The Flaming Lips, September 2009 (Photo by R. E. Barbash)
Photography is only recently coming into its own as an art form. But photography has cemented a place in the arts for some of the same reasons as painting: preservation. Two different sets of eyes using the same camera will capture different results. We are allowed a view from someone else’s perspective. Photographers freeze moments we’ll treasure forever; whether it’s that special magic during a show or your children running in the park, photography can grab a fistful of what the human eye must let go.
Rachael Barbash has been capturing the insanity at concerts for years, and many fans turn to her website to re-live the memories. While still a student at Columbia State Community College she’s logged countless experience and face time.
Rachael stubbornly pursues her dream despite making little to no money doing what she loves. The hundreds of photos she posts to her Flickr account are free for people to take and use. But, like musicians or painters she considers herself an important part of the humanities.
In the days when every 14-year-old in the world has a digital camera, what separates her from the masses who want photo passes and recognition on the scene? What separates those who do it for art vs. those who are hobbyists? Rachael sheds some light on the subject below when I asked her a few questions about what makes photography an art form.
Years shooting: 7
Sign: Aries
Julie M. Tate: We’ll start easy. First band you ever shot?
R. E. Barbash: I was kind of late to come to the concert scene since I was a bit of a homebody in high school and lacked any serious form of transportation. Once I left for college I started going to shows pretty regularly. The first band I ever shot while performing was OKGo in 2001 with a little 35mm disposable camera. Once I got a more professional camera, a 35mm Canon SLR, the first band I shot was Kill Hannah who was performing at an outdoor festival at Ohio State, where I was going to school at the time. I finally got my first digital SLR, a Canon Rebel, before the 2006 South by Southwest festival in Austin, TX. Thousands of band play there every year and is an amazing experience.
Kill Hannah, September 2009 (Photo By R. E. Barbash)
JMT: Who have been some of the easiest bands to shoot live? The hardest?
REB: By far the easiest band I’ve shot is Kill Hannah, partly because I’ve been to so many of their shows but also because their stage presence is probably the most engaging I’ve ever seen. Recently I shot the Flaming Lips who were also amazing.
The hardest bands to photograph have definitely been on the recent Alternative Press tours (Mayday Parade, the Academy is…, Set Your Goals, You Me At Six and the Secret Handshake). The guys never seem to take a pause and are just constantly running around the stage. The kids at these shows are crazy though! Very fun.
JMT: What makes a band easy or difficult to photograph?
REB: It’s much easier to photograph a band if you know their music. That way you can sort of guess what they’re going to do on stage and how a crowd might react to a song but you don’t always have that advantage. I’ve shot some bands who just sound like noise (no matter how poppy they actually are) and I can’t guess their next move. I’ll end up at the wrong side of the stage at the wrong time and miss amazing moments of their act. Also, bands who look like they’re having fun and engage the audience area always the most enjoyable to shoot.
Innerpartysystem, January 2009 (Photo by R. E. Barbash)
JMT: You’ve been capturing concerts for years. I’m sure music had an impact on your life outside of the lens as well. Do you consider yourself an artist? If so, how has music in particular shaped the artist you are today, and who are some of your favorite artists personally? If not, what does photography do for you?
REB: More than an artist, I think of myself as capturing what’s already there and trying to show the beauty of the world. What I photograph most regularly is live shows so music has been a huge part of my life. I love catching what happens on stage and the interaction between the performer and their fans. I love so many bands but my favorite musicians are the Smashing Pumpkins, IAMX, Radiohead, Muse, Thursday, Interpol, Rasputina, Emilie Autumn, The Dresden Dolls, local guys Flotation Walls and, of course, the bands Kill Hannah and Shiny Toy Guns who pretty much taught me to use my camera by shooting them so often. As far as visual art goes I love the work of Kyle Cassidy, a documentary and portrait photographer, Pete Souza, the White House photographer, and digital artist Natalie Shau. As the photographers go, their work really inspires me because they capture real life but show it at a different angle. Show ordinary things in a new light.
