Interview: Ian Moore talks psychedelic rock, the magic after midnight and decades of touring

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Photography by Daniel Work. Imagery provided by Western Publicity. 

Presently, Ian Moore is touring the Northeast of the U.S. and sharing his music to promote the release of his new album Toronto. A month prior, Moore cruised through Austin, Texas in Aug. 2018 to celebrate his 50th birthday at the iconic Antone’s. Moore is originally from Austin and he’s got a lot of Texas soul within his music. His birthday celebration deep-in-the-heart-of-Texas lasted two nights. Eric Tessmer was the opening act each night. These two artists are both deeply talented at playing guitar, songwriting and vocals. At times, their music, energy and style felt electric and transcendental, which is one of the many reasons why they call it psychedelic rock. 

Before the ATX birthday shows that were filled to brim with many of Moore and Tessmer’s beloved fans, friends and family inside Antone’s: I interviewed Ian Moore over the phone. Another Rank & Revue (R&R) writer interviewed him years ago, but this time it was my turn to interview him. At random, my editor sent over a pitch to me from his publicist at Western Publicity to see if I wanted to conduct the interview. Once I read Moore’s bio, even though I had not heard of him before: I knew I wanted to book it. Clearly, the man has talent to venture on national tours with the Rolling Stones, ZZ Top and Bob Dylan. 

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Photography: Nicolette Mallow

“Ian Moore, the Seattle-based, Austin, TX-born guitar player, singer and songwriter makes the proverbial renaissance man look lazy. Coming on the heels of Strange Days, his most successful record since his eponymous debut. Despite a never-ending cycle of touring, Moore offers a new record of bright, blazing rock-n-roll that combines his legendary guitar prowess with radio-friendly songs that showcase his elastic, soul-inflected vocals. As always, Ian has his eyes on the challenges faced by musicians of every stripe, having experienced the spectrum of artist successes and tribulations over a nearly 30-year career. “It’s a very different climate right now. When we hit a city, it doesn’t matter that I have 14 records, radio hits, etc. The only thing that matters is if we can really show up and leave the people feeling they saw something amazing. Its keeps me hungry, and I like the challenge,” says Moore… You might have been surprised to hear Moore’s songs popping up on major network shows on prime time television this past year; several selections were prominently being featured as performances on both American Idol and The Voice (“Satisfied” and “Blue Sky”). He also founded the artist’s healthcare alliance SMASH (Seattle Musicians Access to Sustainable Healthcare) and has joined the board of NARAS for the Pacific Northwest as governor and head of the advocacy committee. Moore’s story is often told and probably familiar to most critics; his initial record on Capricorn propelled him to national tours with the Rolling Stones, ZZ Top and Bob Dylan, acting in the acclaimed indie feature “Sling Blade,” and having Ice Cube direct the video for his track “Harlem.” Moore deviated from his initial blues-oriented guitar sound on subsequent records, touching on graceful pop songs and the psychedelic as well as British pub rock and deep Americana. The Toronto record and its 6 tracks represents those influences in such a way that they have informed his songwriting, but is likely more recognizable as a strong collection of the kind of guitar rock his core fan base would respond to immediately”. 

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In advance to the interview, I was reading the information Ian Moore’s publicist sent me and researching other interviews of the past. I Google’d him to read about his older albums like Capricorn. Within the photos from then and now, I noticed that Moore had super long brunette hair in the 90’s and looked like a total rock star. Even though time has passed, he’s still strikingly handsome and very talented. I enjoyed listening to his musical style change from Capricorn to Toronto. I read a lot of lyrics. Watching his SXSW 2017 performance at Continental Club last spring in ATX: I could see Moore is in love with the guitar and the music. Texans are often known for being passionate and intense, especially the artists and athletes. 

As I read more and more, I realized that I was out of the loop, especially since I am an Austinite. Ian Moore has been around for three decades and I was shocked I’d never seen one of his shows. As a Texas girl and artista, I consider myself familiar with the local art scene. Obviously I was not up to track. Like many people, it seems the more I know, the less I know. There’s simply no way to keep track of all the great talent out there, and that’s sort of a beautiful thing: always discovering new artists and new music. I didn’t really know what angle to take the story. All of the music was new to me—I enjoyed many different songs from different albums—and I didn’t have much time to prepare for this last minute interview. Even though the story wouldn’t run on R&R until September. So, I figured since every other media outlet was going to be asking about Toronto and Antone’s—I decided to just get to know the artist, like any other stranger, and sort of assess what we called at SCAD, a character profile, a mini version of the artists career.

On the dot, all the way from Texas, I called Ian Moore on the number his publicist provided me with. Moore was sanding an old tour vehicle outdoors in Seattle. 

Nicolette Mallow: Growing up in Austin, did you always have a childhood fondness for music? I read you switched from guitar to violin. 

Ian Moore: Yes! One of the first times I kicked in the womb was at Vulcan Gas Company. Even though neither of my parents were musicians, they were both music enthusiasts. I started playing violin as a child and switched to guitar as a teenager. When I was 16 years old, unfortunately, I cut some tendons. Still makes me a little sad to think about because that ended my violin career… When I first started playing music in Austin, I had a real hard time starting a band. My peers were into other music. They were more into the punk rock culture, but I didn’t care much for it. I was more into soul music, blues and psychedelic rock – garage rock – 50’s music. Then I found a drummer from high school and we started making music. We were the first band to ever play at Black Cat Lounge. This was a biker bar and we brought in youth and kids from all walks of life to a new scene. It was cool because this was before Emo’s and there were limited music venue’s at this time. By ages 19-20, I started touring. But yeah, it’s my 50th Birthday and Austin is my hometown. My history is as deep as any musician there. Guitar lessons. Stages. Memories. Riding bikes to Antone’s on Guadalupe. I had to celebrate in Austin. 

NM: Your album Capricorn launched tours with Rolling Stones, ZZ Top & Bob Dylan. That’s really impressive! How long after the release of your first record did these tours come about. And do you recall the names of the tours?

IM: Capricorn. At the time, being a blues-influence guitar player was kind of unknown territory. There was no cool roots, rock scene. I had a difficult time finding people to put the record out. It was very hard to find a placement. The label who signed this deal had managed Otis Redding. Before that, one deal after another fell a part and took a while to find a place to put my record(s). After Capricorn was released, the radio success and decent tour numbers got past the agents. Once the agents caught notice, I began touring. I think, but am not certain, the tour name with Rolling Stones was The Blue Lounge Tour and I think with ZZ Top it was the Recycler Tour. But I’m not certain, it’s sort of a blur… My band was the biggest band of our generation in ATX for a good 10 years, 2000-3000 people a night at our shows. 

