but honestly I think it helps society to have role models of all genders/races. My major teachers in H.S., college and grad school were all great women! ALL an inspiration... I hope in all my years (33) of teaching I have touched a few students as they have touched me.
PEV: For your project, "Real Beauty", you scanned the globe to find women around the world to use dolls, showing how each culture uses dolls to represent a standard of beauty reflective of the maker's culture. What was it like to work with women all over the world on such a unique project?
CD: It's an honor to have found and worked with artists from all over the world. You learn so much about society, opportunity, oppression and human dignity. I'm BLESSED to have been to over 90 countries and seen why art is made. I tried to incorporated this information into my university teaching, by developing a course ART MAKING IN THE GLOBAL VILLAGE
PEV: Being a professor at the university level, how does it make you feel to hear that schools (k-12) are cutting funding for art classes?
CD: It makes me SAD. Society always cuts the arts first, as if they are unimportant. When you judge a society its really one of the major things one studies, yet we would rather have sports teams than the ARTS in many places (please note, sports should be part of education too. But not at the expense of the Arts) Can you imagine a society where our creative children have no outlet, are not allowed to flourish, invent, make music, paint, dance. It saddens me, especially in a time when our country is spending so much on war.
PEV: What is your advice for kids who want to get involved in art?
CD: Follow your passion. NOTHING is as rewarding as making something you are proud of, something from within you. DOING what you LOVE is one of life's great gifts. Realistically, supporting yourself may NOT be easy. But I'd much rather see a happy person doing something that they LOVE, than another frustrated rich lawyer or banker.
PEV: If you could sit down for dinner with one artist, alive or deceased, who would it be? Why?
CD: I think I could answer this question differently every day. Today, I'd like to have dinner with Matisse, because he chose to see the world so beautifully, peacefully...I can see myself in his "RED ROOM".
PEV: What's one thing people would be surprised to hear about Claudia DeMonte?
CD: Gee, I don't know? I sold lampshades in Bloomingdales when I was in H.S.?
PEV: Living in New York City, what is your opinion on the New York art scene? And how is it different then the other major art capitals like LA, Paris, London, etc.?
CD: Since Pollock, NY has been the center of the contemporary Art World...But today there are major art centers today EVERYWHERE. Each country has an art center...each continent. But they all seem to come together in NY...There are biennials in Dakar, Johannesburg, Seoul, Singapore...we do indeed live in a "Global Art Village"
PEV: A lot of artists listen to music when they work. Do you?
CD: This is problematic in that my husband and I share our studios in NY and in CT...we do not always listen to the same music. I like a mix; Brazilian, classical, Blues, Cole Porter...always changing what seems right. OFTEN however I need silence to create and that seems more the norm for me.
PEV: If I just walked off the street and into your studio, what would I see?
CD: Supplies, flat files, stuff on the floor, finished/unfinished art, pictures of things I find interesting pinned to the wall...Messy but interesting, with some folk art here/there.
PEV: What could we find you doing when you are not working?
CD: Spending too much time on the computer...with 176 artists in Women of the World, former students, friends and multiple overlapping exhibits I have A LOT of emails daily. If not that, I love to read...
PEV: In your opinion, who is "the next big thing" in the art world?
CD: I'm not sure there can any longer be ONE next big thing...there are too many medias, too many artists...so there will always be a lot going on at once, and a few things will be BIG. But of course BIG is not necessary important. Sometimes the art world has the artists of the year, THIS WEEK.
PEV: What advice can you give to any upcoming artists?
CD: Believe in yourself and follow your dream and KNOW if you can dream it you can do it! It may not be the easiest life but it is the most rewarding.
PEV: So, what is next for Claudia DeMonte?
CD: As always many, many things. I have an exhibit up in NYC at the June Kelly Gallery, work going to the Chicago Art Fair; I have my Real Beauty Installation at U of Wisconsin and U of New England...and shows this fall too. We are going to S.E. Asia for our 30 anniversary (I'm married to the sculptor Ed McGowin), our Outsider Art Collection is going to the Ogden Museum in New Orleans in October, working on public commissions with my husband in Ft. Lauderdale and Rockville, and spending time in our homes in Miami and CT, and with my wonderful nephew Alessandro.
For more information on Claudia DeMonte, check out www.claudiademonte.com
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May 3-5, 2007: Hazel Dooney
Let's make one thing clear...Hazel Dooney is here to stay. For years, Dooney has become a cult figure in contemporary/pop art circles. She is about as unique, unconventional, outspoken and independent as they come. Frankly, we like that. Where some people become artists, or find art, Dooney believes she was born an artist. Her success is living proof of this theory. Not even thirty years old, she has a booming career, manages her shows, her work, and her sales, has an immense following, a beautiful house, overlooking the water, surrounded by trees and wakes up every morning knowing that she controls her life.
Her work at times may be dark or show signs of struggle, but as a person Dooney is not. People tend to confuse the content with the intent; often confusing the art with the artist. At one show, Dooney overheard two women discussing one of her paintings, "God, how messed up can one women be?" Dooney just laughs it off. After all, if every artist painted happy scenes, pretty flowers and sun-shiny rainbows, the world would be a warped sense of reality. Art is her passion and she paints what she feels...label it what you like. She has the perfect attitude for an artist; if you don't like it, don't look. But there in lay the problem, people can't stop looking at Dooney and her work. It also helps that this independent woman is usually taller then most men she encounters and doesn't back down easy. And plus, "F ' em if they can't take a joke." You got to love that!
Read Dooney's XXQs to hear more.
XXQs: Hazel Dooney
PensEyeView.com (PEV): How and when did you first get involved with art?
Hazel Dooney (HD): I never know how to answer this question! I think I was born an artist. It was my earliest impulse as a child, and it's been the core of my existence ever since. I have always drawn and painted and made things. As a child, if nothing else was around, I created sculptures from twigs and leaves, or drew in the sand. I've always felt compelled to make art and I don't really understand it. It's just what I do.
PEV: Was there a point or event in your life that made you say, [this is going to be my career]?
HD: When I was first at university, studying languages and anthropology, I spent time with both an artist and a student doing his M.A. in critical theory. It occurred to me that if I was anything, I was an artist too. I had to support myself Ð my family was quite poor Ð so I decided to live a life in which I made a reasonable living from making art. Of course, I realized that most people didn't manage to support themselves from their art until they were middle-aged Ð if at all. But I decided to do as much work as I could in as short a time as possible, and focus on becoming self-sufficient and successful. It worked, pretty much.
PEV: You have worked in several mediums (watercolour, pencil and ink on paper, photography, found objects) but which do you prefer or find yourself more drawn to (no pun intended)?
HD: At the beginning of my career, I worked mainly with enamel on canvas and then board Ð very large, glossy, and accessible work, which was influenced by (in no particular order) Warhol, billboard advertising, Playboy pin-ups and television. The trouble was it was all about the surface of the work. My more recent works in watercolor, pencil and pen have been an attempt to rip away the shiny surface of my old work to reveal the turbulence and anger underneath.
Photography has always been a diaristic medium for me, the same as video, and although I've sold a few of my Polaroid and color 35mm studies to ardent collectors, I've exhibited very few photographic works. That'll change when I show next at the Renault New Generation Art event at Art Melbourne '07.
I don't really have a preferred medium, but working with enamel has become tedious for me, so tedious, I won't be doing it for a long time. It's also bloody toxic and sick-making. I like working with different media, in different environments, for different reasons.
PEV: You have showed your work all over the world; Melbourne, New York, Houston, Osaka, Tokyo, Sydney, Brisbane and Perth, just to name a few but what was it like the first time you saw your work in a gallery?
HD: A huge disappointment. I think one reason why I've worked so hard to be free of the traditional, institutional and gallery system is that I have always viewed it as a parasitic business that eventually leeches not only artists' souls but also their independence. I felt I'd sold my soul when I first exhibited.
I've exhibited in galleries many times since, but my relationships with them nowadays tend to be one-off and always at arms length. I have been very, very successful without them, handling my own sales, inventory management, client and public relations, and so on. These days, I almost resent paying even the modest commissions I negotiate with my exhibiting galleries: I look at it as renting space. I don't think they do much else for me. They don't have a clue about actually selling.
PEV: Of all the various kinds of galleries or showings you've been a part of, is there one kind of gallery (be it the size, location, audience, dŽcor, etc) you prefer?
HD: I like large, blank, industrial spaces. I loathe the environments of most commercial galleries and nearly all art institutions and museums: most are so sterile, too similar to one another, and badly laid out. I like my shows to be multi-dimensional, like a good, non-stop party Ð I hate the pseudo-reverence that most galleries try to foster towards art.
PEV: How was adjusting to the scenes of Australia's art world, versus that of New York or LA?
HD: Australia is parochial, mean-spirited and most of its publicly acclaimed or awarded contemporary works are knock-offs of far more original overseas works. Australian institutions and galleries also lack a deal of originality Ð and certainly they are more interested in having control of artists than nurturing and encouraging them. In the context of Australia's suburban homogeneity Ð it defines what Americans refer to as 'white bread' Ð any kind of risk, but especially creative risk and originality, are actively discouraged. And we haven't inherited our Anglo-Irish forebear's tolerance of eccentricity.
I prefer LA to NY. It's partly its position as one of the few major capitals (along with Tokyo) on the Pacific Rim Ð which is, after all, my wider home. I like to think of it as a New World place, whereas NY for all its pretensions, remains resolutely Old World Ð old systems, old prejudices. For much the same reason, Shanghai and Tokyo are my absolute favorite creative cities. The American century is over now and like more and more Australian artists of my generation, I see my future as part of an Asian 21st century.
PEV: What city do you find to be the best for art appreciation? Why?
HD: For appreciation in the traditional sense, probably any city in Europe Ð simply because art is integral to its history and culture. In a more contemporary sense, there is an enormous thirst for innovation and invention in Tokyo that's pretty hard to beat
PEV: Do you prefer to be in a certain atmosphere or setting when you work?
HD: I like to be alone, with plenty of fresh air and loud music.
PEV: What is in your CD player or on your iPod right now?
HD: Everything from Lynton Kwesi Johnson and Miles Davis Ð I love Bitches' Brew Ð to Glenn Gould's recordings of Bach's Goldberg Variations. I seem to be playing Neil Young's Heart Of Gold a lot. Go figure.
PEV: On more then one occasion, you have been called controversial, violent and dark. How do you react to these kinds of statements?
HD: In my art, I am all of those things. And yet, in person, I am not. I have trouble with those sorts of statements only when they confuse the art with the woman. That said, there are a few art dealers (and maybe a couple of artists) who have reason to fear dark alleys if I'm in their neighborhood.
I think part of it is the usual difficulty the male-dominated art scene has with any woman who is smart, self-reliant, and productive without the apparent support of a dominant male. I also happen to be quite an imposing Ð 6-foot-plus Ð physical presence and I don't intimidate easily. F' em if they can't take a joke.
PEV: How have you managed success on such a large stage at such a young age (28)?
HD: I was advised, a few years ago by a very smart Australian internet entrepreneur, to prepare for success by having a good team around me to look after the parts I didn't have the skills for. So I have a very good female business manager Ð an older woman who sits on the boards of several major corporations Ð as well as a good lawyer. I'm also a modern girl Ð I get technology and I know how to use it to manage the business side of my art 24 x 7.
PEV: Do you feel it is important for other women or even young girls to see an independent woman like yourself in the spotlight?