JMT: Favorite photographers?
REB: It’ll sound corny but my favorite photo ever by another artist is probably this photo of the Obamas:
- The Obamas at the Inaugural Ball, January 2009 (Photo by Pete Souza)
Most of my favorite photos have a very big photo journalistic aspect to them and Pete Souza is one of the best documentary photographers out there. Other favorites are Kyle Cassidy, Kristen Burns, Philip Warner and Akif Hakan Celebi. As well, there are very talented photographers who are also in my photo program at CSCC. I can’t wait to see what they do in the future.
JMT: What tends to catch your eye in a natural setting?
REB: While I have done some studio photography, most of my photos not taken at shows have come from random moments throughout the day, which is why I try to always have a camera with me. Usually the way lights hit an object or just the ambiance of a scene.
Untitled (Photo by R. E. Barbash)
JMT: Is there a place in the arts for things like studio work or is that merely a means to an artistic end? (I.E. getting paid)
REB: I think if you think of yourself as an artist, then you’re an artist. If you think of yourself as a corporate slave then that’s what you are. Even photographers at Wal-Mart family portrait studios can have some artistic input to their shots. Though most of my favorite photographers are actually more on the documentary side of things. Beautiful things can be made out of ordinary every day scenes. For example, just the other day, undeveloped negatives by street photographer Vivian Maier were just unveiled and I was captivated for hours looking at her photos of Chicago in the 1950s. If this is your thing and you’re lucky, maybe you’ll get hired on by a magazine or newspaper. But mostly photography is done for yourself.
JMT: To me, photography is akin to a poem in that it captures a point in time that you can never get back. Especially considering the way I write, a poem can be a little picture made of words and vice versa. There’s a beautiful marriage that happens when two art forms cross over. Considering books like the upcoming Flowers + Filth by photographer Lisa Johnson and lyricist wiL Francis, they can be put together to make a compelling and unique piece of art. Have you ever considered doing something of the sort
REB: That’s similar to Who Killed Amanda Palmer, the book. Photos and words can always work together.
The Shiny Toy Guns, April 2009 (Photo by R. E. Barbash)
JMT: Much like music testifies to a time or paintings reflect it’s surroundings, what is photography’s place in preserving our culture and why is it important?
REB: As far as preserving our culture, photography can not only capture events but it can show someone’s individual view of the world. Even though photography has been around for more than a hundred years it’s just beginning to be respected as an art form. Whether it’s a set up scene or documenting an event an exact scene happen again or be seen the same way by different eyes. It’s important to freeze the moment so others can see what was there.
R. E. Barbash (Photo credit: Unknown)
(For more information visit R. E. Barbash Photography. Rachael currently attends CSCC.)
John Bourke - photo courtsey of Matthew Isaac
A few weeks ago I touched on the idea that it takes very little to be called an “artist” anymore. In a world where you can learn virtually anything with the click of a button, the margin to distinguish between amateur and professional is quickly getting smaller. DJing in particular is an art full of misconceptions. While I would never call myself a DJ by any means (my play lists are as manic-depressive as I am), because of my network of friends I have a small working knowledge of what’s required to keep a party moving forward into the waiting arms of dawn. In this case one is required to own a mental Rolodex of songs spanning decades and a near spider-sense of anticipation for the sweating mass in front of you. Both DJ and dancer have a sort of symbiotic relationship—because they move you sustain momentum, and if they aren’t moving then you aren’t doing your job.
John Bourke is a 26 year-old DJ and producer based in Oklahoma City. He’s also one-half of the sleazy, electro-punk duo Trash Yourself (alongside another Oklahoma native, Heidi Cannon). Although he’s considerably younger than powerhouse DJs such as Tommie Sunshine and DJ AM, that hasn’t stopped him from playing some of the hottest parties of the year, including SXSW in Austin and Debonair Social Club’s 4-year anniversary with Dark Wave Disco in Chicago. Even mega-companies such as Warner Brothers and Capcom have licensed his services.