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Imagery from IanMoore.com. 

NM: In regard to your newly release album Toronto, I read the lyrics for the songs “Satellite” and “Rock n Roll”. Tell me about the bright side and the dangers of living your life in the magic of midnight.

IM: The magic of midnight and the brutal reality of harsh dawn; we are all eternal dreamers. We are prone to think the next place, town, song or etc.—we think it’s gonna be the next thing to connect us. We can continue to dream and be dreamers, but it’s intense and a lot of people cannot sustain it. A lot of people lose themselves. I’ve been doing KXP radio and I talked about pitfalls of touring and how to survive. Being focused on the music helps. You can tell where the motivation is. If you want to party—and you’re focused on the physical attention—you will wear yourself out. It’s crucial to focus on the music to sustain sanity. It’s very rewarding and spiritually fulfilling. Just gotta keep focused on the prize. Don’t lose yourself in the illusion of midnight, thinking that something greater is right around the corner… My music has been a continued manifestation of what I wanted to do. When I was young, learning how to play and sing, I did a lot of wandering. Leaving scenes and drifting into the ether, a wanderer with temporary companions. It’s been an interesting journey. Even though my most successful record (thus far) was my 1st album: I think I’ve gotten quite a bit better and become more interesting. I never chased the fame. However, I’ve become an underground artist.

NM: I read your quote about the challenge of keeping the crowd enticed and how the music culture has changed. How do you sustain such energy while touring, so that you can always give the crowd the experience they’re seeking?

IM: This is the hardest time to survive with music, it’s so challenging. But I have a deep passion for music. I do it all, simply because I love music. Music is most deeply motivated for me, the actual music, not the attention and the success, that is peripheral for me. No matter what, I always want to get better and write a better song and feel like if I could just concentrate harder, it will manifest… When I am all beat up and tired and miss my family: the music keeps me going. That’s the thing, I can be completely exhausted and always dig in to find that passion. 

NM: The transition to Seattle from ATX, over the decades, based upon your observations—what changed most within the local scene between the two cities? 

IM: A lot of what I do is between Austin and Seattle. I live in both towns. We had nothing here (in Washington) when I arrived awhile back. There’s been a lot more drastic changes in Seattle. Obviously, all cities are enduring major changes right now, any cool city with artists. They’re all being priced out. However, Austin is one of the best for artists, right now. At least in ATX you have some people working for you and trying to make it better. ATX is weathering the storm best.

NM: Do you have any favorite or newfound cities in Europe that you look forward to touring this year?

IM: Europe: I love Spain and Italy. Amsterdam. Denmark. London… I’d like to play in Portugal. It’s so cool playing in different places, but what’s cooler is playing well in the places you play.

To view upcoming tour dates, listen to music and read about Moore’s songwriting workshop in Canyon Lake, Texas: please visit his website at www.IanMoore.com

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Note: This article was originally published on Rank & Revue

Interview: James White talks 54 years at the Broken Spoke

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Broken Spoke marquis. Photography by Nicolette Mallow.

With only five cases of beer to sell, James White opened the Broken Spoke in 1964. After he was released from the U.S. Army at the age of 25 – Mr. White decided to pursue the quest, his dream, of opening a honky tonk in Austin, Texas to feature live country music and a dance hall. In the beginning, Broken Spoke was a local roadhouse where beer cost .25 cents a bottle and customers could get ice and a soft drink for .30 cents to chase down their liquor. Back in those days, before the peak of craft cocktails, people could bring their own liquor bottles to the bar in Texas. Now in 2018, over 54 years later, Broken Spoke has become a worldwide famous dance hall with a full bar and restaurant. By the late 80’s the Broken Spoke started to gain more and more fame. Featured in Texas Highways magazine, The Food Network, The New York Times, CBS News, Texas Monthly, the Smithsonian and more; Broken Spoke is a historical landmark. The Spoke has showcased talent like Willie Nelson, George Strait, Garth Brooks, the Derailers, Dale Watson, Alvin Crow, Weldon Henson and the list keeps going for decades. Many artists, icons and celebrities from all over have entered the front doors including Dolly Parton, Clint Eastwood and Quentin Tarantino. Hundreds of old and modern photographs catalog the years within Broken Spoke’s Hall of Fame.

The Broken Spoke is owned and operated by James and Annetta White (his wife). The two met at a dance hall in 1961 when she caught his eye and have been married 51 years. Annetta and her husband have worked together for decades to keep the Spoke running successfully. Amongst her many contributions to the Broken Spoke, I discovered that Annetta is the one responsible for the George Strait photographs covering the women’s bathroom, giving the ladies room some cowboy vibes. 

A lot of people ask me where I met my wife. Well, I met her at a honky tonk. There was an old dance hall in Oak Hill called the Sportsman Inn and I looked out on the dance floor and saw a pretty blonde lady dancing with a red dress on. It was a fast dance and she caught my attention. She caught me eye and I thought I’d ask that girl to dance. That’s where it all started right there.” – James White

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Photo collage of Broken Spoke photographs featuring Willie Nelson, James White, Dolly Parton, Clint Eastwood, Garth Brooks and Annetta White.

Walking into the Broken Spoke is like stepping back in time. Once you enter this classic Texas dance hall and see all of the antique photos from decades past, an intense feeling of nostalgia rushes over and fills the air. It looks exactly as it did when the doors opened in 1964. There is so much eye candy to choose from: a horse saddle, photographs, flags, neon lights, posters, woodwork and of course the dance hall. A replica of Willie Nelson’s guitar Trigger can be found at the Broken Spoke, too. As a Texas girl that’s driven by the Broken Spoke since the 1990’s and enjoyed libations as an adult, I was really excited to finally learn more about this dance hall and the reputable James White.

In May 2018, James White consented to an interview with me. I met him at the Broken Spoke on a weekday around lunch. He and I sat at table B2, which I came to found out is the same table where Willie Nelson and his wife Annie would frequent when they were regular visitors at the Spoke. I went to Lake Travis High School with Willie Nelson’s nephew, Trevor, so it was even more thrilling to be sitting in country western history.

Wearing a UT button-up shirt, a red baseball cap, gold watch and horseshoe ring made of diamonds, James White took me back to the beginning and covered as much history about the Broken Spoke as we could in one hour. Unlike most interviews, White naturally guided the majority of the dialogue exchange. I was simply a listener to keep the story on course, interjecting with questions along the way if things got off track. Before the interview began, White asked me if he could start at the beginning and then jump around in time wherever I wanted to. By listening, I could tell he had told this Texas story many times and it never gets old to tell, or to hear. [He insisted that I record the interview and I posted the audio online in a two-part segment via YouTube.]