HD: I think it's a lot more important for them to become self-confident and resilient enough not to need any role models. I do think artists, on the whole, male or female, need to be reminded that they don't need to let themselves be sucked into the traditional system in order to succeed: I mean, we've reached a point where, just the other day, a well-known curator allowed himself to be quoted as saying that, in his view, curators and gallerists were what art was really all about, as if the art, let alone the artists, were somehow incidental. How f'ing rank is that?
PEV: How have your grown from your 1997 exhibit 'Hazed' and your 2006 exhibit 'Venus in Hell'?
HD: Oh, in way too many ways to write coherently about it! For one thing, the artist who created Venus In Hell is a woman, not a young girl. There is a greater confidence in technique and a deeper intellectual understanding of what I am trying to accomplish. Ten years is a VERY long time for a working artist.
PEV: If you could sit down to dinner with one artist, past or present, who would it be? Why?
HD: From the past, it would have to be Picasso, for all the obvious reasons. In the present, hmm, possibly Hockney because I think his conversation and observations would be lively and educational and charming, or maybe, as much I loathe to admit it, Damien Hirst. Love him or hate him, he has reclaimed the power of the artist against the system.
PEV: On the rare chance you get a break and time relax, how do you wind down?
HD: I surf. I travel - usually by sea, on small boats - and explore around S.E. Asia. As I've said, too, I like to dance.
PEV: What is one thing, we would be surprised to hear about Hazel Dooney?
HD: I have a thing about couture handbags Ð and I'm learning old-school celestial navigation.
PEV: If I were to walk into your studio right now, what would I see?
HD: Very little, other than a large Indonesian day bed shrouded by a mosquito net, a sketch pad, and a tray filled with pencils, pens and tubes of watercolours. Oh, and a Harmon Kardon sound system linked to my iPod.
PEV: What is a normal day like for you?
CD: Very routine. I get up around 7:30 and chat to my boyfriend online or by phone Ð depending on where he is in the world Ð and then I handle my emails while I have breakfast. By around 10am, I'm at work. Sometimes, if my boyfriend is around, we'll have lunch together at a local cafe and then spend the afternoon in bed. Otherwise, I'll work until about five, then go running or surfing, do some more emails or just dance around the house to let off some steam. I do like to stay up late and work, too. If I'm not working, I read.
I don't like to go out much. I hardly ever stray outside the small, seaside town where I live. I have a nice house: big, overlooking the water, surrounded by trees. It's filled with books and I have plenty of electronic media. What more could a girl want!
PEV: Have you ever overheard someone talking about your work at a gallery or showing, when they didn't think you were around?
HD: At my solo show, Venus In Hell, in Melbourne, last year, I overheard two young women, both artists, discussing my work. One of them was really upset by the graphic sexuality and violence in many of the images. She said, "God, how messed up can one women be?"
"I guess we all feel that way from time to time," her friend replied. "It's just that we don't feel the need to paint it!"
PEV: So, what is next for Hazel Dooney?
HD: I am going to spend a lot of this year in S.E. Asia. I'm thinking of buying a boat and living on it during the North-East Monsoon in Phuket. Next year, I have shows in Australia, Italy and Japan. But probably the biggest thing is my increasing involvement with large installations and environments rather than paintings Ð I love the architectural and logistical demands of the work. I like the site preparation and construction Ð it all feels, somehow, more substantial, more of a challenge.
To find out more on Hazel Dooney, check out: www.HazelDooney.com (Note: Some content on www.HazelDooney.com contains adult material and is not suitable for children. Parental discretion is advised.)
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May 5-6, 2007: Quincy Coleman
When Quincy Coleman arrived on the music scene, everyone let out a sigh of relief. She's what we've been waiting for. Coleman is the kind of performer whose presence demands your attention and voice keeps you in awe. Not only does her voice hold comparison to Sarah McLaughlin, Edith Piaf, Jewel or Shelby Lynne (to name a few) but she looks like a star. In an era of "just add water" pop music, Coleman is like fine cuisine, with several layers of a secret recipe . She remains a mainstay on the music scene and her hit song, "Afraid" from "Also Known as Mary" is featured on the soundtrack for the academy award winning film "Crash." Not a bad little start...
Coleman will joke, saying her first start in music occurred while singing a very drunk and a very nervous version of Indigo Girls "Closer to Fine", one night at "hole in the wall" bar in Nice, France. However, we like to think she was destined. Being a performer is in Quincy Coleman's blood; her dad is actor and Golden Globe winner Dabney Coleman, mom is model/actress Jean Hale Coleman and her brother Randy is a talented musician his own right. Her 2006 release, "Come Closer", is getting accolades from every area of the entertainment industry. Songs like Coleman's style is a unique as her story is inspiring. Read her XXQs, to find out more...
XXQs: Quincy Coleman
PensEyeView.com (PEV): How and when did you first get interested in music?
Qunicy Coleman (QC): Been interested in music since I can remember. And then my music teachers growing up in grammar school as well as camp songs had strong influences on me.
PEV: Was there a certain time or event that you realized you can actually make a living playing music?
QC: Not quite there yet.
PEV: You come from a family of performers (dad actor and Golden Globe winner Dabney Coleman, mom model/actress Jean Hale Coleman and brother Randy who has toured with Def Leppard and opened for The Who at the Hollywood Bowl). Have they offered any professional advice?
QC: Yes! Yes! Yes! They have all been amazing in sharing their experiences and relating to the struggles and have all been huge inspirations to me.
PEV: What was it like the first time you stepped into a studio to record your self-released debut album "Also Known as Mary"?
CD: I was pretty much beside myself with anticipation and excitement. It was a profound sense of focus and belief in myself and my music.
PEV: Besides radio play, the song "Afraid" from "Also Known as Mary" is on the soundtrack for the academy award winning film "Crash". How was to know you were part of such an acclaimed project?
QC: Not only am I proud to be associated with such a successful film but more importantly the pride comes from having a very important song of mine attached to such a powerful film with its intense delivery of an extremely important message.
PEV: Having performed in LA for quite some time, what is your take on the current LA music scene?
QC: It is and has been since my involvement a strong supportive community. There is a sweet sense that everybody has each others back and that we are all on this crazy ride together.
PEV: You have traveled all over the world. Which city do you think offers the best environment for music?
QC: I can't say as there are many cities with great musical history I have yet to visit or play in such as Chicago and New Orleans but out of the places I've been to I'd say Austin, Texas has that feeling of 24 hour toe tapping joints venues and bars. That city seems to just breathe in and out music!
PEV: Is there a certain atmosphere you surround yourself in when you write music?
QC: Not really. When the inspirations come they just come... I've literally been on the toilet!
PEV: What do all your friends and family think about your success?
QC: Friends and family have been nothing short of ecstatic. It's as if my success is theirs and I guess there is some truth to that. I couldn't do what I've done or get to where I am at without them.
PEV: If you could collaborate with one artist, alive or deceased, who would it be and why?
QC: Oh man, one?! Well I have to give you two. First would be without a doubt Ms. Billy Holiday. That woman's voice does something to me. She takes to a place that feels like home but a home I've never been to. It's weird. And then of course there's Justin Timberlake. Probably sounds crazy but I think that guy is a super star with soul and spontaneity emanating off of his every pore.
PEV: The Philadelphia Hawk said you should [...surely be listed among some of the great female singer-songwriters of our generation]. Not a bad compliment. How important is it for young girls to see such a positive woman making a difference in music?
QC: I never thought of that and not sure that is even the case but I sure hope that anyone who listens to my music or catches a show that they be inspired to be who they are, not follow the mold just to be safe, and know that whoever you are whatever you have to say however you want to say it, your voice is valid and deserves to be heard.
PEV: What kind of advice can you give to people who are just now starting a band or picking up a guitar?
QC: Honestly stay true to your heart and don't even think of getting involved with this business unless you can take rejection and move through it. You have to really want it to get it and you might not even get it then. As far as making music on the side or as a hobby, I think the world would be a different place. It's a great outlet, an awesome way to express yourself, and a sense of creating and being a part of something that is like no other.
PEV: What helps fuel your drive to create music?
QC: Love. Pain. Revenge. Seduction. And other artists like Loudon Wainwright, Ray LaMontagne, John Mayer...
PEV: How has life on the road been for you?
QC: It's not easy when I'm alone but once I get on that stage and see the smiling faces looking back at me I remember why I'm here.
PEV: If I were to walk into your house right now, what is one thing I would be surprised to find?
QC: That it is disturbingly clean!
PEV: When you are not working, what do you like to do?
QC: I am avid yogi. Been doing it for over 10 years and really hooked on the bikram technique these days. I also love going to the beach! The ocean makes me laugh.
PEV: People can download your music from your website. What is your opinion on the heated debate over downloading music off line?
QC: At this stage of my career I feel if the music is getting out there that's really what matters at this point. I think it's great that people all over the world can have my music in their homes right now! It's very cool.
PEV: What can someone expect from a live Quincy Coleman show?
QC: They can expect a very sweaty Quincy Coleman. It's a serious work out for me. I can't help but get into the songs and into my boys (the other band mates). I wrote these songs so that and my band and the audience could have fun and so far from what I can tell we are doing pretty good accomplishing that goal.
PEV: What is the best part about playing live?
QC: The immediate feedback from the audience. When you're stuck in the studio it's a cave and you can loose perspective and get kinda loopy. The live show is set up to be well just that, live! When ever body is on it's an electric and magical experience!
PEV: So, what is next for Quincy Coleman?
QC: A record deal, a national tour with my band, a couple of Grammy's, and taking part in what I can do to create more harmony on this crazy planet.
To find out more about Quincy Coleman, check out these following sites: www.QuincyColeman.com and www.myspace.com/quincycoleman
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May 7-8, 2007: Sebastian Blanck
As a person who spends every waking hour scanning the globe for unique individuals, coming across Sebastian Blanck was cause for celebration; painter, singer, songwriter, performer and visionary. Blanck's earliest memory of discovering art was sitting beside his mother during an art class she attended at The Maryland Institute College of Art (MICA). He would sit beside her, drawing for hours while she worked. Call it fate, intuition, or just natural instinct but Blanck's early exposure to art as a child turned him into the artist we know today. He's shown in art capitals like, New York, Sweden and Italy, to name a few. He's been showcased in The New York Post, The New Yorker, The NY Art World, Paper Magazine and Street Miami, again, to name a few.
His "Shower" exhibition, a series of energetic and playful paintings depicting his now wife, then girlfriend, along with himself, nude behind a polka-dot shower curtain, surpassed all of his expectations, landing him on the tip of everyone's tongue when it came to talking about great artists. With nods to Lichtenstein, Hirst and Warhol, Blanck's works conjure up a whole new set of emotions. Most notably one man's fascination, devotion and love for his wife. A beautiful thought that only a seasoned artist could express so eloquently on canvas. His latest work; a style of using cut paper, broken down into graphic shapes then put back together to form real life images, is already gaining similar attention. But it doesn't stop there.
While Blanck was gearing up for the world's art stage in college, simultaneously he was touring with the band Black Dice which he left a few years back to concentrate on painting. However, just because he stopped touring, didn't mean he stopped playing. He continues to write and record music. His new EP, "I Blame Baltimore" will be out shortly but clips are available on his MySpace page. I'd say, "Need I say more" but that would mean I'd have to stop writing about Blanck. However, I'll stop and let him explain it best. After all, as a person who spends night and day searching for amazing individuals, I think I'll be pretty busy writing about Sebastian Blanck many more times in the future.
XXQs: Sebastian Blanck
PensEyeView.com (PEV): How and when did you first get involved in art?
