Posts Tagged ‘amanda palmer’

you own all that is DIY | the burden and blessing of being an artist

Friday, October 30th, 2009
inside the DIY ARTBOOK project :: drawings by Natascha Peiser

inside the DIY ARTBOOK project :: drawings by Natascha Peiser

No one gets into this business to make money. If you’ve succumbed to an artists calling you’re admitting you’re willing to spend your life in poverty and constant question from those around you who just don’t get it. DIY labors are born of love, dedication and a drive you can’t quite explain. Sometimes your faith shakes, cries and downright denies its ability to continue. But you do, because you must and because there are others who believe in you.

Natascha Peiser is one of these people. In a recent interview with Silverthorn Press, Natascha said: ” I´m a self-taught artist. I am learning by doing.”

A art-liver in her own right she’s been a fan and friend of G[&]D nearly since the beginning, finding a home among the Modern Orphan mantra and supporting however she could, much to my appriceation. This is how we came together, though an entire ocean separates us (She lives in Hamburg, Germany). This is the power of art and the humanities. Two like minds, suffering and surviving for their art, striving to carve a small place for our own works in the vast expanse of the universe.

When she began work on her DIY ARTBOOK project I admired her and indeed planned on purchasing one when she was through. I was excited she had decided to pursue her art in some fashion for she’s quite a remarkable sketch artist; she’s even been endorsed by the likes of Amanda Palmer. When she asked me to contribute I was honored and some time later sent her some handwritten, typed and burned up works of poetry to be included among its decorated pages. The result is her very first book project, which she’s proudly finished and set for sale today.

inside the DIY ARTBOOK project :: drawings by Natascha, words by yours truly

inside the DIY ARTBOOK project :: drawings by Natascha, words by yours truly

This is a genuine labor of love–love for art, love for preservation and the unshakable belief that there is something more to these endeavors we pursue than sheer vanity and ego, that these things can forge connections across oceans and modes of thinking. You can purchase the DIY ARTBOOK featuring Natascha and myself here in her webstore for only $10, which includes free international shipping. Don’t forget all of my works featured in the DIY ARTBOOK can also be found in my first chapbook, The Rough Chronicles of Bipolar Romance available through modern.orphan.designs. for $10 as well, including shipping. Independent art is alive and well! Modern Orphans unite!

inside the DIY ARTBOOK :: art and words by yours truly :: soon for sale at modernorphandesigns.com

inside the DIY ARTBOOK :: art and words by yours truly :: soon for sale at modernorphandesigns.com

Troubadour 21 :: The “My Brother Billy” Series and Upcoming Interviews

I touched on this in the last post but I’ll expand just a little further with this one. Troubadour 21 has aptly named  my series”My Brother Billy”–  an out-of-order, sexually charged, angsty series I created over two years ago on the shores of the Gulf of Mexico when I was looking for a new muse to guide me during a particularly dark and troubled time. They are stories of a twenty-something girl, her much older brother and her love interest, Nathaniel. They’ve recieved rave reviews from the editors of T21 and as a result I’ve been contracted to write a story a week for them to continue the series. I hope to publish them all in book form one day and , in all honesty, this excercise is forcing me to write during this writing drought I’m experiencing and so I thank them from the bottom of my heart for giving me a chance.

Lead Article featuring my “Billy” series by Editor Paquita Roth

And, in case you missed them, here are parts I through III of the series–take a taste and see for yourself:

Part I :: Living Under Glass
Part II :: The Inquisition
Part III :: The Invention of Hopeless Beach

Part IV will be posted soon and I’ll make sure to keep them updated as best I can on here, including links on the side bar for easy access. If you enjoy them, please share them with your friends and help me achieve a readers choice status!

Also, in the spirit of crossing art borders and in G[&]D breaking news, I have upcoming interviews with the authors of the forthcoming poetry and photography book, Flowers + Filth: Rock photographer Lisa Johnson and William Francis of Aiden! Look for those in the near future, as well as my interview with Kill Hannah’s newest touring guitarist, Maddox, coming as soon as he has a break from tour! Get ready to feast your eyeballs on deliciousness with these. I’m super jazzed about working with such talented and well-spoken individuals.