James White: A lot of people, you know, they ask me, why did you go into this kind of business? All the way down to my childhood, my parents would take me to different dance halls in this area, and that’s where I got the love of country music in my veins… When I was in the Army, I didn’t know what I was gonna do when I got out of the Army. So I thought it would be kind of neat to open up a place of my own, similar to the places when I was growing up in Austin. It just became like a quest of mine the day I left the Army. And when I came out under the big ole oak tree out front (on South Lamar), I just kind of visualized a place like no other and when I got it built: I named it the Broken Spoke. The reason I thought up that name, I wanted something original. I wanted something country, I wanted something western. Texas style. In my mind, I had a list of different names in my head. When I got to thinking about Broken Spoke I was thinking about wagon wheels and they were kind of rolling around in my brain. And then I remembered this old Jimmy Stewart movie called “Broken Arrow” and I said hell, I’ll just find me a couple wagon wheels, I’ll knock a spoke out and I put one on each side of the door coming in and I named it the Broken Spoke. And I never looked back.

Volunteers made the Spoke by hand. A lot of heavy drinkers pitched in to build the Broken Spoke and one drunk man even fell off the roof. White had to open the doors a little early after running out of money, hence the modest five cases of beer. People even told White the business wouldn’t last six months, but he proved them wrong. It was about 20 years of hard work before the Broken Spoke became famous. Mr. White said it was many years of 16 hour days tending bar, seven days a week. The Broken Spoke is his life’s work and there is a ton of heart and soul poured into this building. 

Music, dance and cold drinks are the focus of this honky tonk, but there is also a strong sense of community and love. The Spoke has been described as “the country western version of Cheers” and it’s become part of Texas history within the arts. Many local Austinites or younger generations don’t know the intricate history of the Broken Spoke. I certainly didn’t and I’ve been here off-and-on since the 1990’s. So, after White’s introduction as to what inspired him to build and create the Broken Spoke. I asked him to tell me more about table B2: Willie Nelson’s table. Willie is one of the most notorious artists to perform at the Broken Spoke and it all starts back in the 1960’s. 

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A replica of Willie Nelson’s guitar “Trigger” and Table B2. Photography by Nicolette Mallow.

JW: I first booked Willie Nelson in 1967. I booked Willie Nelson and The Record Men for $800. He had short hair, he was clean shaven and wore either a turtle neck, a vest or a sports coat. But he’s still the Willie Nelson you see today. His people love to see the one picture of Willie hanging on the wall, and he’s got a copy in his office too: the photo of he and I on stage at Broken Spoke when I first booked him back in the 60’s. He and I have always been friends. Willie has friends all over the world but he always remembers the Broken Spoke. He always comes back every chance he gets… Anyway, when Willie had a tax problem in 1990 and owed $16.5 million: my wife and I were sitting around and we got mad because we heard the IRS took all his pictures and they took all of his awards off the wall and put them up for auction. I didn’t think it was right to take his pictures, gold records, platinum records—and so we thought we’d take a collection and give it to Willie because they’d taken everything he owned. So I got a gallon pickle jar and put it on the bar and put a sign on it “Where there’s a Willie there’s a way”. Willie heard about it and called me up from Hawaii and thanked me. Meanwhile we had a fundraiser for Willie and I sent the money over to Hawaii by way of his daughter, Lana Nelson. His family said Willie talked about the fundraiser all day long and was very excited about it. He called me again and said “thank you from the bottom of my heart. I’m gonna come home for Christmas, and I’m going to bring my band, I’m going to eat some chicken fried steak, drink a cold beer, and I wanna do a little picking (at the Broken Spoke) and I’ll bring some friends with me”. And that’s when a lot of local country artists who knew Willie wanted to get involved. Some nights you never forget. He never asked for money, I did it from the heart. And he thanked me from the heart and he came out and played all night. That was in 1990… So we raised some money and I gave him every letter I received from Associated Press, they ran the story all over the world. We started getting money from Desert Storm, Desert Shield, Birmingham jail and Indian reservations… I never got one bad letter about Willie. All of them were complimentary and even if the donation was $1, Willie autographed every check as a thank you.

After he told me about the fundraiser, James White proceeded to share a song he wrote with Gary P. Nunn called “Where there’s a Willie, there’s a way”. Their song can be heard sung a cappella by Mr. White in Part One of the interview around the 18:00 minute mark. It’s rather clever and has a Willie Nelson-esque melody to it.

Suddenly, as I intended to shift gears from Willie Nelson to Dolly Parton. Her music serendipitously came on the jukebox and you can Dolly’s voice in the background. A series of her songs played at that perfect moment like the classic “Old Flames Can’t Hold A Candle To You.” Echoing in the background, it was a most befitting and true country, western moment in Texas. Back in 1987, Dolly Parton came out to the Broken Spoke to film “Wild Texas Nights” and James White even got to utter a few lines in the filming. There is a charming photo of Dolly Parton on display at Broken Spoke that many people love to photograph.

Bouncing around in time, James White talked to me about the booking process, musicians, family and the architecture of the Broken Spoke. It’s an older building that has a lot of character and endearing oddities. However, White mentions that perhaps if he built it today there would’ve been some changes, like installing larger bathrooms. Nevertheless, there is something beautiful about keeping history locked in a time capsule. Especially in a city like Austin where it’s losing a lot of its originality with the modern times. Broken Spoke has withstood all the changes in Austin and still stands strong with many more memories of live music and dancing to come. 

Over the years, there is one character that all regulars know about and that would be Rowdy. He never leaves the Broken Spoke and has never performed on stage. He doesn’t speak either but Rowdy sits at one of the tables with his sunglasses, bandana, blue jeans and he’s quite the ladies man. Sometimes people like to dance with him, too. Wait, did I mention Rowdy is a dummy?

JW: Rowdy’s skull has a crack now because people keep dropping him on something, or some drunk wants to dance with him or move him around. His knuckles are broken off right here. One time I used to write a newsletter. I talk about Rowdy like he’s a real person, like a living thing. People ask me where I got him and I tell ’em I picked Rowdy up hitchhiking out on 620. So I gave him a ride to the Broken Spoke and now he don’t want to leave and is here at the bar 24/7. When I pulled up to stoplights back then people would look at him, and I’d never do nothing I’d just stare straight ahead, but I knew they was looking at him. Rowdy is a funny guy. When they stole my dad’s silver saddle—the only thing funny in the whole thing (was Rowdy). After it took 14 days to get the saddle back. The first cop on the scene crawled in the same window as the burglars did and he came in and he said, “I almost shot Rowdy!” And I said “I wish you would have because he’d look cool with some powder burns”. But yeah Rowdy just sat there and didn’t say nothing and let them steal the saddle. So anyway when Rowdy broke his knuckles off, we were going to glue them back on. I’m writing about it in this newsletter (for the Broken Spoke) like he’s a person. And I wrote “hell, Rowdy broke off a few of his fingers and they fell onto the floor and the waitress swept it up and thought it was a dill pickle and threw it in the dumpster. When I heard about it I had to send the waitress out to retrieve his fingers out of the dumpster so we could glue them back on”. Soon after this waitress’ sister in a different city said “What kind of place are you working where people are breaking fingers off and gluing them on?” She thought it was a real story. 