Sebastian Blanck (SB): I honestly don't remember. When I was five or so my mom was a student at the Maryland Institute College of Art in Baltimore where she majored in Sculpture/Fibers. She used to take me to some of her classes and I would just sit there and draw all day. That is my first memory of being in an art environment. It felt very natural. I don't think I ever decided I wanted to be an artist. I never really considered anything else.
PEV: You attended a very popular art school, The Rhode Island School of Design (RISD). For those not familiar with art schools in general, describe what life is like for an art student? Do all the students bond more, since they are all there for the (generally speaking) same cause?
SB: Art school was amazing, really fun. I enjoyed a lot of my classes and learned a ton. I had been waiting my whole life to be in a place like RISD and still feel fortunate that I was able to go there. I was a real f--- up in high school. I got horrible grades, cut school a lot, and skipped classes, but when I got to RISD I was transformed as a student. I worked really hard, spending every day of the week in studio. I had an excellent work ethic, but also went out a lot...
I was in Providence at a unique time. There was a big music scene that I was lucky enough to be a part of. I hadn't really gone to see bands play in high school but attended shows a few times a week when at RISD. It was exciting because great bands played in Providence (Pavement, Beck, etc.) but even more fun were the local bands playing house parties (Forcefield, Olnyville Sound System, and Lightning Bolt).
I remember the first time I saw 'Lightning Bolt' play I thought they had limitless energy but I that they sounded like shit. As I became accustomed to how they were making music, and how other bands in Providence were making music, it really opened up my expectations of what music and a live show could be. A lot of the harshness of the sound and volume became normal, and I was then able to hear melody and rhythm that I had previously been ignoring. It was like learning a language.
PEV: While you were at RISD, you formed the band Black Dice. How did that come about?
SB: My roommate, Bjorn Copeland and I just really wanted to start a band for a long time. In '96 Bjorn had spent some time writing songs mostly for himself and eventually showed them to his brother Eric. They asked me to play bass and we tried a few different set ups. Eric started on drums and then switched to vocals. Then Brian Gibson from Lightning Bolt was playing drums for a while. We played a couple of shows with that line up in '97. Finally, we replaced Brian with Hisham Bharoocha and we had our band. Bjorn was really motivated and booked a tour of the east coast during spring break of '98. We played something like eight shows in nine days. It was really fun. It was one of those things that kind of started and got moving and I found myself just getting swept up into it. Everybody moved to Brooklyn, New York, and I was in the band for a year or so more before I left and was replaced by Aaron Warren.
PEV: After three US tours, you left Black Dice to focus on painting. What made you decide to go back to art when music seemed to be working so well?
SB: While I was in Black Dice I was still painting when we weren't on the road. I really enjoy and believe in the idea of going to studio and working everyday so going out on a tour was difficult. I have really fond memories of those tours but I had a hard time accepting the fact that it would take ten hours to drive somewhere and then we would play for twenty minutes. The type of show we put on was wild and unpredictable and took tons of energy. It was taxing physically and mentally. It was amazing to be able to do that but when we started the band I honestly didn't really expect it to continue after we graduated from school. Painting was my first choice and I just decide it was time to focus on it.
PEV: Music is obviously an intricate part of your life; do you listen to music while you are painting? What is in your CD player or on your iPod right now?
SB: I listen to music all the time in studio. If music isn't on I am listening to NPR or watching a DVD on my computer. I can only do that when I am working at my desk. I don't actually watch the movie. It's more like listening to a movie. I used to draw in front of the television all the time as a kid and I think it just makes me feel at home and at ease. I love listening to director's commentary while I am working at my desk. It is nice to hear people talk about there creative process...especially on the grand scale of a film. So much orchestration and direction involved in capturing those small moments to build up a story. Lately, I have been listening to Neil Young, Led Zeppelin, Lead Belly, Woody Guthrie, The Band, Lansing-Dreiden, Cheesburger, Benji Cossa, Animal Collective, and a bunch of other stuff. Always kind of lean towards older music in general though. Been finding some cool stuff on a sight called AnthologyRecordings.com which digitally reissues some amazing stuff. I have also been listening to my own songs trying to finalize mixes for an EP I am releasing called "I Blame Baltimore" in a couple of weeks.
PEV: Was there a certain point or event in your life that you decided art was going to be a career?
SB: I always wanted to be an artist. I used to want to be an illustrator. I guess that is really the only change, from illustrator to painter. I wanted to be a comic book illustrator at Marvel comics when I was a kid. I spent a lot of time copying my favorite characters from comic books. Not the same as copying old maters but still a great way to learn. That's how I learned to use perspective in a drawing at a really young age.
PEV: What kind of environment or "zone" do you prefer to be in when you are working?
SB: Ideally, I would work at home. I like to be surrounded by my things. I also like to be able to distract my self by playing guitar or something every once in a while.
PEV: After traveling and showing all over the world, in your opinion, what is the best city for art appreciation?
SB: I love Paris. I love Degas, Monet, Bonnard, and Vuillard and that is the best place to see that stuff. I also think Rome is amazing. I lived in Rome for 6 months as a child and then spent the summer of 2001 as a visiting artist at the American Academy in Rome. I know both cities intimately and feel at home in either place. Certainly, the most overwhelmingly positive response to my work was in Sweden. In 2003, I had a solo show at Wetterling Gallery in Stockholm and there where tons of people at my opening. By the end, I was signing autographs and so was my wife Isca (my muse and fellow painter). We were both in shock. I am having another show at Wetterling Gallery in November of this year. I can only hope that it will go half as well as the last one. It will be a very different body of work and I hope the Swedes like it.
PEV: What is one thing people may be surprised to hear about Sebastian Blanck?
SB: I am really into playing basketball and video games... and I eat tons of candy.
PEV: You have shown in many galleries all over the globe, but what was it like the first time you saw your work in a gallery?
SB: The first solo show I had was in Miami and it was incredibly exciting to see my work up. The Gallery had a big glass window in front so you could see my paintings from the street. The opening was very well attended and the party overflowed into the street. After a while, the fire department drove by to survey the scene. In the end a few firemen decided to come in for a beer and hangout - it was pretty funny.
PEV: Is there one gallery or one kind of gallery (be it size, audience, location) you felt most comfortable in? Why?
SB: I like being in shows in New York because it means friends will come to the opening and have a better chance to see the show. But in a way, showing outside of the city is nicer because you don't think about it as much. You don't worry about reviews. It's just kind of out there and you hope people like it.
PEV: Living in New York, what is your take on the New York art scene?
SB: When I first moved back to NY from RISD, I had just started dating Isca Greenfield-Sanders who is now my wife. She is a painter and a third generation NY artist. Her father is the photographer Timothy Greenfield-Sanders. Her mother, Karin Greenfield-Sanders, is an art lawyer, and her Uncle John Sanders and Grandfather Joop Sanders are both artists. I had never thought of art as a "family business" but was suddenly involved with someone who had first hand experience to a degree I had never known. I learned more about contemporary art sitting around the dinner table at Isca's parents house than I did my entire time at RISD.
PEV: Being a younger artist, is there any kind of connection you have with other young artists? Or is it "dog eat dog," so to say?
SB: I don't think of it as "dog eat dog." It is competitive, but there are also some very generous people who want to help. Ross Bleckner has been incredibly supportive.
PEV: What kind of advice can you give to someone who dreams of packing up and heading to the big apple for a music or art career?
SB: Come with a friend or better yet a crew of friends. Work hard and don't get distracted by stuff that doesn't matter. In the end, it is the work that matters and lasts, so put everything you can into it.
PEV: Explain your creation process. Do you sketch things our first? Go right to the canvas?
SB: My new work is made from cut paper. First I take an image and break it down into graphic shapes. Next I cut out each of those shapes and paint them. Then I glue them to board and kind of build the image back up like a puzzle. Some sections of an image I leave flat and graphic while others I paint as a complete object.
PEV: If you could sit down for dinner with one artist, past or present, who would it be? Why?
SB: My wife Isca. Cause I think she is completely amazing.
PEV: Your exhibition entitled "Shower" which features two nude figures, each coming in and out of the shower, has been praised everywhere. Now, we know that it is you in the "buff" but who is the woman? How did this project and use of the polka dots come about?
SB: That is also my wife. It came about because I was interested in making images that were simultaneously figurative and abstract. I had also been looking at a lot of Op art like Bridget Riley. One morning as Isca was getting into the shower behind a dotted curtain I saw exactly what I had been hoping to make right in front of me. In painting the shower paintings the imagery changed a bit but in essence it was all an attempt to recreate that visual experience.
PEV: Is there someone you feel, right now, should be considered "the next big thing" in the art world?
SB: I am not in the "next big thing" business, but I think very highly of these artists: Bjorn Copeland, Rob Nadeau, Joe Bradley, Joshua Abelow, Leah Tinari, Megan Pflug, Pali Kashi, Kevin Hooyman, Anna Schacte, Lars Fisk, Shana Lutker, Lansing-Dreiden, Bowie Zunino, Tim Davis, Lisa Sanditz, the Neistat Brothers, and Jason Frank Rothenberg.
PEV: When you are not painting what can we find you doing?
SB: I spend most of my time with my wife just hanging out at home. I also spend as much time as possible recording music and seeing friends. I love watching television and I also love to play sports and compete.
PEV: So, what is next for Sebastian Blanck?
SB: More painting, more music and most importantly--a baby. My wife Isca and I are expecting our first child in August.
To find out more on Sebastian Blanck, check out: SebastianBlanck.com and be his friend at www.myspace.com/sebastianblanck
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May 9-10, 2007: Monica M. Wiedel
There are many words I can use to describe Monica Wiedel, but the one that sticks in my mind is passionate. She's passionate about her own work, her work as an educator, about making the art community a more "positive and empowering force" and passionate about bringing more attention to the sometimes forgotten world of public art. It is this drive and devotion that is making her a prominent figure in the world of art appreciation.
Wiedel uses everything from paint to pencil shavings to express her feelings of love, loss and change. She's about as honest and open as they come and it rings true in her answers. Her XXQs are a bold expression of one woman's belief in change through art but I think she can explain it best.
XXQs: Monica Wiedel
PensEyeView.com (PEV): How and when did you first get involved in art?
Monica Wiedel (MW): I can't say exactly when I first got involved in art, but I can say that I've always been a creative thinker and a very self-reflective person. From a young age I remember trying to tie dandelions together to string them up in my playhouse, and pressing objects into the wet sand in my sandbox because I loved the textures I could create. Playing with play dough and making collages from mom's catalogues were just a way of life for me. My version of tinkering in the garage alongside dad was using old optic wires to make sculptures and mobiles. As I got older, I turned to a sketchbook/journal combo to record my thoughts in word and image, though I still experimented with any medium that came my way. By high school, I had many creative outlets to help me process my world (pottery, watercolors, and photography, etc.). I've always felt a great sense of satisfaction creating things with my own two hands, especially when a strong emotional connection exists with some aspect of the art.
PEV: As an art educator, how has working with kids affected or inspired your art?
MW: For me, my work as an educator is separate from my work as an artist. It is certainly joyful to watch the "light bulbs go off" for my students and I take great pride in my program development. But the process I use to develop highly successful programs is quite linear. This is nothing like what my personal experience is when I create art. Art classes are orchestrated so that my students can perform at their personal best. The makings of a great program are separate, in my mind, from my work as an artist. For my students to achieve, these must be distinctly separate. As an educator, it's about my students. With my artwork, it's only about me.
PEV: You hear all the time that public schools are cutting funding for art classes. How does that make you feel?