It has been a bleak month creatively and will likely continue into a bleak November, but on this Devil’s Night it’s forever important to remember that while pressing on is the last thing you want to do, it is essential. For if we do not fight to keep these things alive, if we do not create the art needed to bind human beings to one another, no one else will. Unique is the person willing to take on the burden, and the blessing, of being an artist. Keep being brave, dear Orphans.

P.S. If you’re in Tulsa this coming Tuesday I’ll be reading from The Rough Chronicles of Bipolar Romance at the Gypsy Coffee House [303 N Cincinnati Ave, Tulsa, OK 74103] starting around 8pm – come, grab some great lattes and open your ears. Copies of my book will be available at this time as well!

a smallish request II.

Wednesday, September 30th, 2009

It seems I jumped the gun but again, like so many times in my life, it took another artist saying it better before I could say it myself.

There is a reason I’m unafraid to ask you for money. This is because artists like Amanda Palmer were unafraid to do it first.

Artists preserve culture, make you feel like you belong, provide just the right word when you feel like giving in. They relax you, make you hate them, irritate you and you’ve likely spent much of your time telling an artist to “get a real job.”

To that I say “fuck you.” You try preserving a culture/time/emotion/moment. Ha.

Since I do not blindly suck on any artists tit without question [no, not even Corgan], and while I’ve taken my issues with some of the things Amanda’s been doing these last few months, I will argue for this blog. It is essential and correct.

WHY I AM NOT AFRAID TO TAKE YOUR MONEY

When you’re done reading, I ask you again, despite the looks and with an open heart.

medsbw

From “A Smallish Request I” R.I.P. 2009

Whether or not you buy my work the fact remains that it costs money to make/publish/print. I have no problem shelling out money to make art. It’s an investment, it’s what you do. You don’t get that investment back. I am, however, sick and medications I’m required to stay on cost me about $800 a month. This makes art difficult to get into your hands. Any donation, no matter the amount, will receive a button AND sticker upon request. Every dollar will be put towards my medications until I get [modern.orphan.designs] up and running. If you haven’t heard I lost my job due to health reasons and, being in the state I’m in, assistance is being slow to respond. To those of you that have already donated, thank you. Whatever love my black heart has to give, it’s yours.

See the right sidebar for donation details. Thank you. <3

blue-blood seals the deal: my publishing agreement with TGAPS

Friday, August 28th, 2009

It’s official, I received my first legit publishing agreement last week from The Great American Poetry Show:

Excuse the deathly ill eye-bags and focus on the CONTRACT.

Excuse the deathly ill eye-bags, it's been a rough week, and focus on the CONTRACT.

See, this is a big deal. This was two years in the making for this ONE piece, a poem titled “Voyeur.” You may remember from previous posts that I’d been rejected over and over by TGAPS. In fact, I’d sent them over 40 pieces for consideration before they took this one. In fact even though they’d ACCEPTED “Voyeur” editor Larry Ziman was going to REJECT it anyway. (Read the short story here, in which Larry called me while I was in Birmingham seeing Amanda Palmer.) In fact, the other two editors STILL rejected the poem, but apparently Larry has the final say.

I tell you, it’s amazing what perseverance and, frankly, talent, can get you. After initialing in the appropriate places, writing my “short-bio” (which is always harder than it sounds) and sending proof copies of the poem off to West Hollywood, CA I can actually breathe a little bit. It’s also a prime example of the publishing world and the time lines on which it operates. Everyone always asks me “well when will you see it? why can’t you buy it now? well when will you know?” and it just isn’t that easy. From the time “Voyeur” was a “possibility” for Volume 2 of TGAPS until I received the publishing agreement in my hands over a year had passed. The publishing world isn’t quick and easy, by any means, whether you’re an amateur or a professional.