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Rowdy reading the newspaper at Broken Spoke. Photography by Nicolette Mallow.

At the end of our interview, I asked James White if out of all the press coverage and all the years of memories, did anything stand out most? It was a tough question to answer and he drifted in time a bit, but eventually it all came back full circle to Texas Highways.

JW: It’s a heart thing you feel good about. At the end of the day, I take more pictures now than I ever took in my life before now. Hell, no one wanted my picture in 1964 but now everyone does and I’ll make up for lost time. There were fun times in the 1960’s and everything was new. I just had so much fun here at the Spoke. But I think the one (press) thing we did with Texas Highways stood out the most. It’s like the gift that keeps on giving. Now we’re on every roadside park in Texas at the rest stops. I mean you come in and there’s a picture of the Broken Spoke and the Cadillac outside. And then on the left there at the state Capitol, it’s right there you know. You got music, you got Texas and then you got the Broken Spoke. It’s a very good compliment to us. Since then we’ve been voted the Best Country Dance Hall in the nation, home of the best chicken fried steak in town, a lot of metropolitan awards. We’ve won a lot of awards. I’m in the Texas Hall of Fame and the Smithsonian. I’m in the Country Music Hall of Fame… I never expected it. All I really wanted was a honky tonk dance hall. So I got what I wanted, but then I got a lot more. Which is fine, it’s fun, a hell a lot more fun to have people brag about you than bitch about you. It’s always more fun to get compliments.

To hear more about Willie Nelson, Garth Brooks, Dolly Parton, the beer drinkers that built the Broken Spoke for free and much more, please check out the interviews in full on YouTubehttps://www.brokenspokeaustintx.net

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Greta Gerwig breaks speciality box office records with her Directorial debut ‘Lady Bird’

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Greta Gerwig. Imagery provided by Sunshine Sachs/Photography by Jack Plunkett.

Last month I was commissioned by an editor in Hollywood to interview Greta Gerwig on the red carpet prior to the screening of her film Lady Bird at the Austin Film Festival in Texas on October 26, 2017. The interview was published by The Hollywood Reporter. I loved the film and it was a pleasure to interview Greta Gerwig. She was a smart, kind & articulate artist to interview. Therefore I was not surprised when I read this week that Lady Bird broke box office records. 

“Lady Bird opened to limited audiences its first weekend, showing in four locations (making it a specialty box office release).” According to Jezebel “it blew past typical ticket sales for smaller box office openings of its kind, grossing $375,612 in fourtheaters, with a theater average of $93,903. That makes it the best speciality box office opening of 2017. For context, look at the numbers of comparable first weekend openings this year: Sofia Coppola’s The Beguiled earned an average $64,160 per theater in four locations the first weekend and The Big Sick grossed roughly $82,800 per theater it’s opening weekend in five locations. And, as IndieWire points out, since Katheryn Bigelow’s Zero Dark Thirty grossed roughly $83,430 per theater in five locations back in 2012, that makes Lady Bird the best ever limited debut for a movie directed by a woman. Since Lady Bird has already exceeded box office expectations, it will be interesting to see how well it does when it opens in more theaters during the next few months. And considering the rave reviews and ticket sales, I wouldn’t be surprised if the film lands several nominations around Oscar time, including Gerwig for best director.” 

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Known to most as an actress, Greta Gerwig has been part of the film industry in a multitude of roles both on-camera and behind the scenes during the last 10 years: acting, writing, producing and directing. Within her recent film Lady Bird, Gerwig showcased her directorial debut as the exclusive writer and director.  When I asked her at the red carpet when she knew she was ready to direct a solo project Gerwig stated“It was a very long process of writing the script but once I finished writing. I felt like it was the moment I had been working toward for 10 years and I’d always wanted to direct. And I thought, this is the moment, this is when you do it. I don’t know that you ever quite feel ready, but I think I felt like, enough is enough. You’ve got enough training. Go for it.” 

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Gerwig’s movie has traveled to festivals all around the world, receiving accolades and high praises along the way. Lady Bird is a comedy about a young girl in Sacramento named Christine. She refers to herself as Lady Bird. It’s also a semi-autobiographical story about Greta Gerwig. The story revolves around Lady Bird’s senior year at a Catholic high school, figuring out how to leave home to pursue her life dreams in NYC because (she thinks) she hates California, only to realize how beautiful it is upon leaving. Lady Bird is a charming, evocative and beautifully stitched together film with hilariously clever dialogue. Gerwig really captures the melancholy, vibrant spirit of youth and the bond between mother and daughter. 

To read more about Lady Bird and to watch the trailers, please visit the official Facebook page of the film at https://www.facebook.com/ladybirdmovie/

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Jimmy Chin: A Photographer’s Eye View

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Jimmy Chin. Photography provided by REVO. 

WideWorld sent US writer Nicolette Mallow to Washington D.C., to interview 37- year-old National Geographic photographer and explorer Jimmy Chin at The Madison Hotel. Chin is also a sponsored athlete for The North Face. Throughout his career, he has shot climbers thousands of feet up in the air, glued to ice-capped mountains, with storm clouds billowing in the distance, and, as WideWorld discovers. Jimmy Chin’s ability to capture shadows and light, sunrises and sunsets and nature at its most breathtaking is nothing short of incredible. The interview took place prior to a banquet held in his honor at Nat Geo headquarters to showcase Chin’s career, life stories and photography. 

Nicolette Mallow: What was it about your first trips to the mountains that inspired your career?

Jimmy Chin: Well I always loved being outside. We had a ravine behind our house and I was always tromping around in the woods. When I showed up in Glacier National Park it was just like my ravine on steroids! I just knew then that I wanted to live a life in the mountains. Although the trails were very beautiful I didn’t ever want to stay on the trail. I wanted to explore.

NM: How exactly did you turn all this from a hobby into a lifestyle and a career?

JC: You know, there is a lot of pressure when you’re in college from peers and the professors and your parents to get an internship or to have this goal of becoming a lawyer, a businessman, or a doctor; I think it’s hard for anybody to aspire to them when the title sounds great but you don’t really understand what the day-to-day life of an attorney is. And I had no real connection to any of it. It just seemed like all these abstract ideas and it just seemed really boring to me. For some reason I was struck by the idea that you only live once and that you shouldn’t waste your time being something for other people or being something that other people wanted you to be. It didn’t seem fair. I struggled with that a little bit for sure. Education was hugely important for my parents. They were both librarians at a university and they had come from China and they had made a life for themselves here.