MW: Public school funding for the arts is about priorities. The priorities of our democracy are reflected in the battle for dollars. Historically, and especially during wartimes, the arts lose funding to math, reading, and science programs, perhaps with the fear of other nations accelerating in war-related technology and engineering. During peaceful times, the purse strings are more willing to afford the arts for leisure and entertainment. I'm not saying that I agree with this approach, to the contrary. But I think it's a fact. To many people, the arts are a frill over the fireplace or on the refrigerator, despite the fact that creative ingenuity and innovative problem solving is what truly powers nations.
PEV: What is your advice for kids who want to get involved in art?
MW: Kids should follow their drive in whatever direction it takes them. No one should feel limited in what they long to do. That being said, I believe it's our so-called limitations that push us to be creative and force us to succeed. Whatever the circumstance, there's never a shortage of readily-available materials to make art with. No one needs formal art training to get involved in art-making Ð just an internal drive and Ôstuff'.
PEV: Explain your creative process.
MW: I wish I could explain my creative process! It varies depending on the work I do. Sometimes I sketch beforehand, sometimes my approach is a meditative automatic drawing, and sometimes I have a concept in mind that I want to illustrate in abstract terms. Sometimes I have a more guided goal that I reflect on before hitting the canvas, and other times I have a specific task in a commission context. There are days that I am inspired by a found object or material, which sparks me to create. I don't have a set procedure to make my art Ð and I love the freedom and flexibility I have because of it.
PEV: What has been the hardest part for breaking into the art community?
MW: I wouldn't say I've ever broken into the art community. I do my thing and sometimes people notice. I don't know that people really do "break into" the art community; it's more that they work for years to establish a strong body of work that becomes recognizable and meaningful to the larger art community. I hope that people can identify with my work on some level, but it's not something for me to get hung up on. My energy is better spent thinking about my art, not whether or not people accept me.
PEV: Which city, outside of the US, has the best environment for artists? Also, do you find one in particular place that works best for you?
MW: I can't really say with city is best for artists. Art is made everywhere. I make art in Maryland because this is where I live, but it doesn't mean this is the best (or worst) place to do it Ð just happens to be the place for me at this time. I can't even say that political climate determines the best artistic environment because poignant art can be born out of civil unrest. From my perspective, any environment can be ideal for an artist.
PEV: You have shown work in paint and sculpture. What is your preferred medium to work with?
MW: I can't decide between 2D and 3D Ð one isn't better than the other to me. That's a big no-no as far a building a consistent body of work, but I don't care. I love making all kinds of art.
PEV: What do you say to the people that don't quite "get" abstract art?
MW: When someone looks at an abstract painting, if their reaction is "I don't get it", I compare that to what my experience might be like looking at computer codes or ancient hieroglyphs. It would be confusing without any prior knowledge on the subject. Not all art is intended to give immediate satisfaction, especially with no prior understanding of abstract art. I don't apologize for anyone being confused when they look at my paintings. My art isn't for anybody's instant gratification but my own. I don't mean to sound like I have an elitist attitude, but there are layers of meaning, history, and/or process that a person may not see based on one immediate impression. Not all artists care if a viewer "gets it". Not all art is made for an audience. Some audiences might appreciate my artwork, but it is not made for an audience's benefit.
PEV: If you could sit down for dinner with one artist, alive or deceased, who would it be? Why?
MW: Pablo Picasso played such a huge role in modern art and profoundly influenced art as we know it today. I would love to have a conversation with him. Another great person to meet would be Julia Margaret Cameron who was a 19th century photographer. She made fine art prints without regard to conventional photography and evoked the strong emotional qualities of those she photographed. She also wrote influential works on the topic of creativity and was the grandmother of Virginia Woolf, another timely, out-spoken female thinker. I'm sure the conversations would be memorable!
PEV: What is one thing people would be surprised to hear about you?
MW: Hmm. Would it be surprising to learn that I love to travel? Not many people know that I love rap music and canoeing (though not at the same time). How about that I love to eat frozen Reeses Pieces? There's a little-known fact. It may be surprising to learn that one of my favorite painting comparisons is Le Grande Odalisque by Ingres in 1814 and the Manet interpretation that followed as Olympia about fifty years later. Who knew?
PEV: What do you do when you hit that "brick wall" and feel like a project isn't working right?
MW: I pick up a different painting or put it on hold. Sometimes I have to live with a painting for a few days, even weeks, before I am ready to go back to it. That's one of the benefits of working on multiple projects.
PEV: How did feel the first time you walked into a gallery and saw your paintings displayed?
MW: It's exciting to see my work up, but it's also nerve-wracking. Sometimes I feel sick because it's like my guts are hanging out for all to see and comment on. I don't expect that will ever go away, but showing my work is a very rewarding aspect of being an artist.
PEV: What was it like when you realized that you can make a living off doing what you love?
MW: Is that what I'm doing?
PEV: What is a normal day like for you?
MW: I can't recall feeling like any day is normal! Who knows what Ônormal' should be, right? (I'm laughing!) My routine depends on the season, really. Most days I'm up at 7a.m. with my coffee and out the door to teach. If I'm not consulting with Irvine or teaching at an art center after my day job, then I head home to fix dinner and spend time with my fiancŽ. When the mood strikes me, I sketch or paint until I'm ready for bed. I often have projects that I'm working on, so I'm constantly making contacts and recording new ideas for proposals. I enjoy the fast pace of multiple projects, so my routine is always varied. I love that about what I do.
PEV: A lot of artists listen to music when they work. Do you?
MW: I used to listen to music while painting, but not so much anymore. I'm strongly affected by music, so I find it can alter the original intent of my paintings. It can really influence my work, which is makes my painting less pure in a way. Does that make sense? I know it sounds ridiculous, but it's true.
PEV: Do you prefer to do a work for someone else (a commissioned piece) or a piece that will serve as a decoration for your house?
MW: Well, firstly, I don't make paintings to "serve as decoration for my house"! I'm nauseated by the notion that this could be the sole purpose anyone makes art, dare I call that approach to it Ôart'. Many of my paintings are painful to create and they are never displayed (to anyone) once made. In some cases they are even painted over or destroyed. Commissions are important because I like to build partners in the community and empower individuals to make art through collaborative projects. Obviously it helps to have my name and work visible, too. But any work I do as an educator or as a commissioned artist is on a COMPLETELY different plane than my personal artwork as a mixed-media painter/sculptor. My commissions reflect the needs of particular group of people or neighborhood. My personal artwork is about me with no restrictions or boundaries.
PEV: What do you do when you are not working?
MW: I spend as much time as possible with my loved ones. I also work with the non-profit organization known as Irvine Nature Center to help them spread their important mission of environmental education within the community. I love to garden and journal, too.
PEV: Is there one theme or aspect behind your work you find yourself always looking to?
MW: Change is an over-whelming theme for me. Change, with all its consequences, is definitely a recurring theme.
PEV: So, what is next for Monica and MonicaPaints.com?
MW: My life is devoted to four things: my family, my art, my passion for conservation, and my quest to help educate a more conscientious crop of citizens for the next generation. These are all critically important to me, my way of life, and how I approach making art. Monicapaints.com is a very small piece of what I hope to accomplish in the coming years. I've barely scratched the surface.
To find out more on Monica, check out: www.MonicaPaints.com
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May 11-12, 2007: Fatal1ty
For anyone that has heard their parents say, "Stop wasting your time playing videos games!"...tell them to call John Wendel's parents. After all, when your son is the single greatest video gamer of all time, a little playing around never hurt. Wendel first got interested in Nintendo, when he was a kid. He'd play when the weather was bad, or he was bored or when friends came over, just to hang out. Early on however, he realized that he was not only good at video games, he was unbeatable. Still, beating all the kids in the neighborhood hardly means you can make a living playing video games. And years ago, pre-internet, no one ever thought video games to be more then just recreational entertainment. However, with the popularity of the internet, video gaming became interactive; allowing you to compete against people not only around the corner but around the world. This is how Wendel's alias Fatal1ty (yes, spelled with a 1) became more recognizable then your most famous professional sports star. Ironic, since Wendel is being called the Michael Jordan, Tiger Woods, Wayne Gretzky and any other iconic sports figure you can think of. Let's take it a step further. We can easily call him the Ralph Lauren of the gaming world, since he owns his own line of gaming apparel. Or we can call him the Picasso of the gaming worlds, since he is reshaping the modern gaming world and into the next generation of graphic art. Throw in the next John Madden as well, since he has recently signed on as spokesperson and commentator of Championship Gaming Series.
When the corporate world needs to find out what gamers want, they call Wendel first. After all only in his twenties, the Fatal1ty brand has already made more money then an average person will see in a lifetime. Wendel has, and easily can, rake in six figures for a single tournament. He's been featured on MTV's True Life, Time Magazine (as a feature and a correspondent), every single gaming magazine possible and of course the television deal with Direct TV (Championship Gaming Series). With such credentials and success, Wendel is one of the most humble, down to Earth individuals PensEyeView has come across. When asked about his success, earnings and championships, he doesn't brag, but simply states facts, which to anyone else would be grounds for boasting. He still hangs out with his high school friends in his home town of Kansas City. In his spare time he can be found playing basketball, golf and football with the same people that knew him well before the world knew him as Fatal1ty. He enters corporate meetings with the laid back approach he would take talking to an old friend but knows how to take care of business. At any gaming convention, Fatal1ty can't go five feet without someone recognizing him and asking for his autograph. Like the true sportsman he is, he obliges (unlike other more well known athletes). If you don't know anything about the gaming world, class is now in session. Read Fatal1ty's XXQs to find out more.
XXQs: John "Fatal1ty" Wendel
PensEyeView.com (PEV): How and when did you first get involved with video games?
John Fatal1ty Wendel (JF): I first got started playing Nintendo when I was like 5 or 6 years old. I also started playing flight simulator games on PC, then as a teenager I got hooked on PC gaming even more because of the online capability. I found it to be more competitive and then started entering tournaments. Next thing you know eventually going pro and winning money.
PEV: When did you first turn pro and what officially declared you as a professional gamer?
JF: When I was 18 years old I entered a tournament down in Texas were all the pros go to and took fourth place, winning $4,000. Then I got ranked in the top 3 in the world, just by wining that $4,000. I took on sponsorships and became world champion in Quake 3 and became a world champion at 18.
PEV: What was the one game that brought gaming into mainstream?
JF: The one game that really did it was Quake 3. That broke out gaming and the first year as a pro I won $110,000, mainly from Quake 3.
PEV: What do all your friends and family think about your success?
JF: It's crazy...I don't know...they can't believe it. They really like it and support me. It is a lot of fun to make a living doing this and I love doing it.
PEV: What type of training do you do for these tournaments?
JF: I wake up in the morning and run for about 2 or 3 miles to get my stamina up for a tournament. And then I usually practice for 8 hours a day.
PEV: Your schedule is very busy, but on the rare chance you get to take a break, what can we find you doing?
JF: I play a lot of golf, basketball, pick up games of football in the winter time when there is a lot of snow. Also pick up games in so hockey in the winter as well. A lot of sports...I love playing sports. I love competing.
PEV: You seem to have quite a competitive nature.
JF: I love competing and playing sports. Any time I can compete and play sports, I'll do it.
PEV: Music is a huge part of gaming. Musicians can even make a living off selling tracks to companies, how important is the music to a game?
JF: Well music plays a big part in gaming; it makes it better overall but when we are playing in competition you are listening to the quality of the sound, not so much as to the music. For the first person shooter games, like Quake, I need to hear where my opponent is...that is the most important thing. The X-fi sound card allows for open air and allows you to hear the sound above, below, around the corner...all the stuff that makes the game. If you can hear your opponent and hear where they are, you know if you are safe or under attack.