You have to sign with blue ink.

You have to sign with blue ink.

I’m glad they settled on “Voyeur” though. That poem has a special place in my heart as it’s one of my finest pieces of narrative poetry, in my opinion. “Narrative poetry,” as the name suggests, has a plot. It isn’t necessarily a graphic description of any one thing. It’s also a style that one of my biggest mentors, Ai, is impeccable at. She taught me how to be a better narrative writer and in fact, when I turned “Voyeur” in for workshop my senior year of college she moved it to the top of the stack. While the rest of the class couldn’t see the “artistic value” of a girl watching her boyfriend fuck another girl, Ai knew what I was trying to do with the poem and mood of the reader. It was a turning point in the class because suddenly people became a little more daring, a little more open to ideas. This is never a bad thing.

I might or might not have temporarily passed out.

I might or might not have temporarily passed out.

Speaking of Ai, I’ll give you some breaking news: she was the first person to receive an official copy of my first chapbook, The Rough Chronicles of Bipolar Romance, last week. The opportunity arose and it seemed only appropriate.

Yes M. Orphans, my chapbook is finished and back from the printers, sitting in boxes and waiting for your eyes to devour them. They will be sold through Modern Orphan Designs, which I’ve closed temporarily until I re-launch sometime in the next couple of months. I will tell you this however, I’ve finished all the limited-edition “Modern Orphan” t-shirts and a few custom “compound” shirts, which have been hand sewn, burned, cut up, pinned and will buff up your science points. I have also made charms using recipes from the voodoo lady I was named after, and a few very, very limited Modern Orphan necklaces. In addition to all THAT I’ve finished a few one-of-a-kind mixed media art pieces using a few fan favorite poems as inspiration. Not many people know that I originally attended college on a full art scholarship that I gave up to pursue an English degree.

And if that wasn’t enough en route to my house as I type is a set of blending oils for a limited run of my special, secret oil scents you’ll fucking LOVE. (If you don’t remember, I posted a while ago about the line of oils I had years ago called Lascivious XIII – I blended them in my kitchen and sold them from my bedroom.) If you don’t know the word “lascivious” means ‘inclined to lustfullness” and “arousing sexual desire.” The olfactory system is often overlooked in terms of libido but trust me, if you smell good enough to eat, someone will want to eat you. I specialize in dessert scents and sugary musk.

Despite being deathly ill (two trips to urgent care in less than two weeks, a rapid weight-loss and perma-bags under my eyes) I’m trying to keep this thing going. I couldn’t do it without Ms. Marie. That needs said. She’s my right hand woman, web designer, bust builder, care taker and food maker. Love, love.

Hold tight Orphans–Lots of awesome coming your way courtesy of the owner of this goddamn-motherfucking-orphanage.

P.S. Current music: Marilyn Manson – Arma-goddamn-motherfuckin-geddon

i just need the airfare [&] i’m gone: [i'm fucking human, i have to LIVE! oh don't be afraid, 'cos you're a rockstar.]

Thursday, June 4th, 2009
A few of my jetset attractions. Ironically enough after much discussion with Devine, these two have <i>actually</i> come together for a song on the new, as-yet-untitled Kill Hannah album. (AP by me, MD by R.E. Barbash)

A few jetset attractions. Ironically enough, after months of back-and-forth with Devine about Amanda, these two have actually come together for a song on the upcoming, as-yet-untitled Kill Hannah album. You're welcome. (A.P. by me, M.D. by R.E. Barbash)

A few months ago I was sitting in Joplin, Missouri at Waffle House with Seattle-based band Aiden. They had just played a show to less than a handful of people and now were militantly devouring food ordered 15 minutes prior. We received the full rock star treatment: As much grape jelly as we could ask for, luxurious smoking settings, cheese on our hash browns and grits made any way we liked them. At one point I looked at wiL sitting across from me and said:

“Welcome to the rock star life.”