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NM: What got you into photography?

JC: I always loved looking at photography, but I think that everyone does. I am a very visually stimulated person. But while I was visually oriented, I never thought of it as a career. I never took photo classes in school.

NM: So you’re self-taught?

JC: Oh yeah. Still teaching myself. Still learning. But, overall, photography felt really natural and probably one of the easiest things for me to learn or pick up. So in that sense I feel like, perhaps it was meant to happen.

NM: In one article you describe dangling above endangered antelope in Tibet, but what did it feel like when you guys found them?

JC: In some ways it was like we were chasing mythical creatures. It’s so funny because it was like being a kid, again, and trying to follow these animals across the Chang Tang plateau and hoping to find this supposed birthing ground. George Shallow, one of the greatest live mammal biologists and conservationists, couldn’t find these animals or their birthing grounds after two to three expeditions. My crew and I knew this was going to be extremely difficult. We’d been traveling for weeks and weeks and there was nothing. We lost them, once, and then we found them, again. When we finally found them and I saw the first baby chiru: it was a mind-bending experience.

NM: Is there any expedition in particular which you are most proud of in terms of your finished images?

JC: I think shooting Everest and skiing Everest. I was always trying to get this photo that no one has ever seen before and there were a couple photos in there that don’t necessarily have the best light or the best compositions ever but they’re just… Well, there is an image of Kit and Robert DesLauriers skiing down a slope over 28,000 feet. Two people on their skis, on the southeast ridge of Everest. And I just love that photo as there is also a storm cloud coming up in the distance.

NM: Throughout all the places you’ve seen, where is some of the most beautiful light to capture?

JC: Sunset when you’re up really, really high above base camp in the Himalayas holds perfect, mesmerizing light. Any mountain range up high where you can see the horizon line is amazing. After the sun has set and it gets that kind of blue mixed with pink –I love those colours; like pastels in the sky.

NM: In 2004 you had a close shave with death when you were on Everest and the avalanche came down and threw you guys back over 30 feet. Have you had any experiences as intense as that one since?

JC: Not as intense. I think as you get older you start to understand and become much more aware of all the different ways to die. I’m a lot more conservative these days, but there’s always the fluke accident. As a climber you have to take a certain stance in how you look at the world. When you do what I do, you must accept, “When you’re time comes, it comes.” I have to think like that otherwise I wouldn’t get out of bed!

To see a selection of Jimmy Chin’s images, see our gallery below. For more, visit: www.jimmychin.com

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Note: This interview was originally published in Wide World Magazine in 2010. Wide World is an adventure travel magazine based in London, United Kingdom. 

ill-ēsha: Canadian musician, producer, songwriter and vocalist will perform at 2017 Euphoria Music Festival in ATX

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Recently I had the pleasure to interview ill-ēsha. Music producer, vocalist, songwriter composer, DJ, musician and more; ill-ēsha radiates artistic talent and the more I read her artist’s bio. It was very clear what a vast range of art forms within various industries that her skills could be applied to. On April 9, 2017—ill-ēsha will be performing at the 2017 Euphoria Music Festival at Carson Creek Ranch in Austin, Texas. Euphoria Music Festival is showcasing over 70 artists this year and even though ill-ēsha has visited ATX many times for festivals like SXSW and feels at home in the capital of Texas. This will be her first show at Euphoria and Austinites are delighted. 

Formally known as Elysha Zaide and casually known as Elle, “Vancouver-born and Colorado-based music producer, artist and DJ ill-ēsha has crafted a long-standing soundscape of electronic bass music throughout her career, continuously evolving her musical stylings and bridging gaps between hip-hop, dubstep, R&B and future bass music. Ill-ēsha is recognized as an extremely rare and diverse, burgeoning artist in the EDM scene, as her live set showcases her incredible talent to sing, DJ, and simultaneously rock her keytar. She is one of few electronic artists to blossom throughout the progression of different musical trends while still focusing on her artistic vision and authenticity. Constantly evolving a dynamic stage show, ill-ēsha is a perfect example of electronic music’s transition towards live instrumentation and indie pop sensibility.”

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Nicolette Mallow: You have one of the most interesting music backgrounds out of all the composers I’ve interviewed. Your skills are so vast and you’re so musically gifted. A producer, DJ, vocalist, composer, songwriter and more. I loved reading your Bio… Did you always know you wanted to make music? Or did music and the arts choose you? 

ill-ēsha: I was always very drawn to many different forms of art. As much as I loved music. I was also into theater arts and that was a potential path for me. Even in high school when I was already DJ’ing, I also partook in a theater company and visual art. Performing arts was my artistic expression for a long time. But yes, I’ve had a tendency towards the arts since I was a kid. I was born into a  family with lots of artists. 

NM: I read you love classical, world jazz and cinematic music—and that you completed Royal Conservatory piano training. That program sounds so fancy and challenging. Is this where you began to learn music?

ill-ēsha: (she laughed) Well, it sounds fancier than it is. It’s just another method to learn music, like the Suziki method. Royal Conservatory is simply one of many systems similar to a competitive sport or grade levels. The more you learn and excel at each level you pass on to the next. My mother was passionate about piano and she always wanted to play. I began taking lessons at 4 years old. I continued to take piano classes until I was 12.

NM: You have a spectacular voice. I loved the demos, especially the animation video… How did all this begin? Can you tell me a little about Speech Level Singing?

ill-ēsha: Seth Riggs created Speech Level Singing (SLS) in the late 70’s. It was a school of thought to help train vocal muscles. Artists like Michael Jackson and Aretha Franklin studied it. Since I am a self-taught vocalist after years and years of rigorous piano. In my 20’s I got into Speech Level Singing to learn how to control my breath better. SLS was sort of a style that purely worked out your vocal chords. It appealed to me because I am not jazz or an opera singer. I’m not an Ariana Grande or Celine Dion with a big, booming voice. I am a musician of all types, not just vocals. Once you have a voice: you go all directions developing it and SLS was a way of developing mine. 

NM: What did it feel like to place in the top 3 finalists for The John Lennon International Songwriting Contest?

ill-ēsha: That was a long time ago, but the coolest thing about that award is I was given a few hundred dollars and I used it to buy my first Serato. (A DJ program with turntables and a laptop.) Up until then everything was pure vinyl, so, thank you John Lennon Songwriting Contest for helping me buy my first Serato. But yeah, songwriting is something else that I do. My roots is songwriting. 