PEV: The graphics and art in games like Quake 3 is amazing. How has the art become so important to the games?
JF: Well, I think that the graphics are always getting better every year. I think we are still no where near where can be. Gaming is just going to get bigger and bigger and bigger and the graphics will just get better with every game.
PEV: You are obviously very competitive and play sports all the time. What do you say to people who don't consider gaming to be a sport?
JF: Well, you have to see the kind of game I play which is a first person shooter and it is extremely like a sport. You take a game like Doom or Quake, which takes a lot of hand eye coordination, just like a sport. The only thing that kind of doesn't make it like a sport is there is no physical contact. It doesn't take a lot of strength or exertion, but other then that but it involves your mind and it involves thinking about your move. You have to know when to shoot just like in any other sport and your timing needs to be perfect.
PEV: How does it feel to be compared to Michael Jordan and Tiger in relation to doing for PC Gaming, what they did for their sport?
JF: Well of course it is an honor to be associated with those names, in the gaming world. I just try to win as many games as I can...I don't know...it is a lot of pressure but I enjoy the pressure and I think that is why I do so well at tournaments. I like to be under pressure. As for being the face of gaming, I guess like all these other athletes who are the face in their sports, I just try to be as real and humble as I can and be a good role model especially for kids and help them understand the process I went through. I didn't just sit at my computer all day. I got good grades in school, I am well rounded person, and was a well rounded kid. I didn't get in a lot of trouble; I did my homework and did my gaming at night, just as fun. If you can just do that, you will be a really good gamer.
PEV: I think a lot of people go to know you after the MTV's reality show, "True Life: I'm a Gamer". What was that experience like?
JF: Well, obviously after the True Life show I became like a celebrity around the world. It was shown in so many countries; Germany, Russia, it was all translated and I immediately got recognized when I traveled over seas. Even in my home city of Kansas City I got recognized, driving around in my car and stuff. And it was really interesting, I became famous for playing video games, it was great (laughs).
But you know people don't really see how hard work and training I do and people just think, [Oh, you just play games, you don't really do much all day...you're just a slacker...] but really there is a lot of work that goes into it. The guys who play games professionally and make a living gaming are very serious and like any other sport if you can't make it in the first year, you got to start another job. If you can't make the cut you have to go to the real world, just like any other sport. There is a high turnover rate in the pros.
PEV: Like Tiger and Michael, you have your own clothing line. Tell us about the Fatal1ty clothing line?
JF: Well right now Fatal1ty brand, the lifestyle brand for gaming, we have some clothing right now but we are working with companies to get more clothes out there globally. But it is something that we have been working on and is something that I think will be really cool to do.
PEV: What was it like when you had to face large corporate companies who were interested in getting involved with the gaming industry?
JF: Well, the thing is, I get along with everyone really. I talk to them the same way I would talk to my friends. I mean, of course there is business going on and you have to discuss things in a business manner but for most things I just try to be myself and that we offer good things for our companies. I just talk to them and they see what I'm doing and they really like seeing how much exposure there is and what I am trying to do for gaming all around. That is how I've been able to get a lot of my deals; just by being myself and real and I haven't really had to do anything but be myself.
PEV: How many championships do you currently hold and does this make you more of a target at the tournaments?
JF: Oh yeah, it does. I've won 12 major world championships and I've been champion at 5 different games. As a target, of course I'm a target; I mean everyone is gunning for me. For me it's pretty tough but I like the pressure and competing and I like winning every time. I mean losing sucks and for me I learn as much as I can from losing and I try to do that. If you don't learn from you loses then you'll never become better.
PEV: With all the competition, has there been a lot of trash talking between the players?
JF: There sometimes is, but not from me. I only spoken before a match has happened twice and I won both times but usually I don't talk about that kind of stuff. This one time in New York, I called out my shot and won $150,000. I said I was going to win 4 in a row and then I did. So it felt pretty good. And then there was a time back in 2002 I had this one rival and people said he was the best guy in the world and then I beat him 14 to -1.
PEV: Wow! 14 to -1, that is a pretty good beating?
JF: I was pretty mad at the time (laughs). I wasn't mad at him, he is a real nice guy but the people that were his friends and were backing him up or part of his entourage, I really didn't like them and was mainly doing it to destroy them...not him personally.
PEV: You've traveled all over the world. What are the best cities for gaming?
JF: The best city for gaming...I would say in America the south is probably one of the biggest places because of hype around Quake and QuakeCon. For overseas probably Sweden and Jonkoping, also Germany, Seoul, those are the real big ones right now...China as well.
PEV: Being the most famous gamer in the world, do you have any crazy run-ins with fans?
JF: Well, it's funny I mean just from playing video games and from being on MTV you get a kind of celebrity status in a lot of ways. But my fans are great.
PEV: Which company do you think puts out the best gaming product?
JF: It really just depends on what kind of person you are. I'd say if you were just trying to have fun and relax and are a casual gamer; the Wii is a really good gaming system to be playing now. But if you are trying to be more professional I would say more towards the XBox 360 for console. But I play all on PC because PC offers the most talent and competition for gaming right now. PC is really the ultimate for competing.
PEV: How does it make you feel when you see people waiting outside stores for hours to get game systems? That is a pretty good sign that gaming is here to stay.
JF: Oh definitely, I mean gaming is a global sport. I mean not all video games are a sport but I believe that first person shooter games are a sport. I think first person shooting gaming is more like a sport because of the hand eye coordination and it is really like an art. It is something special. Not everyone can do it. You can't just move the controller left or hit "A" and something is going to happen, there is a lot more going on then that. But you look at soccer as a global sport, and every country has soccer teams...but I believe that gaming is bigger the soccer and you are going to see a lot more competition through gaming them you would through any other mainstream sport.
PEV: So, what is next for Fatal1ty?
JF: Right now I have been working as the spokesperson for Championship Gaming Series on Direct TV, channel 101. I've been doing color commentary and a TV host with them. I talk about the matches and give in put like how the player won, what they did or could have done. Also, still working on building the Fatal1ty brand. We're working on launching a head set pretty soon; the Fatal1ty Creative Headset later this year, and we already have our professional Fatal1ty Laser Mouse out at some retail stores. And the Fatal1ty Professional Keyboard, the one I use in competitions. Other then that just doing interviews and traveling and bringing gaming to the mainstream.
PEV: I have to admit, it's a pretty good gig you have.
JF: Yeah (laughs) I have to admit, I mean I make a living playing video games and traveling. I travel the world basically saying "Gaming is good" and letting everyone know about how much fun gaming can be and I just really love what I do. I think anyone that plays games knows what I am talking about.
To find out more about Fatal1ty, check out: www.Fatal1ty.com
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May 13-14, 2007: Ohad Rein - Old Man River
Ohad Rein is a Sydney, Australia-based singer/songwriter whose solo project called Old Man River is rapidly grabbing the world's attention. With a uniquely hypnotic, uplifting blend of rootsy/folk, 60's pop and eastern psychedelic, Rein is being compared to everyone from Beck to the Bob Dylan. Throw in a little Beatles, Badly Drawn Boy and even Jim Morrison and you get a pretty good idea of what were dealing with here. Rein's musical journey is reminiscent of the flow of the great Mississippi River after which he named this project. Running from East to West and everywhere in between, Rein's amazing way of setting the mood and stage for his performances with a soothing voice, combined with the comfort of acoustic guitars, Indian instrumentation and addicting lyrics has him gaining a legion of fans in every city he travels. We are lucky to have come across this positive musical force of singer/songwriter. Read his XXQs to hear more.
XXQs: Ohad Rein - Old Man River
PensEyeView.com (PEV): How and when did you first get involved in music?
Ohad Rein (OR): There were a few marking points in the trail of this story. One of them was back when I was seven years old and my older brother came home one day with a Pink Floyd double vinyl called "The Wall". I was very interested in the album, mainly in all the colorful psychedelic artwork, and later I got completely captivated by the music and the images it was drawing in my mind...
Then another marking point is when I started playing guitar at 13 and was practicing relentlessly in my room. That's when the dream was born of wanting to become a musician.
The next marking point was actually making that dream come true...we all have dreams but not always have enough courage to pursue them. When the time comes to confront your dreams a lot of people get scared and choose something they don't really want to do instead. When that confrontation point came to my life I was living in New York City and that's when I decided to take it on and dive into the water. It was completely an internal process of crossing the river and solidifying the idea that I am and could be a musician if I only choose to be one. I didn't really know where to start though, or what to do so I started busking in the subway and the park and slowly moved up on the way formed bands and joined different projects and all the rest as they say is history...
PEV: What is the Old Man River project? And how did the name come about?
OR: The name came from my affection to rivers and what they symbolize. Old Man River is the nickname for the great Mississippi River and a famous song appearing on the "Showboat" musical. There, Paul Robson sings of how the black slaves are picking cotton all day long while the white folk play. How they suffer, rejoice, live and die but regardless to what happens on their side or the other side of the river, Old Man River, just keeps rolling along...Our life is very much like the course of the river. We are the same at our source and the same at our end, and in between, the water always keeps flowing and we always keep changing and the course of the river widens and narrows on its long journey. I thought the river could symbolize better than anything the story of this music.
PEV: How different has the solo career been since you left the group atmosphere?
OR: There are advantages and disadvantages to every road. Being solo definitely made things much more clear and the entire process became much more focused. But on the other hand, in the beginning of the road it was a pretty lonely road. I am happy now to be able to share it with more and more people. The band, management, the label and now our fans widen the circle around the project and in a blessed way, they take it away from me.
PEV: You currently live in Sydney, Australia. What is the music scene like in Sydney?
OR: It's very happening. For its size and location at the end of the world (about 8 hours flight minimum from nearest destination which isn't New Zealand) there's a lot going on here!
PEV: What was it like the first time you played music to an American crowd?
OR: It was like a dream come true. Completing the circle from busking in the New York subway to returning to America and performing on the stages of my favorite venues. I guess crowds could be different in different countries but what I actually found out playing around places like Australia, the States, UK and Israel is how similar the crowds were. And how in all these different places the music actually brought out a similar reaction in the crowd. It's been said before that music crosses all borders but to experience it made it a concrete realization.
PEV: Describe the feeling of hearing people sing the words to your songs as you do on stage.
OR: It's a funny thing. Our album only came out in Australia a month ago so people are just starting to know the words for the songs. I was doing a show the other night with White Buffalo in a small room in Sydney and while I was singing I could hear this hum over my vocals I was thinking: "Something sounds really funny in this monitor" but then I realized it was the crowd singing along! Such a great feeling...It's like the songs leave home after you've nursed and fed them for a while for as long as they were fragile in their baby state. Now they're out there on their own. And once they left home the parents can start having some fun!
PEV: You are a huge John Lennon fan. Tell us about what happened that one winter morning in Central Park, while you were singing Strawberry Fields.
OR: Yeah that was at the time I was living in New York and if it was a nice day I used to go up to the park and play. One of my favorite spots was Strawberry Fields on 72nd St. I used to play my tribute to Lennon and the Beatles there. One time I was singing "Lucy In The Sky of Diamonds" and closed my eyes getting into the song. When I opened them I saw Yoko Ono in front of me smiling and giving me the thumbs up! A good omen in that amazing city...she didn't throw any coins in my case though so what I figured out from the incident was that if I don't make money out of music at least I make people smile...
PEV: What is the best part about performing live?