Not bad for a boy from a state where there isn’t much support for the electro/house scene. Consequentially there isn’t much competition either, and what talent you’ll find has banded together under the name Dance Robots Dance, a self-proclaimed “international DJ collective based out of the unlikely state of Oklahoma.” DRD hosts a hugely successful dance party called Robotic every Wednesday at Kamps in Oklahoma City. While it might not seem so superficially, this is a lesson every artist would do well to learn: If you can’t find a home for the art you create, then build one.
I spoke with John shortly after he’d finished producing a few tracks for the upcoming Kill Hannah album, Wake Up the Sleepers, and discussed Trash Yourself, what makes a “good” DJ, his influences and getting the hell out of Oklahoma.
“Oklahoma isn’t a great place to network for dance music.”
Julie M. Tate: Since the majority of us only spend time on the dance floor and not behind the tables we only have one side of the party. What prompted you to start remixing/producing?
John Bourke: Just loved the music. Pretty much as simple as that. I loved electronic sounds and wanted to figure out how to make them.
JMT: Describe your first DJ set.
JB: Man, I can’t even remember. I did some Live PA and band stuff before DJing. But the first one I can remember was at this club Sanctuary in OKC that (DJ and Rise Up Productions founder) Unadave was running. I was playing breaks at the time with (Sanctuary resident) DJ Phenom. We had been producing music and then he invited me to DJ with him. I didn’t really know the mixer that I was using but I made my way through it with maybe a bad mix or two.
JMT: As far as DJ’s go, you’re not necessarily “unknown.” Warner Brothers has licensed your music for the Matrix DVD box set and Capcom has licensed your music for Final Fight: Streetwise. Do you make certain songs to cater to outlets like this and others for the dance floor, or do corporations generally come to you?
JB: Anything I have done licensing-wise was in a situation where they approached me to license a song. I haven’t ever really made music specifically with film or TV in mind—I’ve just been lucky enough where someone thought it fit their format and sent me an email.
JMT: With acts like the Shiny Toy Guns and the infamous Flaming Lips, Oklahoma has seen its share of talent succeed outside these southern walls. For electronic/experimental acts do you think it’s wise to aim for the outside market or try and build around a relatively untapped market here in this state?
JB: Well, its sounds so cliché now but with the internet you can really do anything from anywhere. Oklahoma is a great place to live and write but there’s a plateau here—you can’t network and meet people that are excited to help you build your career. You really have to get out of here every once in a while to network. Oklahoma isn’t a great place to network for dance music.
!Trash Yourself live at Debonair Social Club, 2009. Photo courtesy of darkroomdemons.com
JMT: Did it take long to “come up” in the scene here? Although you’ve been DJing for eight years, your band Trash Yourself is still relatively new. Was it easier because of said market or more difficult because it isn’t as promoted in Oklahoma?
JB: We still haven’t ever played a Trash Yourself show in Oklahoma City. Kinda weird I guess. We play all over the country, but there hasn’t been an occasion here that’s been appropriate I guess. We usually only do really crazy electro parties or large events like massive raves. It’s almost easier in a sense for people in other cities to dig on what you do.
JMT: Trash Yourself has gained recognition from SXSW to playing the 4-year anniversary at Chicago’s Debonair Social Club. How do gigs like those generally come about? They aren’t exactly low profile.
JB: A lot of it is just traveling and talking to people. There is a lot to be said for meeting people face to face. We kind of have a good rep from throwing parties in OKC. A lot of people know me from that. Hopefully people enjoy the music also and that’s why they call on me to play their party.
“It is important to be surrounded by people that know more than you at your craft.”
JMT: You’ve co-authored songs for the Shiny Toy Guns and currently have wrapped up production on some songs for the new Kill Hannah album coming out in September. How was that experience?