It’s filthy glamor, tight schedules, endless itineraries and bruised egos. Your brain 10 miles ahead, already considering the next venue, per diem and hand-job in a  dark bar booth after the show. Aiden weren’t driving the 4 hours home like I was, they were headed somewhere toward the west coast, but all of us had jobs to attend, uniforms to look forward to: Khaki pants, pearl necklaces, eye liner, t-shirts, black polos, names on your sleeve. Worn tires, broken strings and hearts, the blank canvas of a hundred b-b-b boys and girls all saying the same thing: “Man you’re pretty cool.” The same look of expectation to deliver.

I’ve tried to find a way to mitigate the civilian and the “celebrity.” To embrace both the artistic and scientific .  To try and meet them in the middle. In an effort to achieve this [and in an attempt to keep my sanity] I’ve developed a jetsetting system fueled by mania and a desperate need to escape.

History lesson: I work for a bar that charges tax. Yes, tax on booze. So instead of your beer being $3.00, it’s $3.26. Because of this I usually end up with loads of change after my shift. I save said change in Crown Royal bags stacked against the wall and use it to fund last-minute jetsets and boutique hotel stays. This way nothing really comes out of pocket and I have challenges set before the plane even takes off. How much will I have to work with? How can I manage  round-trip airfare and a four-star hotel in Seattle for $300? It takes practice but I’m quite skilled.

There is also something entirely appealing about the idea of someone treating you like you’re “somebody” when you’ve literally counted pennies to afford their services. Whether you’re on the stage or in front of it, the lesson is simple: Work it.

My rules go something like this:

  • * Pay for the jetset using only change, no cash out of pocket.
  • * Hotel must be 3-star or better. [3-star in smaller cities, 4-star in large cities]
  • * If possible, upgrade to first class, but economy is acceptable. [Any airline.]
  • * The more amenities the better.
  • * Bonus if room service/shopping is paid for with change as well.
  • * The jetset can’t last longer than a couple of days. The idea of jetsetting is to get in and back out quickly. [Much like sex.]

Here I’ve outlined a couple notes from a few of these I’ve set sail on in the last year. Obviously Chicago is my favorite destination and as I’m still working around a murderous schedule full of slinging alcohol, conducting interviews, editing, submitting and publishing, my time, even for a few days, is limited. So as of late I’ve been trying to kill two birds with one stone by scheduling these at the same time friends are playing shows. [Defeats the purpose of a true "jetset" but I only have so much to work with.]

How is this related to poetry you ask? It keeps me arguably more sane than my medication does and I’ve written at least one decent poem on each of them. Everyone in the world needs to become more road-tested. It’s such a bonus to living. I’m helping you realize why.

Chicago, December 24th-26th, 2007

Hotel: The W Lakeshore

Budget after initial costs: $89

Other attractions: Kill Hannah at Subterranean, Kill Hannah at The Vic Theatre, hosted party at Smart Bar [FYI: if you haven't been to a party hosted by Paul in Chicago you haven't fucking partied in Chicago], loft party at address unknown because I was way too loaded to remember

By far my favorite hotel in Chicago so far. The W Lakeshore is now the proud setting of many of my recurring fantasies. One day I will have a dangerous and delicious tryst on one of their feather-top mattresses. I have poems written on their stationary tacked to my wall. The rooms are equipped with a privacy divider between the open bathroom and beds, as well as lemon-sage Bliss shampoo, conditioner, body wash and lotion. Their spa is hands down one of the best I’ve experienced. On-site everything: pool, jacuzzi, store etc. My only two small complaints about the W Lakeshore is that their location makes travel a bit difficult and their room service meals aren’t the greatest, however the view alone is worth the cost of admission:

View of Navy Pier outside the Lakeshore W

View of Navy Pier outside the W Lakeshore

Their concierge service–perfect. Twice cut blow and a Russian housewife with blonde hair, one blue eye and one green? Done. A double cheeseburger from McDonald’s and a $72 bottle of Earthquake Cabernet at 4am? Done. They could do anything. Like Jesus, only you paid with cash, not blood. Early check-in’s/late check-out’s were not a problem.