OR: Performing is the most immediate way for me to become present. And when I become present everything makes sense. I don't get trapped in the mind's confusion. I'm just doing what I know how to do and suppose to be doing. Then in that state whoever's watching might become present too. And then starts this amazing energy cycle between the performer and the crowd both feeding each other...it's very sacred--that feeling.
PEV: What does your family and friends think about all your success?
OR: I guess the best thing about my friends and family is that they don't really care. Of course they support but for them nothing changes and that always keeps you in perspective. Not that I'm even trying to compare but even Jesus' brothers didn't believe him and gave him a pretty hard time proving himself. I'm sure that made him put in a bit of extra effort in ha, ha...
PEV: What was it like the first time you stepped into a recording studio?
OR: I was 16 and recorded an EP with one of my first garage bands in Israel. We decided to go into the studio and record the thing ourselves and not wait for anyone to do it for us. I fell in love instantly with the whole experience--late nights, desk lights, snoozing on the sofa, last minute brilliant ideas and that special time dimension that exists in the studio. I swore to be back as soon as I could!
PEV: You have traveled everywhere. What has been your favorite city to perform in?
OR: In America it would be New York, although I had a great time in Austin as well. When I was in India I had a show on a floating boat sailing on the Ganges in Varanasi and that was my favorite place to play in India.
PEV: Is there a certain environment you prefer to be in when you sit down to write music?
OR: I don't really get to choose when the song wants to come out. A lot of songs came out in group environments and that always makes it really special. Otherwise, they can also come when I'm in the shower.
PEV: If you could have your pick of any artist, living or passed, to work with, who would it be? Why?
OR: Probably Bob Dylan. I get stuck with lyrics sometimes and I reckon Bob could sort it out no problem!
PEV: What is your opinion with offering music online?
OR: I'm all for it. You always get what you give. The times are changing and online is not only the future but the present. There are still a lot of issues to solve though mainly how the artist is going to see any protection and profit for his works in an era where people can get what ever they desire without paying for it.
PEV: What is in your CD player or on your iPod right now?
OR: Just discovering John Denver a bit late but just got an essential composition of his and singing along to it..."country road take me home..."
PEV: When you are not writing or performing, what can we find you doing?
OR: If I'm lucky I'll be swimming in the ocean here in Sydney where I live.
PEV: What's one thing people would be surprised to hear about Ohad Rein?
Ohad Rein does his own washing ladies and gentlemen! Dishes too....
PEV: In your opinion who is the best writer in music today?
OR: Wow that's a hard one to call. I respect all writers so it's hard to compare and say one's better than the other. Jeff Tweedy of Wilco is doing pretty well though...
PEV: What do you say to anyone who is trying to make it in the music business today?
OR: Ask, believe and you shall receive!
PEV: So, what is next for Old Man River?
OR: Well a lot of touring and press around the release of the album in Australia. After that, we'll start working on the next album because the songs are piling up. Hopefully get over to the states pretty soon again!
For more information on Old Man River, check out: www.oldmanrivermusic.com and myspace.com/oldmanriver
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May 15-16, 2007: Laura Pellegrino
Laura Pellegrino has been playing music professionally for over 10 years and in so many cities, it boggles the mind to merely contemplate her credit report. L.A., New Orleans, Baltimore, Austin, and most recently, Buenos Aires, Argentina, are just a few of the cities Laura has called home. Laura stumbled onto the blues at 17, thanks to a locally syndicated show on her hometown radio station, KMOD, in Tulsa, OK which was promoting an upcoming show for the late great Stevie Ray Vaughan. After graduating from the University of Texas at Austin, Laura spent 4 years in that music-loving city playing full-time in all of its most prestigious clubs (La Zona Rosa, Continental Club, and Antone's Home of the Blues, to name just a few) alongside many of its most well-known players. Two consecutive years she was invited to play the SXSW music conference. And although not a native Austinite, she will tell you it is the town that truly gave her life for it was there that she cut her teeth, playing live 5 and 6 nights a week alongside many of Austin's heaviest hitters. Encompassing a scene ripe with Blues, Rock, Rockabilly, Country, Soul, and Funk, as well as heavy songwriter ethic, the Austin music scene conspired to instill in Laura a strong affinity towards roots-based music, quality songwriting, screaming guitar, XXX salsa, Tex-Mex and Tx. barbecue. And although Laura's songwriting is uniquely her own, and not entirely the domain of Austin, Tx. it is inherently infused with much of the same sensibilities. Currently Laura is making her home in Buenos Aires, Argentina where she obsessively dances Argentine Tango (Really!). Read her XXQs to find out more...
XXQs: Laura Pellegrino
PensEyeView.com (PEV):How and when did you first get involved with music?
Laura Pellegrino (LP): There was always a lot of music around me growing up. My dad played drums in Leon Russel's band in high school and was into jazz. My Mom loved classical music and pop. And to insure my music education was well-rounded, my brother (ten years my senior) introduced me to the likes of Styx, Kiss, ZZ Top and Ted Nugent! My parents were divorced when I was a toddler and my dad lived a couple of hours away. On the drive to and from OKC he, (or we) would sing these funny (often off-color) songs about peg-leg pirates, and swimming with bow-legged women. I started studying classical voice in elementary school and sang in my first band when I was a junior in high-school.
PEV: You currently live in Buenos Aires, Argentina. What is the best part about music in Argentina?
LP: There are several really cool things about the music and/or musicians here in Argentina: First off would be that everybody here seems to have a genuinely deep respect for anybody that plays music. I think a statistically higher number of musicians per capita here are classically trained, than are in the states, perhaps as a result of Tango, which requires a higher understanding of music theory than does most rock music. You will also find a lot of jazz here, I believe for the same reason.
At the same time, this city really loves to rock! And they've done a lot of homework. I've been in small towns in Texas where people actually didn't know who Stevie Ray Vaughan was (which blows my mind BTW) and here, he is typically the first person they mention after learning I'm from Texas. I also find them to be more diverse probably out of necessity. We have so many choices and niches in the states and they just don't have that here. I've been to some very impressive rock/blues gigs (by anybody's standards) and 3 days later heard the same guys playing impeccable jazz which really doesn't happen in the states. The jazz guys mostly stick to their gigs and the rock guys to theirs. I think they've just had to be that well-rounded to keep working because the scene is more limited. Equally impressive, all the guys that play with me in one of my bands can all play ALL the other instruments almost equally as well as they play their own.! Very rare in the states.
PEV: Tell us more about your album, House Burnin' Down.
LP: 6 of the 10 songs on House Burnin' Down were written between the winter of 2004 and the summer of 2005. They were written at a time when I wasn't regularly playing, was working a highly-stressful day-job, had just moved to a new city, (Baltimore) and was still in the throws of relationship fall-out. During that time, a new band was conceived and the songs got a real workout playing live. The remaining songs were all conceived after my move to B.A. in the first months of 2006. Three of the songs were co-writes with Alex Houton who produced the record and his songwriting partner, Ernesto Cullari and the final song, Somebody Tell Me, written entirely by me , in the 11th hour, and with much divine inspiration.
PEV: Is there a certain atmosphere you surround yourself in, when writing?
LP: In theory, my house is tidy, my dogs are quiet, its raining outside and I've had enough distance from whatever is Ôworkin' me, to write something profound...(LOL) But in reality, I've written, what I feel is some of my very best work under exreme duress. At the time "House" was primarily written, I was working for a huge intl. company for the first and only time in my life, stressed to the max, working a lot of 12 and 13 hour days, with no end in sight. There was also 5 feet of snow on the ground, and no heat in my apt. much of that winter. I was skinny from stress and just wired 24/7! In the meantime, I had managed to also fall madly in love, (don't ask me how) and that had just gone away. So I was coming home every night, manic as all get-out and writing songs until 4 in the morning, going to bed and getting up at 8 to do it all over again. This went on for several months.
PEV: What is in your CD player or on your iPod right now?
LP: Black Lab-See the Sun, Prince- Musicology, Junior Brown-Live at the Continental Club, Steeley Dan, The Black Keys-Thickfreakness, Billy Squier-Don't Say No and a whole lotta Tango from the 30's and 40's
PEV: What was it like when you stepped into a recording studio for the first time?
LP: I had been in and out of recording studios since I was pretty young as my mother was a figure skating coach and at that time you had to go to the studio to cut music. I also had to cut a demo for my music school audition. But my first really bonified recording experience was in Stillwater OK, where I was attending college. A local sound engineer heard my band do a live show and invited us to record, I think for free. We went in late at night, I believe, so as to not conflict with his paying customers. The first time you sing into a quality microphone feels so good. The fact that you can actually HEAR yourself like that is a rush but always contains a little weirdness as you never sound like you think you do. This takes getting used to.
PEV: You have traveled all over the world. Which city do you think offers the best environment for music?
LP: Austin, TX. wins hands down. For me, there has really been no real challenger. New Orleans, has always been a great music city, however, due to the tourist industry which features so prominently there, much of the daily live scene has often had to succumb to the lowest common denominator. I mean, I love Brick House as much as anybody but I don't need to hear it by anybody but the Commodores, ever again. I also felt there was a lot more substance abuse by musicians there, which made a lot of players somewhat unreliable. On the other had, there are truly awesome original musicians there doing what nobody else in the world has ever done. Baltimore was good to me, but the scene is not that big and/or cohesive. Buenos Aires has great players, but lacks the industry to be truly original. L.A.: great musicians, (passing through town anyway,) but no real scene to speak of. The Austin scene is built on songwriters, guitar players and an audience that is savvy in both. I have never lived in a city where my fellow-musicians so inspired (or frustrated ) me. Unlike in every other city I've lived in, I don't remember anybody EVER pressuring me to do covers in order to "break into the scene" or get work. Every other city I've lived in has felt the need to do that. That, perhaps, indifference, has always made Austin unique, some might say to a fault. The bulk of the musicians there, live, play, and stay there because they get to hone their craft and be creative in whatever way pleases them. And there is almost always a home-grown audience that will appreciate it, and support it by buying records and coming out to live shows.
PEV: How does it feel to play your music and hear people sing the words along with you?
LP: Surreal.
PEV: When you are not writing, performing or touring, what can we find you doing?
LP: These days, that's easy: dancing Argentine Tango
PEV: What do all your friends and family think about your success?
LP: LOL! Success....hmm. My family is extremely supportive, pleased and proud of what I do. I cannot ask for more. Of course, we'd all like there to be a little more "che-ching" at the end of the day, preferably before we're all in the ground. LOL!
PEV: If I were to walk into your house right now, what is one thing I would be surprised to find?
LP: My two dogs, Buster and Charlie. People are amazed and confounded that I brought them with me here all the way from the states to Argentina. Really, they're very well-traveled and have wild stories of their own. Both were found on the street and they've gone with me everywhere, including Mexico where we lived for 4 months in Ô05. They drove with me all the way there for 15 hours, not sleeping, standing up in the back of my convertible, ears flapping in the breeze.
PEV: When you are not creating music, what do you like to do?
LP: Tango, tango, more tango. It's an illness, but not as bad as some. I also like to travel, obviously.
PEV: People can download your music from your website. What is your opinion on the heated debate over downloading music?