JB: Chicago was great! I had a lot of fun with all the guys. The studio we worked in was amazing. It was a legit major studio. (Chicago Recording Company) Smashing Pumpkins recorded their albums there so we were in the rooms that songs like “1979” and “Tonight, Tonight” were recorded in. It was very inspiring, I learned a lot from the experience. I hung out with Shiny Toy Guns in LA when they were recording their last album at NRG studios. That was pretty rad too. It is important to be surrounded by people that know more than you at your craft. That’s one thing that’s been hard about living in Oklahoma—there isn’t much of an artist community for musicians.
JMT: How does producing other artist’s music differ from producing your own? Aren’t you working on the debut record for Trash Yourself?
JB: Well for the Kill Hannah project. The singer Mat (Devine, lead vocalist) had the songs written but only had demo mixes. There were just really roughly made on a keyboard with few tracks, and a rough vocal. My job was to recreate the parts but with updated sound and feel. So it was more polishing everything, detailing, and adding textures rather than writing. I tried to keep the integrity of what Kill Hannah wanted. Greg (Corner, bassist) sat in on several sessions with me so that I knew it was going in the right direction. With Trash Yourself, I just kinda do whatever the hell loud noisy music I want.
(For a preview of John’s work in the studio with Kill Hannah, download the track “New York City Speed” from their upcoming album Wake Up the Sleepers HERE. You can also download John’s remix of “Crazy Angel” from the album Until There’s Nothing Left of Us, HERE. Links used with permission.)
!Trash Yourself with Greg Corner of Kill Hannah, 2009. Photo courtsey of darkroomdemons.com
JMT: You’ve worked on more than one occasion with wunderkind the Toxic Avenger, a self-proclaimed fan of Weezer and The Smiths. His history also includes playing in various punk and hardcore bands throughout the years. Do any of your influences fall outside the electro/dance scene?
JB: Yeah, definitely. My roots are industrial from when I was like 15 or so. I was a big NIN fan. Unfortunately I don’t have much time to listen to music other than dance music right now. I did just get the M83 album Saturdays = Youth, which I love. Chad (Petree, guitarist/vocalist) from Shiny Toy Guns made me get it. I suggest all of you do too. My next project will probably be a band that falls somewhere in between Cut Copy and M83.
“…maybe you don’t have to be on MTV anymore. There are other ways to gain fans now.”
JMT: The DJ/house culture has been around for years and sometimes is responsible for launching a sub-par song into the mainstream. That being said, do you feel the scene could get/needs more recognition or is it doing fine with the momentum thus far?
JB: I think with people like the Crookers blowing up and having their remix of Day N Nite played everywhere, things are going pretty good. That’s an example of what a remix can do. That remix was everywhere. It got so big it eventually made the original popular about a year later. When I was in Chicago Crookers played at a theater there and had over 3,000 people come out. Other major rock acts weren’t getting that many people there. Just shows that maybe you don’t have to be on MTV anymore. There are other ways to gain fans now.
JMT: Speaking of the popularity of remixing, so-called “DJ Schools” like DubSpot in NYC have reportedly seen a major increase in enrollment, in part due to the recession and partly due to the fact it’s “hip” at the moment to be a DJ. I think the mainstream consensus is if you own a CD collection you can DJ as well. Do you believe someone can be “taught” to be a good DJ?
JB: Teaching helps, but I don’t think its at all necessary. If you want to learn something you will learn. It is really as simple as that. There are so many videos on Youtube, and magazines that teach you anything anymore. Almost everything I know about engineering audio is from the internet and mags at Barnes and Noble. There’s no secrets anymore. This is the Information Age.
JMT: While you still regularly hold down DJ sets at Robotic in OKC, are you trying to make a move as well? Heidi splits time between NYC and OKC, and Fellow Robotic DJ Joshua Distance has already made the move to Austin, TX.
JB: I’m definitely ready to move. I need a change of pace. Either LA or NYC…or both. I just have a few things I’m trying to take care of here first. I fly a lot though, so I’ll always be making stops in OKC.
(John Bourke is currently on tour. For a list of tour dates click below or visit any of the following sites: !Trash Yourself on Myspace, John Bourke on Myspace or John Bourke on Twitter)
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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.)
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