The Kill Hannah shows were refreshing, as at the time they were in the process of a very messy yet satisfying divorce from Atlantic Records. The show at Sub-T was a nice lovemaking compared to the orgy that was the Vic. The afterparties at Debonair and Sonotheque were a typical blur, the after-after parties even more so. The next night at Smart Bar was off to a slow start until about midnight when I forget most of what happened. There was dancing. There were many, many shots. There was a loft owned by a con-artist and a wonderful rooftop view of the city. We had a white christmas.

Chicago, December 3rd-4th, 2008

Hotel: The Hyatt Regency: Chicago

Budget after initial cost: $200

Other attractions: Amanda Palmer at the Metro, attempted party at Debonair Social Club, copious amounts of room service

As far as chains go, the Hyatt Chicago is one of the nicest ones. I’ve found that when I book with chain hotels the feel tends to get a bit sterile no matter the city. But they were accommodating enough and their grilled cheese from the late night menu was the BEST I’ve ever had. No lie. In fact the entire room service menu was stellar. I also had a wonderful italian dish with tofu chicken that was splendid. I felt awful that I’d taken two Vicodin just prior to eating and fell asleep shortly after the food arrived. I remember I was violently ill for most of this trip but the staff was friendly and let me stand next to the door and smoke to avoid the freezing rain. Amenities included an orange-ginger line of shampoos and soaps [can't remember the brand] and 52-inch flat-panel TV’s. The downtown view was pretty killer as well:

Outside the Hyatt Regency, Chicago

Outside the Hyatt Regency, Chicago

The Metro were pretty fierce about enforcing their curfew, as they always are, but the hotel was located close enough that it didn’t become an issue. The security guard working that night outed me, telling Amanda she’d watched me cry from the balcony the entire evening. Amanda kissed me. All was well with the world. She was touring with the Danger Ensamble at the time and every song had an exclamation point behind it. Lots of smiles, energy and solidarity.

I wasn’t ready for the show, honestly. Not physically, not emotionally. I knew the sort of strength it would take to go, to prepare for that catharsis. I’d been struggling with a re-emerging back injury for a few months  that left me immobile for awhile. This gave way to infections and lethargy. I’d wound up in the ER just prior to flying out and my emotions were a bit scattered and dark. I flew to Chicago in a very delicate state but, as the children of the Zodiac are wont to do, I went ahead anyway.

The show hit you physically, full on. The opening lines of “Astronaut” nearly knocked me over. The acoustics of the Metro are amazing. The performance outlined the sacrifices one must make to get to the next city, because deep down you know someone has been waiting their whole life for their moment with you, the songs and the stage–that in those things, in that time, you can change their life, remind them they can feel, TEACH them how to feel, inspire them to keep searching for that peace.

Returned to my room, ordered an $11 pint of cherry-vanilla Häagen-Dazs and a $15 glass of Merlot and fell asleep with the windows wide open. Late-check out was no problem.

Birmingham, Alabama, March 24th-25th, 2009

Hotel: The Sheraton Birmingham

Budget after initial cost: $300

Other attractions: Amanda Palmer at Workplay, sauna, jacuzzi

The Sheraton was the nicest hotel I could find in Birmingham and the staff were extremely rude and unhelpful. Their pricey on-site spa, Je Spa, never responded even though I called ahead. [I would have linked to them, though I found their site to be extremely unhelpful, but their site has been mysteriously taken down.] I asked the concierge to find me a decent spa within a reasonable distance from the hotel. Even after checking “the Google” she informed me she couldn’t “fill my request.” So much of the building was under construction I was walking through concrete dust every 10 feet. There were basically two wings: the shitty-under-construction wing [Atrium] and the executive you’re-staying-here-for-a-week-and-paying-$1000-a-night wing [Tower].

The view outside the shit wing of the Sheraton Birmingham.