NM: What is the title of the lyrics you wrote and submitted for the contest?

ill-ēsha: “Broken Windows”. 

NM: Vancouver is your hometown and I hear it is beautiful. I hope to visit Canada next year. Now that you’re based in Colorado, do you feel like it reminds you of Canada in any way? I would imagine it’s easy to miss the seaport of Vancouver but the climate in CO perhaps reminds you of home?

ill-ēsha: It’s 50/50. I love the mountain life in Colorado. Before I moved here, I lived in San Francisco. Honestly I considered moving to Austin because I love it so much there, too, but I chose Colorado. 

NM: Speaking of Austin, how did you come to be involved with Euphoria Music Festival? And what can we expect to enjoy during your live set at the festival? 

ill-ēsha: ATX is one of those cities that’s been supporting me for a long time, all the way back to my tracks with Gravitas. Over time I’ve interacted with most of the promoters. I feel very lucky to have played at SXSW and so many other venues. Austin has become a home for me. Really I was torn between Denver and Austin. Ultimately, the weather in CO won me over. But I love Texas and I feel like its one of my strongest markets. It’s very cool to be involved with the music scene in Austin… Euphoria is one of the first festival types I’ve performed, and I will be sharing a lot of new content. Anyone who sees me, even old fans, will have something new to look forward to. Over the years I have evolved. Now that I make so much music in the last few years. What I’ve found is that I want to divide the sets I do and remain conscious of the environment. Live shows are compelling and people enjoy festivals. But for instance, nightclub people want the DJ energy. They want to dance and they want the drum and bass. The booth is tall and people can’t see me or my live set up, they just hear me and my music. However, festivals are more intimate with an open stage. There are more live elements, like my keytar. I’ve been taking a lot of time in the studio to write, collaborate and create new art to suit the time and place of each set. 

NM: Will you tell me about your transition from DJ to headlining performer and Producer? I liked your quote about wanting to participate in the music and not just the culture. 

ill-ēsha: I’m not much of a bystander. I enjoy art from being part of the process. I love film but I don’t actually sit around for long periods of time watching movies. I want to score and write for them. I wanted to be part of it. I started off with singing and DJ’ing. I wanted to control beats and make music. The deeper I got into it, the more deeply I realized I wanted to be part of production… About 10 years ago was sort of the turning point. All in all I’ve been in this industry for 20 years, since I was really young. The first ten years were very much passion projects and you could really tour and do live shows. I worked other jobs, too, and went to college. Touring and other jobs helped pay off student loans. Right around 2008 or 2009, I started feeling discontent. I was not feeling inspired. So I decided to go back to music as contractor and post-production for TV shows and editing. I regenerated and began making a new style of music. It was fun and different. It wasn’t simply drum and bass. At that point I just kind of discovered new people without the pressure. Re-inspired an online chat forum and people became receptive and started signing it. And that’s when I moved to SF and production became a full time priority… Ultimately my passion project and my true underlying goal is to give back and inspire young creative people. I was sort of an angsty teenager. Bummed out by life. Music saved me. Being a mentor, a guide and to give connections to the young artists and young creatives means a lot to me. 

NM: What was it like touring with Bassnectar? I adore his track “Butterfly” featuring Mimi Page and listen to it all the time. 

ill-ēsha: Touring with Bassnectar was pretty magical. I feel so lucky I got to experience that. It was only a few Southern tour dates and New Year’s Eve shows. I loved it though! Bassnectar is a big symbol of my music scene. Bassnectar created the west coast music sound within the DJ world. It was an honor to get to open for him. This is the guy who took it from A to Z.

NM: Last question, listening to your music on SoundCloud I heard a track called “Ghostwriter” with opening audio talking about computer hacking. Why did you choose to write about a computer hacker? 

ill-ēsha: In the 1990’s there was a children’s TV show called “Ghostwriter”. A lot of the samples in that track are from a single episode that I found to be cute. “Ghostwriter” was an educational kid’s show and that episode was about early internet. Teaching kids about hackers. At the time I was learning more about computers and I definitely enjoy digital nostalgia of different era’s because I’ve been through them all. As a child of cross generation analog and digital and I remember both… it’s always on my mind. 

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For more information about ill-ēsha:  please visit her website at www.ill-esha.com. To listen to samples of her music please visit ill-ēsha’s SoundCloud page at https://soundcloud.com/ill-esha

Psyche Jewelry by designer Nina Berenato launches retail boutique on Barton Springs in ATX

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Nina Berenato. Photography by Reese Vonderschmidt.

On April 9, 2016 an exclusive, media-only launch party was held to celebrate the opening of Psyche Jewelry’s first boutique. Designer Nina Berenato consented to an interview with writer, Nicolette Mallow for Examiner.com.Founder and Designer of Psyche Jewelry, Nina Berenato, has launched her first ever retail boutique in Austin, Texas and an exclusive, media-only opening party was held on April 9, 2016 during the late afternoon. Beginning a jewelry career in Brooklyn—Berenato has now made a debut in Texas and the party celebrated her arrival and showcase of Psyche design collections. To much delight, attendees of the party were offered the chance to have a piece of metal personally engraved by the artist. Nina Berenato hammered alphabetic letters, initials and quotes into the metal for all guests and it was a pleasure to observe her hands work. The party also featured a braid bar sponsored by PRIV, readings by Psychic Betsy, live music, dessert and wine. Tealights glowing in the background when dusk arrived.

To listen to a recording of their interview, please visit Mallow’s YouTube page or click here.

Psyche Jewelry’s mobile boutique is located at The Picnic near Zilker Park. “The Picnic is Austin’s premier food trailer park located on Barton Springs Road in the heart of Austin.” And Berenato’s mobile, to-go shop will be located here for the foreseeable future. Periodically, Austinite’s can also expect to find her at other local artisans fairs. Her jewelry designs possess a lot of metallic. A lot of gold and silver shines and tantalizes the eyes. Geometric shapes, keys, arrows and circles are evident, too. Despite the strong metallic presence, Nina Berenato intertwines colorful stones into the designs as well. Her designs are dainty and intricate, yet strong and bold. A mixture of Greek and modern day. Berenato has a refreshing skill of combining masculine and feminine to her collective.

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The jewelry collections for Psyche include the following lines: Sophosyne, Hidden Universe, Anti-Symmetry, Time Traveler, Shaman’s Trance, and Warrior. A little more about the name itself, “Psyche is the muse of Designer, Nina Berenato. The myths of the Greek goddess inspire Nina’s designs and reflect the journey toward personal growth. Nina’s work is a reminder of the defining emotions, thoughts and experiences that make each of us unique. The collections evolve with each passing season. Bridges of experience allow the past to inform the present, creating something for this moment. Something wild and beautiful. Something for our journey.”