LP: Well, depends on what you mean by downloading. If you mean, musicians making their music available digitally, I think that's unavoidable. Personally, I always loved to have something tangible in my hand. And I used to love buying vinyl and having all the artwork, being able to see the artists and read their lyrics. However, these days, my own life is so mobile, that I find I am downloading more and more when it is available. If you mean, however, musicians just giving away their work, that is a little harder. There are examples where this has benefited the artists, with "the Dead" being the pioneers and most obvious example. And I am not opposed to giving a little bit away to get people out there interested. However, if music-lovers out there think that they can continue to download and /or pirate music for free and that there will be no consequence to pay, I believe they are sorely wrong. It has always been extremely difficult for artists to get paid and now as much as ever. Maybe a short while ago when downloading became the trend, people could somehow convince themselves that they were only cheating big music companies out of ridiculous profits. These days, however its common knowledge that those companies are now in trouble and musicians are still trying to get paid, though for different reasons. Before, they were struggling to pay back "advances". Now, they have to figure out how to pay for marketing themselves, when labels can't do it. Big labels aren't taking any risks and "development" deals are scarce. They want obvious home-runs, (which unfortunately means catering to the lowest-common denominator again) And that is where they're spending their marketing dollars. And it seems to me that Indies are surviving because most of their artists are doing everything themselves. They pay for their own record. They put up their own website, they tour (often on their own dime), and they sell C.D.'s from the side of the stage. If their label has distribution, they're doin' good. If their label can afford to market them in any way, then they might stand a fighting chance.
PEV: What is the best part about playing live?
LP: Without question, the rush that comes from the audience attention, the chemistry of the players on stage and the "x" factor of what's gonna happen next. Great sound, when it happens, can also make for sheer Nirvana.
PEV: What is something that people would be surprised to hear about you?
LP: Perhaps that I've been altered due to a series of life-changing spiritual encounters, that I believe aliens are among us, and I do not necessarily believe they are unrelated.
PEV: What can someone expect from a live Laura Pellegrino show?
LP: Passionate, quality playing and singing. No filler.
PEV: You write songs that inspire others, but what artists have inspired you?
LP: That list is long and varied but here are a few of the top contenders in no particular order: Tom Waits, Chris Whitley, Etta James, Stevie Ray Vaughan, Rickie Lee Jones, Jonny Lang, Prince, Sting, Seal.
PEV: I know that every song has its own meaning and story behind it but is there one song in particular that you feel you put extra work into? Or better yet, found yourself putting extra work into?
LP: Honestly, I have often found my best ideas initially come with little effort. Perhaps the ideas are percolating for a while, back in the recesses of my brain or some incident will start me thinking in an unconscious way until substantial parts appear on the page with seemingly little energy. I have had this experience often enough and am never displeased with the results. On the contrary, I find myself marveling at the miraculousness of it. And I believe it's this experience that explains why so many artists thank "God" on their albums, and when receiving awards etc., At times it just feels channeled. I will say that few songs come out in their entirety as such. And THEN the pressure is on! Some really strong ideas, or imagery or entire chorus' or whatever will just pour out onto the page and the challenge is to make sure the rest of the song and all the details are up to the challenge and the standard that has just been "handed" to you. The title cut on the album, House Burnin' Down, arrived almost in that way and is perhaps why it gave me enough personal satisfaction to make it the title cut. My personal gauge is whether I've effectively conveyed the sentiments that inspired me to write it in the first place and whether I've done so in a way that makes it meaningful and possible for others to "get it".
PEV: So, what is next for Laura Pellegrino?
LP: Already writing a bunch of new songs, but would really like to see this record get some serious distribution and do some touring. Anybody got a line on Europe?
For more information on Laura Pellegrino, check out: www.LauraPellegrino.com
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May 17-18, 2007: Oppneheimer
I came across the Northern Ireland duo-Oppenheimer after a friend emailed me one of their songs with the subject line, "Ireland rules!" I wasn't quite sure what I would get when I opened that email (the sender of said email is a unique character himself). It was a clip of Oppenheimer's hit "Breakfast in NYC", used by Nike for an ad campaign. I immediately felt an urge to grab my shoes and go for a run (damn marketing campaigns DO work!). However, it is that energy that makes Oppenheimer's electronica-pop music so addicting. They came onto the US music scene as Oppenheimer in 2006, at the popular South By Southwest Festival in Austin, grabbing everyone's attention. In the more electronic fanatic European world, Oppenheimer are known as the guys to watch. They use everything form guitars to computers to create a sound all their own...and it's working out quite well for them. Besides grabbing the attention of the largest shoe company in the world, Oppenheimer's hit "This Is Not A Test" was recently used for the Emmy award winning comedy "Ugly Betty".
Going from being an underground sensation to having their music used on mainstream media outlets, can be a rather difficult for Oppenheimer fans to handle. The guys themselves are bashful when it comes to talking about their "commercial" success. However to be successful and long lasting in the music business, especially in the rare electronica-pop world, is a task upon itself. The attention is just an added bonus. Oppenheimer was sought out, they didn't ask. They are just two friends from Northern Ireland who happen to make amazing and unique music together...oh, and travel the world playing sold out shows. From the alternative clubs to television, Oppenheimer's story and passion is hardly underground. Read their XXQs to find out more...
XXQs: Oppenheimer
R= Rocky
S=Shaun
PensEyeView.com (PEV): How and when did you first get involved in music?
R: I starting recording and mixing live sound when I was 15, when I left school I started touring with bands and working in clubs. I got to see a lot of amazing American indie and European electronica acts, I've always been recording my own music as a few years went by I started to record more and start playing it to people.
S: I started playing music quite young. My parents have a 1960's Yamaha organ at home and I started taking lessons when I was about 8. Being able to read music is something that has come in really useful when learning a new instrument. I started playing drums when I was 15 and then eventually picked up a guitar when I was 17. I was 16 when I started to play in bands.
PEV: How different has your career as a duo been since you left the group atmosphere?
R: Oppenheimer is the first 'proper' band I've been in. A couple of months after we started Oppenheimer I was asked to play keyboards in another band Shaun drummed for, that was my first experience of playing in a four piece rock band since leaving school, it was a lot of fun playing rock shows, and they were one of my favorite bands before I even knew any of the guys, so it was a great experience.
S: This is the first band in which I've really been involved in the song writing process. Before Oppenheimer I suppose I wrote the drum parts to quite a few songs but never the lyrics or melody. Being a duo does not really feel any different than being in a three or four piece to me. Just less people to disagree with. Ha!
PEV: You two are from Belfast, Northern Ireland. What is your opinion on the music scene in Ireland?
R: It's healthy, growing, diverse with a fairly cynical edge. Acts like Duke Special, The Chalets, Fight Like Apes, In Case Of Fire and Mojo Fury are some of my favorite bands. There is so much amazing music being made in Ireland right now. There is a good government based backing for growth and support, something that seems lacking in the States. There's also music press and radio shows trying hard to promote local music to the masses.
S: All of the above, with an added measure of bands/ artists like We Are Knives, Tom McShane, The Delawares, Tracer AMC...
PEV: What was it like the first time you played music to an American crowd?
R: It was the most nervous I've ever been! It was at South By Southwest Festival (SXSW) 2006, we were meeting Bar/None for the first time, as well as all the other bands on the label who were playing that night, it was out first time dealing with American electricity/ technical incompatibilities etc...But it all went fairly well, the crowds were really friendly, I think American crowds generally are more enthusiastic and friendly than UK crowds. Our first real show in the states was at Southstreet Seaport in NYC, supporting Hot Chip that was one of the most surreal experiences of my life. Sunshine, thousands of people, skyscrapers.... unbelievable.
S: I got to play at CBGB's in 1997 with an old band. The experience was great! I can't believe it has shut.
PEV: Describe the feeling of hearing people sing the words to your songs while you're on stage.
R: It doesn't happen too often, but it's one of the nicest things when it does. Even this week, just having someone come and tell you that they bought the album and have been looking forward to seeing us live, and that they weren't disappointed when they did is the greatest thing. People are connecting with what we're doing, we are very lucky people.
S: It is the best drug you can ever take.
PEV: Tell us about your work with Nike? How did that come about?
R: I think that Bar/None just got a call asking if we were all interested, and of course we said yes. They used the Skibunny club remix. Skibunny is an incredible and fast becoming legendary club in Belfast, they started in the late nineties, putting on bands and dj'ing, then came remixing, now they've started a band. So the chance for us and them to get worldwide exposure was a lucky thing, we're very grateful for the opportunity, and all the new people who have clicked on our music from Sweden to Brazil, has been another lucky thing to come our way.
PEV: What is the best part about performing live?
R: Instant reactions from people, it's always nice when people really get it. And sometimes nice when I see people who aren't sure if they like it or hate it, watching them swing from one decision to the other as the set goes on is amusing. Getting the chance to tour and see places we'd otherwise probably never be is a good part of it, but for me the best bit is always that 40 minutes we play everyday, getting the chance to play synths and guitars everyday makes me feel like I am fooling the world.
S: Getting the music out there, I suppose. Meeting new people and getting to see and play in places I never dreamed I would.
PEV: What do your family and friends think about all your success?
R: My mother always worries that I am not eating or able to pay my rent; I don't think that will ever change. My parents aren't too aware of the type of music we're playing or the world we're in, but they think it's incredible people would want us to travel to play, or that radio or TV would use our music, they've always been supportive. My girlfriend pretty much pushed me into playing my music to other people about 5 years ago, so for her to see where it's gone, I guess she feels proud. I'm certainly really happy she did that, I guess the only down side is that we're apart a lot more.
S: My parents have always been very supportive of any band I've been in. They've helped out so many times over the years. I think my decision to quit my full-time job came as a bit of a shock to them. They have an Oppenheimer scrap book of clippings from newspapers and magazines. My friends are very supportive too. We've been on the road for one and a half months at the moment and I miss them.
PEV: What was it like the first time you stepped into a recording studio?
R: I've actually been working in a recording studio for a good few years, but my feeling never changes - it's always a sense of wonder. The first time I got to see studios like Cello or Cherokee in Los Angeles was unforgettable. I get a real kick out of studio gear and microphones and of course synthesizers. If I could only ever live in one room for the rest of my life, it would be a studio control room. It's really important for Oppenheimer too, as we write all our songs as we record them, so they're all born in a studio of some sort.
S: I was in a punk-pop band called Confusion in 1991 and it was this band that I had my first recording studio experience. It was with a guy called Ray Valentine, who incidentally recorded the first three Ash demos in his tiny recording studio, out the back of his house in a small town called Strangford. We were the first act that was not country and western to record in his studio. It took a little while for him to get his head around lots of feedback and heavily distorted guitars. 8 track mixing desk and the master put down on a metal C90 tape. Those were the days.
PEV: You have traveled everywhere. What has been your favorite city to perform in?
R: Outside of the venue, New York is hard to beat for a good time, it's starting to feel like a second home, indeed Shaun thinks he's a local at this stage. The responses in Texas have been memorable, especially in Austin. We've had good shows all over, Wilmington, DE seemed unlikely, but was brilliant. Derry in Northern Ireland has been very good to us. The best radio show in the world, Electric Mainline is broadcast on BBC from there. We recently played their first ever live concert and that was a very special night, at times it felt like the video for Smells Like Teen Spirit, with more vocoders.
S: New York.
PEV: Is there a certain environment you prefer to be in when you sit down to write music?
R: Yes and no, when we're recording and looping and mixing, we need pro tools a good set of speakers and a chair. We've been enjoying trying out different rooms and situations to make things slightly different. When I'm coming up with initial ideas it's usually with my home computer, in my kitchen with keyboards everywhere, although some songs have been started in sound check, some in the back of the tour van, it's nearly different every time.
S: For me, music usually starts on a guitar in my house. Lyrics were usually written when I was driving back and forth to work. I miss that time to listen songs over and over again to get a melody that I'm happy with.