View outside the shit wing of the Sheraton Birmingham

On the plus side their room service menu was decent, with a nice wine selection and some of the best red velvet cake I’ve ever had. The breakfast was also amazing. Their standard amenities were mediocre and I opted to use my own products instead. The pool and jacuzzi were quiet for my entire stay and the sauna was perfect for doing extreme yoga in the morning.

Workplay was a mediocre venue though thank god you could still smoke inside. Their bartender was a dick. He informed me that because I was a “Yankee” I automatically received shittier treatment. I thought he was joking until he actually, you know, served me. What the hell? I still tipped even though he kept a shotgun on the wall next to a picture of his sister and smelled like home fries. Fuck you.

I managed to meet a few nice people but mostly I could have done without–which is odd for an Amanda Palmer/Dresden Dolls crowd, I usually find them very inviting.

The show itself seemed a bit forced–Amanda was still in the middle of an extreme emotional roller coaster between her personal life, professional career and record label. She was alone on stage, no longer surrounded by the literal orchestra from December, radiance rapidly diminishing.  She spent a good portion of the show on her Blackberry twittering and checking text messages. [Which would have been fine if it'd served as a better distraction to me personally, but really just irritated me.] When she did perform she gave everything she had, as she always does. She was angry and it dripped from the stage; sure as her hair was dirty and her voice was shot. The set list was a repeat from December. Yet in stark contrast to the bright white of the Chicago was the bleak grey of this–each song covered in desperation and thinness. I raised my arms in the hope that should she fall, I might be able to catch her.

Between the emotional drain of the show and my terrible health, by the time I returned to my room I was dizzy. I fell asleep sitting up watching Judge Judy re-runs. Early check-in and a late check-out wasn’t a problem. I’ve found that in this terrible economy these things tend to be easier since there’s no one there to fill up the rooms anyway.

Chicago, May 29th-31st, 2009

Hotel: The Hotel Monaco

Budget after initial costs: $600

Other attractions: Kill Hannah/Nine Inch Nails afterparty at the Double Door, Dark Wave Disco at Crobar, shopping on Michigan Avenue [H & M, Coach and Water Tower Place], shopping on Belmont [The Alley], new tattoo at Windy City Ink, the Pick-Me-Up cafe, self-reflection on the Ferris Wheel, fireworks over Navy Pier

I was excited about the Hotel Monaco. I really was. The boutique-y style was endearing, the amenities seemed nice and they offered a complimentary goldfish [!!!] upon request to your room:

My goldfish, Byron, in my room. He's a romantic.

My goldfish, Byron, courtesy of the hotel. He's a romantic.

I remained excited even as I opened the door to my room, finding leopard print bathrobes [again, !!!] and a feather bed to die for. The bathroom seemed a little small and quite mediocre for such a nice hotel. I passed out being beat the fuck up from a 6 a.m. flight and two days worth of sleepless nights.

I scanned the room service menu upon waking and found it not only to be extremely limited in what they offered but also the hours they offered it. They were rude [and, frankly, ignorant] when I called and ask if they could accommodate my dietary needs. [I'm a vegetarian who avoids fried foods and refined carbs and sugars.] They had an on-site restaurant in conjunction to the room service kitchen and neither one seemed to understand the concept of putting butter, bread and cheese on a grill after I’d exhausted my other options. They did have a grilled vegetable panini which sounded entirely unappetizing but I’m quite sure they failed to understand how this could be possible. I spent most of my time either not eating, having pizza or hitting the 7-11 across the street at 4 a.m.

The turn-down service was nice and they had huge fizzy bath balls to put in your bathwater, which I took advantage of even at $7 a hit. The aromatherapy was relaxing.

Inside of the Monaco, 17 seconds inside the room.

Inside the Monaco, 17 seconds upon arrival.