During the media party for Psyche Jewelry, Designer Nina Berenato took the time to chat with Austin Examiner, Nicolette Mallow. An audio recording of the interview is included above. Take a moment to listen to Berenato speak of her childhood, learning the Greek myths during bedtime stories and how this love of the story lead her to become a jewelry designer. Take a moment to listen to the start of a journey for a jewelry designer, metalsmith and goldsmith. Within the interview, Berenato talks about her passion for design, the launch of her own branding and the learning process of designing her artistic craft. The interview also entails discussion about Berenato’s affinity for time travel, romance, authenticity and cultural influences.

To view Nina Berenato’s collections or purchase jewelry and other design pieces, please refer to Psyche Jewelry’s website at www.psyche-jewelry.com.

Psyche Jewelry To Go Mobile Boutique:

1720 Barton Springs Rd.
Austin, TX 78704

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Note: This article was originally published on Examiner.com in April 2016.  

Crystal Mangano composed the score of documentary film “Asperger’s Are Us”

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Crystal Grooms Mangano is a composer that has created music for film and television, and her most recent project was for the documentary film “Asperger’s Are Us”. The film made its grande debut at SXSW 2016 in Austin, Texas. During this time: Netflix bought the global streaming rights to the documentary, “Asperger’s Are Us”.

To talk more about her musical background and composing the soundtrack for “Asperger’s Are Us”— Composer Crystal Grooms Mangano chatted on the phone with Austin Examiner, Nicolette Mallow. The phone interview took place shortly after the end of the The SXSW Music, Film and Interactive Conferences and Festivals 30th anniversary held in March 2016.

SXSW 2016 ran a synopsis of the film containing the following: “For the members of the comedy troupe “Asperger’s Are Us,” it’s easier to associate with a faceless audience than with their own families. No matter who the crowd, best friends Noah, New Michael, Jack and Ethan have one simple mantra: ‘We would much rather the audience appreciate us as comedians than people who have overcome adversity’. In this coming-of-age heartfelt documentary, this band of brothers finds themselves at a crossroad. With real life pulling them apart, they decide to plan one ambitious farewell show before they all go their separate ways. People with Asperger’s don’t deal well with uncertainty, and this is the most uncertain time in their lives.”

Nicolette Mallow: I read your biography about your compositions for film and television, but will you tell me the overview about how your journey as a musical composer unfolded?

Crystal Grooms Mangano: I began playing piano in the 1st grade. Then I added on the flute, the electric bass and I participated in as many music groups as I could while I was in school. Back then I started composing piano pieces. And I loved playing piano reductions of film scores, which I know frustrated my piano teacher. Like the time I brought a piano piece from “Seven Years in Tibet”. In college, I studied music and film together at Montana State University because I wasn’t sure what I wanted to pursue. Their dual degree program allowed me the freedom to learn both spectrum’s… I sort of created my own path by absorbing, learning and combining as much as I could from studying film and music. Practicing both at the same time. I met so many people in both departments. It gave me a great background into all aspects of filmmaking, editing, directing and music. Sort of like learning the ground base for what goes into making a film… When I got to LA, it was a big change and a bit of an adjustment. I was born in Casper, Wyoming and then moved to Montana. But I have grown to love Los Angeles. During the last four to five years is when I really started composing for film and television.

NM: Do you have a process when composing music for film and TV? Or does it alter depending on the project?

CGM: Yes, it depends on the project and the Director. A composer can come on at any point in the project. A composer can begin as early as the script, or as late as when the film is being edited at the end. I recently worked on a horror film and I read the script in advance and then submitted a demo to the Director while he was editing. And then once they were finished, I came back and created the complete score… During the making of “Asperger’s Are Us”—I came in close to the end when they were almost finished editing. I didn’t have much time to think about the music. Before writing anything down, I watched the film multiple times. Just because I really wanted to know as much about the story as I could, first. One of the first tracks I sent was “First Rehearsal” when the guys are looking for a place to rehearse. The scene shows their personalities and struggles; exterior influences. They so much want to focus on themselves and are having so much fun with it all. And I wanted to portray the spirit of their comedy troupe. They do it because they love it and their friendship becomes formed around this comedy troupe. But they don’t have a space so they keep getting kicked out of places and it’s not going smoothly. The score at times is a little off-kilter and a little unconventional as far as instrumentation. I wanted to show they’re having fun and that’s the point of what they’re doing.

NM: I listened to your tracks several times. The music is so playful, fun and it makes me want to go on a walk outside or take an adventure somewhere. There is something about the music that reminds me of youth and the playful mood of being young and free… Music is so powerful. When you’re creating music for a project, does it affect your mood? I would imagine the horror music was vastly different than this documentary.

CGM: Music is powerful and it does affect my mood. I really have to get into the same mindset as the music I am trying to write: anxious, happy, subdued. Whatever mood it may be, yes, it can be difficult because I really have to get into the film. “Asperger’s Are Us” was really light and cheerful as opposed to the darkness and eeriness of a horror film.

NM: I read that you run marathons… Does running help calm your mind and help you write?

CGM: Running clears my head. Running gives me space for my thoughts. First part of the run, I am thinking and stressing about projects. But once I get into the run, that space clears and I am able to enter a creative place. I come up with a lot of ideas and bring them into the studio after a run. The more you sit and work, the more you get where you don’t know if you’re having fresh ideas or not.

NM: Do you have any advice for up-and-coming artists entering the entertainment industry?

CGM: My advice would be that if you’re going to pursue something to remember why you want to do it. Always remember, never forget. For me, when I am getting upset or I am frustrated by the process of it all—whenever I feel burnt out or discouraged: I remember why I love this. I remember that it makes me happy and brings me joy. Keep that remembrance and the love of it all the focus if and when you get caught up in the politics of the industry. Don’t lose sight of why you want to be there. Always put that love and that positive energy into your work.

To read more about Crystal Grooms Mangano and her biography, please refer to her website at www.crystalmangano.com. Stay tuned for the film “Asperger’s Are Us” to appear on Netflix.

 Note: This article was originally published on Examiner.com in March 2016. 

Bob Roth talks Transcendental Meditation and dharma at Prevention’s R3 Summit

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Bob Roth presenting at Prevention Magazine’s 3rd annual R3 Summit at ACL Live at The Moody Theater in Austin, Texas. Photo Credit: Jack Plunkett.

