Artwork by T. Schroeder (www.thegreatandsmall.com)
From an email I received a few days ago:
“…You’ve taken the time to look/read some of my work, and in the interview I read you said something about, and I am paraphrasing, if there isn’t a venue for your scene-make one. This all kind [of] rolled around in my brain for awhile, eventually reminding me that this is how its done. How it has always been done.
THIS is how scenes are made. THIS is how punk of the 70′s and 80′s came together and came about. It wasn’t about style, fashion, or genre, it was about supporting those who creatively contributed. Sharing communication, going to each others shows, reading their work, telling others to go do the same. Especially if they were trying to do their own thing. Its how every art or music scene I have had the honor of being a part of since ’92 has worked.
How easily we as a culture, and me individually, forget that that is how it is done.
You don’t get to just show up to the party and throw your shit out there and have it be accepted and championed. You have to work for it, you have to go find and support others who work just as hard as you do. But only if what they do is honest. If the end result is not honest, it will go down in flames, bellowing recriminations about the posers in the world and it/they/them will take you down in the same fiery belch…
Tyson
www.thegreatandsmall.com
I’ve struggled with the punk-rock ethic. I know that seems bizarre but it’s true. I was blinded by my own version of the rock and roll dream, my own “all I want is a major label record deal” mentality, in that all I wanted was a book deal. I didn’t want to self-publish–I wanted someone to think I was good enough to sign me to an honest-to-goodness contract. The way to do this, I thought, was to work my way up through reputable publications and until an editor read one of my works and took notice, demanded their assistant get a hold of me and I’d be the recipient of glamor and praise for all my hard work.
Even typing that sort of makes me nauseated.
While that might very well happen, I’m no longer holding my breath (and boy does it feel good). I based everything I’ve done on more of a band mentality. What I mean by that is the majority of my influences and peers are lyricists and musicians. Bands that tour endlessly and promote at each others shows. This is why I have (or will have) stickers, buttons, t-shirts, limited edition books and such a passion for music. If a band can promote themselves like this, I thought, then why can’t a poet? Why can’t I show up with flyers and stickers to shows my friends are playing and pass out my own swag?
Well I can. So I have. Then I began to think about some of my closest friends and what they had to do before they signed to their “rock and roll dream” (whether or not it turned out to be a nightmare is beside the point)–they had to self-promote, self-publish and basically do anything they possibly could to get their product into the hands of the consumers and fans that wanted it. Because of this I’ve grown more fond of self-publishing. I’m DIY in nearly every aspect, why not that too?
Typing it out now it seems like a ridiculous notion to begin with but, alas, that is where I am and, I can honestly say, I have finished my first chapbook. A very limited run of hand-numbered proof copies are being handed out/have been handed out before the final process begins. There will be an equally limited number of 1st editions once final production has commenced. I am excited, this is an exciting time.
Speaking of publications CRAM, Volume 6: The Uncensored Edition has picked up one of my very, very, very favorite poems called “Crybaby” and will be available for purchase July 31st, 2009. The ChicagoPoetry.com publication has always been good to me and I can’t say enough good things about them. I’ll have the [words] section updated soon so you can read it.
IN OTHER NEWS:
The summer issue of Common Line magazine is out and ready for you to stuff your eyeballs full of art goodness. (If you don’t remember I mentioned a while back that they’d picked me up as their music/literary editor.) The Summer 2009 issue features an interview with Def Poet George Watsky, reviews of David Labounty’s Affluenza, Melanie Browne’s Heaven is a Giant Pawn Shop, and a special music review by yours truly titled “Placebo Lose the Battle with Hope.”
Also poetry by: Carl Miller Daniels, Dennis Wilken, Tim Alexander, Melanie Browne, Lyn Lifshin, Erin Foran, Robert Louis Henry, KJ Hays, Ivan Jenson David LaBounty, Middlepoet, and Rick Spuler.
Remember, the humanities CANNOT DIE unless you LET THEM.
Thanks, boys. Placebo from L to R: Steven Forrest, Brian Molko and Stefan Olsdal. Put me anywhere in the middle.