The view, however, was not. I had a spectacular shot of an enclosed rooftop and piegon shit. The hotel’s location was perfect, just one block off Michigan Avenue and their after hours front desk/door staff were super nice and helpful. Their concierge however, was not. He was a short, squat man who spent most of his time sitting in a velvet chair and not helping me when I called to ask where there was a nearby tobacco shop that sold Nat Sherman Ultra cigarettes. It took him 3 seconds to tell me “he didn’t know” but, thanks to the door man downstairs, I found one a few blocks down.

There was a hosted wine reception before the after party which looked more elegant than I expected. After, the Double Door was, well, the Double Door and Kill Hannah debuted some new material from their upcoming, as-yet-untitled album due in August. They were obviously studio-weary yet eager to beta test some of their work on a live audience. The crowd was typical: the same people backstage, in front of the stage and side stage, with Jonny being a noteable exception. This was a very, very last minute trip and there were a lot of familiar faces. Some of the new mixes sounded good, courtsey of John Bourke of Trash Yourself! out of Oklahoma City.

After that was a short, not-so-sweet swing by Crobar for the after-after what-the-fuck-ever with Dark Wave Disco before back to Monaco to pass out in a pint of coffee flavored Häagen-Dazs. [Literally.] The rest of the weekend was a blur of train riding, shopping and tattooing [courtesy of Gary Parisi of Windy City Ink - stellar people, stellar work].

Early check-in’s and late check-out’s were not a problem, neither was holding my bags from 12 p.m. – 5 p.m. But by far my biggest complaint about this hotel was their epic fuck up in withholding nearly quadruple the amont of deposit they were supposed to for incidentals. Even though I told them twice I’d already paid for the room they held my room cost plus the deposit, then after I’d angrily pointed out their mistake, informed me that since it was a weekend I likely wouldn’t get my money back until at least the following Wednesday, therefore stamping a “royally fucked” over my large shopping plans.

Next up? Seattle and possibly St. Louis. This long ass update brought to you by: coffee, cigarettes and bitterness.

[In short: I'M FUCKING HUMAN, I HAVE TO LIVE!]

[gossip session] | A lifetime of snapshots: An interview with singer-songwriter Jessica Allyn [part 1 of 3]

Monday, May 18th, 2009

This first post will be a bit lengthy, but my agenda is simple: I want to use my art to create a sort of positive symbiotic relationship with other artists. If I can use my continuing dream to support and learn about other artist’s dreams then the creative circle lives on. I’m more than convinced this needs to happen if our society and culture plan to have any sort of longevity throughout this growing technological future. Something tangible you can wrap your hands around, something you can feel from the audience. Something you can read and see in your mind, something that leaves a lingering taste behind. Reactions. Revelations. Appreciation.

While I am a born author I also have a scholastic background in journalism, ranging from radio and broadcasting interview work to print and freelance work with bands, poets and teachers. As poetry can be a rather isolated and lonely little island I find myself missing the brilliant back-and-forth interaction between people who share a similar dream. Given that most of my creative inspirations exist within the magical world of sleazy guitars and heart-cracking lyrics, similarly many musicians cite life-changing books and works of poetry as Mecca’s for inspiration.

One of these people is Jessica Allyn, a 25-year-old singer/songwriter from New York whose voice could have come straight from the 1920’s. (Listen to her song “Professor Harold Hill” and you’ll see what I mean.) As of this interview she’s flipped the bird to her civilian job in order to focus on her craft full-time.

Jessica Allyn (taken from her Facebook page)

Jessica Allyn (taken from her Facebook page)

I first discovered Ms. Allyn via Twitter when our mutual love for Amanda Palmer/The Dresden Dolls crossed paths. I approached her with the idea for an interview in order to explore other artist’s inspirations, creative processes and methods of writing. As I’ve come to realize, just because you practice a particular craft doesn’t mean you have to operate exclusively within those lines.

Case in point, Allyn’s latest effort, a concept album titled I Am a Camera, was brought to life using a line from a Christopher Isherwood book called Goodbye to Berlin: “I am a camera, with it’s shutter open, quite passively, recording, not thinking.”