PEV: Describe your creative process. Do you write the lines first or is it a chord? Do you jot things down throughout the day?
R: It's kind of what I said before, it happens in different ways, but usually starts Shaun having a riff and chords which we build on, or I'll have layers looped up and we'll build from there until we have a song.
S: Music first, lyrics second. If I think of what might be a good lyric I'll note it down then see if it fits into anything we're working on. Sometimes lyrics come really easily but at the moment I'm going through a bit of a dry patch. Rocky is going to start hitting me soon.....
PEV: If you could have your pick of any artist, living or passed, to work with, who would it be? Why?
R: It's tough to choose just one, I'd probably say Cornelius. He's been a big influence, mixing computer recording with gorgeous pop music with a handful of insanity too.
S: It's easy to choose just one. Brian Eno. He is a genius. I'd love it if he produced a couple of tracks for us.
PEV: What is your opinion with offering music online?
R: I think it's going to be an important part of the next however many years for music. It's a means to get almost any music at anytime, to instantly find your new favorite band. I hope as time goes by that downloads become CD quality or above. I don't think it will ever replace buying an album in shop for me, but maybe it will, maybe it will...
S: I'm not very internet savvy so I don't really have any thoughts on this subject. What about the great artwork that a lot of people are missing out on? Gate-fold albums will never be beaten.
PEV: What is in your CD player or on your iPod right now?
R: My iPod actually just stopped working yesterday! On my iTunes right now is Fight Like Apes, a brand new band from Dublin I've been listening to every day for the past month, keyboards, bass and drums with fiery female vocals. I've been listening to Headlights a lot too.
S: Angelo Badalamenti - Soundtrack to 'The Straight Story'.
PEV: When you are not writing or performing, what can we find you doing?
R: I record other bands that I like, if I'm not doing that I'm probably watching or listening to a band, or looking for keyboards. Music takes up most of my day.
S: Drinking a good Manhattan and reading. I'm currently reading 'Great Apes' by Will Self. It's a strange tale. I've also got to get my hands on a lot more Haruki Murakami.
PEV: What's one thing people would be surprised to hear about Oppenheimer?
R: Collectively our favorite track of the 2000's is History's Stranglers by the Bronx? We don't actually like the Postal Service all that much?
S: My fantastically useless skills are a) I can whistle REALLY LOUD. b) I can spin a pen around my thumb. c) I know one playing card trick. d) I can name all the state capitals of the USA.
PEV: How has life on the road been?
R: It's been fantastic. We've got to see towns and cities all over, meet so many people who have become friends, got to watch and play with so many of my favorite bands. We've also been looked after by so many people who put us up for the night, gave us free food or drinks, who watched our shows, bought our album, played pool with us. I always think we're so lucky that we get to live every day just to play for less than an hour a night. Sometimes it's a struggle trying to keep it all running financially, especially when one tour runs into another, but no one has it easy, and getting the chance to play music everyday more than makes up for a little stress here and there.
S: Brilliant yet tiring. The last four-week tour of the states involved myself and our soundman, Gerry, doing all the driving. It was great fun but it wrecked me from time to time. We've (thankfully) had no real bonkers moments...yet...well there was the time when Gerry had live ammo in an Uzi sub machine gun two feet away from us...
PEV: What do you say to all anyone who is trying to make it in the music business today?
R: Be sure of what you want from it. Make sure you are working with people you can look in the eye and trust and that everyone working with you wants the same things you do. I hate when people turn it into a means of making money. I think you should be making money so you can make/release/promote music, not make/release/promote music so you can make money.
S: Don't give up too easily. Always order poached eggs whilst on the road.
PEV: So, what is next for Oppenheimer?
R: We're in the middle of a tour right now, which we'll be completely finished in mid May, after a gig in Estonia, which we're really looking forward to. We're going to spend the rest of the summer playing a few festivals and completing our 'difficult' second album, which we're excited about. We've been trying new things and hopefully it won't be terrible, then it's back out for more touring, hopefully more shows in more places with more of our favorite bands.
To find out more on Oppenheimer, check out: OppenheimerMusic.co.uk and at: myspace.com/oppenheimer
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May 19-20, 2007: The Kissaway Trail
Hailing from Odense, Denmark, The Kissaway Trail's self-titled debut album is already an overseas sensation. Now, in this case when I say "overseas" I mean the US. America only got a chance to see them at the recent South By Soutwest Festival in Austin but since spring of 2006, The Kissaway Trail have been selling out all over Europe. On their MySpace page you can sample three songs from their album and there is already a combined 100,000+ downloads. Their hit song "SmotherEvilHurt" (don't let the name lead you wrong) has been in my head for the past three weeks and I continually find myself playing it on loop. Once you hear The Kissaway Trail, you immediately want to start calling them the "next big thing"...or the next Coldplay. No, the next Depeche Mode. Or is it The Cure? Add some Moby, Fat Boy Slim, mix in some Incubus and you pretty much get where I'm going. The Kissaway Trail is the kind of band that other bands want labeled as the next them. Sadly for those bands, The Kissaway Trail is too unique and original to be labeled as the next anyone. Check our their XXQs to find out more...
XXQs: The Kissaway Trail
PensEyeView.com (PEV): How and when did The Kissaway Trail form?
The Kissaway Trail (KT): The Kissaway Trail was formed in 2004. Hasse and Daniel joined and completed the group in 2005 which originally was a four-piece band.
PEV: Being from Odense, Denmark, what is your take on the European music scene?
KT: Actually I think it matters little where you are from geographically these days since the Internet has brought everyone closer to each other, but I believe that the European music scene is thriving at the moment.
PEV: What was it like the first time you played in America?
KT: Playing at the South By Southwest Festival (SXSW) was a huge experience and because we only had to play the Bella Union showcase, it gave us the possibility to really enjoy the atmosphere and people in the days prior to our own show.
PEV: How are the American fans different from the Europeans?
KT: Since we haven't played very many shows in North America it would be hard for me to outline any differences between the American and English fans.
PEV: Your newest album, self titled "The Kissaway Trail" is already getting a lot of attention. How is this album different from your previous release, "Into The Ocean and Rise Again"?
KT: The Ep was meant to be an appetizer for the full length album, it also contains a track that is not featured on the The Kissaway Trail album, and the mastering is different as well.
PEV: What was it like the first time you stepped into a recording studio?
KT: The first time we entered a studio I recall being a bit nervous about how everything was supposed to unfold, but luckily we felt right at home within a few days. It also helped that the producer was a close friend of ours.
PEV: Explain your creative process. Do you come up with a line first or the music and then match the words? Scribble out notes all day?
KT: When we write songs Thomas and S¿ren often work on some rough sketches at home and then bring their ideas to the rest of us when we rehearse. Furthermore I believe that in general the music is created before the words, but of course no rules without exceptions....
PEV: Was there a certain time or event that you realized you can actually make a living playing music?
KT: We are aware that we have the possibility at some point to make ends meet, but we are not quite there yet, though the future seems promising.
PEV: You have traveled all over. Which city do you think offers the best environment for music?
KT: It is hard for me to tell which cities would provide the best artistic environment but London and Amsterdam seems to have a great underground scene, as well as a lot of venues that stand out.
PEV: Is there a certain atmosphere the band surrounds itself in when writing music?
KT: We do not really surround ourselves with a special atmosphere when we create music, but sometimes, when we play, new ideas originate from our common sense of togetherness and the sentiment it provides.
PEV: What do all your friends and family back home think about your success?
KT: They are of course very proud on our behalf as well as nervous about how we are received at the various shows and so on...
PEV: If you could collaborate with one artist, alive or deceased, who would it be and why?
KT: I can only speak for myself on this matter, since I know we would never agree on this within the band :-) So for me it would probably be Freddie Mercury because I think he was a unique songwriter as well as a sublime entertainer; working the crowd which ever way he saw fit.
PEV: What is the best part about playing live?
KT: The best part about playing live is this sort of larger than life sensation we feel when everything works out the way we want it to, as well as the whole synergy thing with the audience.
PEV: How has life on the road been for you?
KT: It is okay, we are good at giving each other space if it is needed, hate airports though.
PEV: If I were to walk into your studio right now, what is one thing I would be surprised to find?
KT: Probably Heering and Schnaps.
PEV: There are heated debates about offering free music online. What is your opinion?
KT: I think it should be up to the individual band to decide whether or not to put out free songs online, though I imagine it would be hard to legislate on this matter.
PEV: What can someone expect from a live Kissaway Trail show?
KT: The audiences at our shows can expect an outgoing band which love performing live and insists on portraying the material as vividly as possible.
PEV: What is it like to be on stage and have people sing along to your songs?
KT: We love being on stage when the crowd responds to our music, it gives us a little extra momentum enabling us to sometimes exceed even our own expectations.
PEV: Tell us about your involvement in "Make Poverty History" (www.makepovertyhistory.org).
KT: Involvement might be a bit much, but this organization helps out by trying to provide poor communities with the necessary knowledge to create a sustainable growth in their economy, which we are happy to support.
PEV: So, what is next for The Kissaway Trail?
KT: These next months will be filled with shows, so that is primarily where our focus lies at the moment; we are the sort of band that takes one day at a time, but of course we work on new material whenever it is possible. It is what it is all about I think.
To find out more on The Kissaway trail, check out: TheKissawayTrail.com online. Be their friend at www.myspace.com/thekissawaytrail where you can check out three songs. Also, check out two videos on YouTube: http://www.youtube.com/watch?v=SNXNKAvVHoA http://www.youtube.com/watch?v=5JtnCbuaPOk
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May 21-22, 2007: Ryan Huston
People often ask how I find the artists featured on PensEyeView.com. Sometimes I find them, sometimes they find me...its really that simple. However, when I came across Ryan Huston or "found" him, I rushed to track him down. After only ten seconds of hearing his hit song, "Thank You" which recently appeared on a compilation CD for Target, I knew we had to have him as a feature. His MySpace page allows you to sample four songs, having over half a million plays, is making the people that don't know who Ryan Huston is, wonder why it has taken them so long to find out. Songs like "Tired", "Run Away" and "Thank You" (which spins regularly on Sirius Satellite Radio) are what makes Ryan Huston one of the most popular and respected singer and songwriters today. In a time of "look first-then listen" rock stars, Ryan grabs your attention from the second his fingers hit the strings. Not to mention his looks are what music producers search day and night to find. He embodies everything you want a musician to be and that alone has him being called the next John Mayer or Jack Johnson, to name a couple. Ryan is was born into a musical family, has remained humble, doesn't dig the "nightlife" and has a caring girlfriend (sorry ladies) which brings meaning to his music. Read his XXQs to find out more.
XXQs: Ryan Huston
PensEyeView.com (PEV): How and when did you first get interested in music?
Ryan Huston (RH): I was born into a musical family. Both of my parents are vocalists so it was always around.
PEV: Was there a certain time or event that you realized you can actually make a living playing music?
RH: Once my girlfriend Marie Matteucci and I teamed up and started working together I really saw the possibilities. She was doing a lot of marketing and promotion and the fan base really started growing quickly. The response I was getting from my fans was amazing, they really gave me the strength to pursue this to the fullest.
PEV: How does it feel at such a young age to be accomplishing what most artists twice your age may never?
RH: It's just amazing. It's hard to believe everything that has happened in the last year and a half since we really started pursuing a career in music. I'm just very thankful for everything.
PEV: What do all your friends and family back home think about your success?
RH: My parents are amazing. It's always fun telling my mom stuff because she gets really, really excited. My best friend Ricky