First and foremost, an announcement: As of yesterday I was offered the literary/music editor position for Common Line magazine! The editors, founder Ananda Osel and managing editor Vanessa K. Wilken have been very cool in communicating with me over these last few weeks. They’ve decided to pick up my review for Placebo‘s new album, Battle For the Sun, for their Summer 2009 issue. I’ll keep you updated on the street dates! Needless to say I’m extremely excited and can’t wait to flex my creative wings a little. Being so wrapped up in poetry and flash fiction, I forget there is an entire world out there I used to dabble in, namely, editing and interviewing. I’ve already started to interview artists and musicians again, as evidenced by my three-part interview with New York based singer/songwriter Jessica Allyn (which you should have ready by now. If not, kindly visit parts one, two and three) and am currently in the process of interviewing John Bourke, DJ and one-half of the band Trash Yourself! out of Oklahoma City. (Which, by the way, I’m fucking stoked to write. Trash Yourself! know how to have a killer time. I’ve been lucky enough to attend after-parties they’e promoted for bands like the Shiny Toy Guns and if memory loss is any indication, they’re fucking skilled. Believe it.) I also have an interview lined up with The Debutante Massacre out of Columbus, Georgia so check back for updates on all of those delicious morsels of written delicacies. You know I’ll whore them out to your greedy eyeballs.
I’ve been making a concentrated effort to get back into freelancing because I don’t feel like I can create enough. It will be nice to visit different creative wells. I think it helps my poetry and fiction, honestly.
Secondly I’ve gotten off my ass and written not one, not two but three flash fiction pieces for Quick Fiction, one of my new favorite journals. The artwork is amazing and it can fit inside your purse! It’s one of the very few journals specializing in flash fiction, a genre which, in my opinion is neglected. It isn’t poetry, it isn’t quite prose, it isn’t a short story in the truest sense of the term–it’s something else. To me, flash fiction is a written photograph. It’s basically what I try and do with my poetry only I have a bit more wiggle room. So, I’ll keep you updated on that process as well. Fingers crossed, status still says “pending” which isn’t “rejected” so there’s still hope.
ALSO, the upcoming theme for Cram, Volume 6 is the “Uncensored Edition,” and you bet your ass I submitted. That little journal is quickly becoming one of my favorite homes. CJ Laity and Co. always do a fantastic job of promoting new talent and have a true love of the art.
Haven’t heard back from Boulevard Magazine or the Nimrod Literary Journal, which can be good or bad depending. If you’ve made it they usually inform you fairly quickly after the deadline close. If not, they send you a convenient little card in the mail that usually starts with, “Dear poet, while your work was a quality submission we regret to inform you…” and ends with, “but do try us again next year!” Ad nauseum.
Packaging dead flowers, whole cloves and, oh yeah, merch for my site.
The first round of beta-merch has been sent to a handful of lucky people who participated in my button giveaways via Facebook, Myspace and Twitter. If you’re reading, lucky recipients, do take pictures of you wearing your merch (scandalous pictures are fine and even encouraged) and send them in so I can put them up on the brand new [VISUALS] page! (Oh yeah, CHECK THAT SHIT OUT.) Thanks again for participating! I’m still not sure if I’ll keep all the designs but they had to be tried out on someone, welcome to my experiment! New buttons and stickers on their way to me as I type.
Lastly in this long ass update I’ve received all the materials for the chapbooks about to hit the merch store…as soon as I’m done hand making them. I’m thinking this run will be extremely limited, roughly 20 or so, until I see what demand is going to look like. Remember, these are all HAND-MADE by me. Each one will be completely unique and feature all of the work I’ve had published thus far plus a few extras for the hardcore fan, pictures, introductions and will come packaged with bits of clove and dead flowers. (True story, ask anyone who just received their buttons.) Many of you have been asking “what the fuck happened to the t-shirts” and all I can say is I’m sorry but they’re going to have to wait until I can cough up the $300 (and then some) to order them, then find time to make each one of them, again, BY HAND. Though I’ve been accused of being a rockstar (or, even more amusing, fucking a rockstar[s]) (may or may not be true), I don’t make rockstar pay.
Currently, in another window, I’m working on a pitch for The Frisky which, is harder than writing the fucking article itself. I’m optimistic however. I’m determined for this to be an excellent year.
I have a small, much-needed get away next month and a ton of work on my plate. It feels good though. I finally feel like I’m headed in the right direction.
(For finishing this entire entry, click below to view Placebo’s video for their first single from Battle For the Sun, “For What it’s Worth.” Your nether regions will thank you.)
Continue Reading…
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)
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!)