In this sense she has managed to capture the marrow of any artist’s body of work; their unique mental snapshots brought to life. From the downright rock and roll crunch of “Standing O” to the ukulele-decorations on “Kayla’s Song” (titled after a ukulele designer for the artist collective Post War Trade) I Am a Camera is the musical equivalent of flipping through a strangers scrapbook.

In the following paragraphs I’ll discuss with Ms. Allyn creative inspirations. Parts two and three, to be posted Tuesday and Wednesday, we’ll discuss the creative process behind I Am a Camera, and technology and madness, respectively.

Part 1 | Inspiration:

Julie M. Tate: For inspiration, do you seek it, or does it usually find you? I’ve found that inspiration usually finds me, solicited or not.

Jessica Allyn: It definitely finds me. And, it’s usually when I’m not looking for it. It’s a gift and curse. I usually go through the motions. Months later I’ll write about it and think, “Well thank you (and sometimes fuck you) for the inspiration!”

JMT: Does what inspires you stay the same or mutate every few years/weeks/days?

JA: It mutates every few hours, to be honest. Life is ever changing and it’s hard to keep up at times. But I have always been overly sensitive and affected by things, so I’m constantly inspired.

JMT: I find it very difficult to “make time” to write, though I’ve been told countless times in as many creative writing classes that writing every day is essential. It’ easier said than done in my experience. Are you able to make time to write or must the muse “hit?”

JA: I used to be able to pump out one song after another. Now I am seeing a change. I rid myself of 15 years of baggage on this record. It was cathartic and beautiful but left me somewhat empty. I’m finding that I have less time to write these days. But I keep my eyes wide open for inspiration anyway.

JMT: Many great artists of our past would be considered obsolete now but not because they weren’t great. I’m convinced the majority of the population isn’t equipped anymore to recognize a truly great artist, be it musician, painter, poet etc. Do you think artists should study those that came before or try not to be influenced and do it on their own?

JA: I think an artist should allow themselves to be influenced by other artists. The history of Art, Music, and the like speaks for itself. Everyone is influenced by something, or someone, else. That goes for any profession. I went through an arrogant phase where I thought I was being innovative and ended up coming across several artists who did what I was doing, did it better, and long before I was even born! It was a slap in the face but a wake up call. I think the key is to learn how to balance both your own quirks and that of your influences. Then find a way to fuse them without being a carbon copy of someone else. Find yourself first.

JMT: I agree. I’m of the mind that it’s impossible to completely “do it on your own.” In most cases you’re sorely disappointed and embarrassed when you inevitably do stumble across that someone who’s done it better before. You could have learned something if you’d only studied a little research. That being said, are any current musicians/lyricists impressing you?

JA: I’m rather under-whelmed with most of the music out today. I find myself rediscovering old favorites these days. Still the reigning queen being Amanda Fucking Palmer. She’s got it down to a science, lyrically. She’s just absolutely brilliant and uses sarcasm and wit in the right places. Musically, her compositions are heart-breakingly beautiful. Other artists/bands that never fail to impress me lyrically: Thom Yorke of Radiohead, Muse, Placebo, Morrissey, Robyn Hitchcock, Neutral Milk Hotel, ...And You Will Know Us By The Trail Of The Dead, and PJ Harvey.

JMT: What about favorite authors and/or life-changing books? (Other than Goodbye to Berlin, which we’ll get to in a moment.)

JA: My favorite author would have to be Hubert Selby Jr. – He wrote Requiem for a Dream and Last Exit to Brooklyn. His books definitely changed my life. They were so descriptive, so poetic, so brilliant. He found a way to make the grotesque evils of the world almost beautiful. That being said, Requiem for a Dream is still my number one favorite book. I could read it over and over.

(Part 2 which includes discussion of I Am a Camera and it’s writing process will be posted tomorrow, so check back!)

G[&]D Virgins

If this is your first time visiting Gossip [&] the Devil, you will probably want to know: What Is A Modern Orphan?