Transcendental Meditation teacher Bob Roth spoke on the opening night of Prevention Magazine’s R3 Summit at ACL Live at The Moody Theater in Austin, Texas on January 15, 2016. Self-transcending meditation was the focus of his speech. Bob Roth explained how this unique and timeless form of meditation could transform people’s lives for the better. Living in a such a stressful world where everything around us is moving at a hurried and constant pace, it can be immensely difficult, if not beyond overwhelming, for us to take complete care of ourselves: body, mind and soul. Through the course of his interactive presentation, Roth guided listeners through the scientific process as to how transcendental meditation and its sound mantra practice can help strengthen the brain and relieve trauma, stress or stagnant energy that’s locked in our minds. This form of meditation even lowers high blood pressure, reduces chronic pain and depletes excess amounts of Cortisol levels, a hormone that is directly related to stress. He described the end result like being in a state of dharma.

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Sharing stories of healing and delivering an insightful overview of his life’s work. A career that began in 1968 around the age of 18, when Bob Roth started to change his diet and even studied Prevention Magazine. Roth emphasized and explained the immense empowerment and peace-of-mind that comes from transcendental meditation (TM). He expressed the ‘constellation of positive changes’ and scientifically described the peacefulness that comes from integrating TM® into the routine of our daily lives.

Bob Roth is one of the most experienced and sought-after meditation teachers in America. Over the past 40 years, Bob has taught Transcendental Meditation to many thousands of people and authored an authoritative book on the subject, fittingly entitled, Transcendental Meditation, which has been translated into 20 languages. Bob currently serves as the Executive Director of The David Lynch Foundation, a 501(c)(3) charity which has brought meditation to over 500,000 inner-city youth in underserved schools in 35 countries, to veterans and their families who suffer from post-traumatic stress, and women and children who are survivors of domestic violence.”

Fortunately, Mr. Roth also had a moment to speak with an A&E Austin Examiner, Nicolette Mallow, regarding this ancient form of meditation.

Nicolette Mallow: During your presentation, you mentioned that you’re deeply focused on helping children, homeless shelters and veterans suffering post-traumatic stress disorder (PTSD). And I do believe that people find immense peace and calm through transcendental meditation. The end results are obviously beneficial and worthwhile. But it can be hard for those who’ve endured such trauma to sit still in the silence and close their eyes. How do those beginning TM® overcome the struggle to find the patience and stillness to meditate with such internal angst? How do people overcome their turmoil and meditate in peace?

Bob Roth: That’s a beautiful question… Transcendental meditation doesn’t enter darkness and it’s a very forgiving practice that is practically effortless. Closing our eyes and looking into the dark can be scary. TM® is not scary nor is it a grueling process that sets off triggers or trauma. It’s a very charming, peaceful form of meditation. It does not evoke darkness on any level, and it feels like being in a state of dharma. Therefore people want to repeat it because it brings out positive feelings: a complete state of peacefulness.

NM: Does it take a lot of time to learn and is it hard to integrate into daily routine?

BR: It does not take much time to learn and it’s an easily acquired skill. This is why we have TM® teachers to help others begin the sound mantra meditations over the course of four days so it’s imprinted into memory… Frankly no one has the time. But what’s the alternative? Stress destroys life and it’s toxic. If we make the time twice a day to meditate, the results are remarkable and deliver an inner-calmness, ease, peace and state of happiness. Every aspect of our health and mental wellness improves after meditation. Transcendental meditation protects and regenerates the body. It’s very cleansing and the feeling of awakening and resilience is very purifying.

For more information regarding Transcendental Meditation and where to locate a TM® teacher in your area: please visit their website at http://www.tm.org. Lastly, if you are a veteran or know a loved one that served and is in need of cost-free healing: The David Lynch Foundation also has a division, Operation Warrior Wellness (OWW), that serves veterans in need of healing. Donations to sponsor a veteran can also be submitted on their website.

Note: This article was originally published on Examiner.com in January 2016.

Tears of Diamonds & A Heart of Silver: The Legendary Bill Carter and The Blame

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Bill Carter. Photography by Pat Kondelis.

Walking into The High Road to see Bill Carter play music, I knew I would recognize him on stage but I was ambivalent whether or not he would recognize me in return. For six years at a distance, periodically on Wednesday nights I’ve seen and heard Bill Carter perform with other artists in the annex at Z Tejas on West 6th street in Austin, Texas. Everyone always loves the nights they perform at the Z, even the staff. Sometimes you cannot even get a seat because it’s so full. From a distance I noticed Mr. Carter always wore glasses, a hat of some sort, and I detected that he possessed a lot of tattoos on his hands and forearms with heavy-looking, silver and metallic jewelry adorning his wrists, fingers and neck. He looked like a rock star, and I always thought he must’ve been a cool cat to talk to. Come to think on it, I never actually had a direct conversation with Mr. Carter, or the band, even if polite hellos and friendly smiles were exchanged. Until today.

Stepping back in time a moment, there was one particular night at the Z when I was sitting at the edge of the bar, people watching. Musicians were on stage, silently setting up shop with their guitars, amps and other miscellany. Pretending to listen to my headphones and iPod so no one would bother me, when in actuality no music was playing at all. I heard a group of older men complimenting the musicians. Pointing out who Bill Carter was amongst the group, I also heard the men say that Johnny Depp once joined Carter on stage to play music at The Continental Club, which I found most interesting and exciting.

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 Finally, after six years of watching from the crowd, I set forth to interview Mr. Carter, and he was kind enough to oblige after the show at The High Road on March 14, 2015. Walking into the room for an early daytime show, behind the stage were giant glass windows that opened up to a swimming pool and a lovely view of downtown Austin. The sky was so blue and there wasn’t a cloud in sight. Palm trees blowing in the wind. I was sitting and listening to Bill Carter’s first song – “Richest Man” – which almost made me cry, in a good way, and I had to fight the urge to show intense emotions of sadness and bittersweet nostalgia at the table before it’s even dusk. Something about the lyrics and the mood of this track reminded me of my favorite song by Bob Dylan titled “Boots of Spanish Leather”.

“If teardrops were diamonds from the African mines. If heartaches were silver.

My whole life would shine. And I’d be the richest man.

I’d be the richest man. In the world.” – Bill Carter

Right at that moment, I looked up the lyrics of Bill Carter’s song. I was reading the words as he was singing them at The High Road, something I had never done before at the Z. Suddenly it dawned on me that I had yet to do my research on his background – or even read his website – which I had intended to do later on in the day. Regardless, as I was reading his website off my iPhone and other various articles about him on the web while he music echoed in my heart and ears. Suddenly I realized just how gifted and innovative Bill Carter is within the world of songwriting and music. Suddenly I felt stupid for never having personally introduced myself to him before to show respect, artist to artist. Until then, I was unaware that I was in the presence of a legend, a keystone to the songwriting and music industry the past few decades. Even if I had known I was in the present of a talented musician.

According to his website, Bill Carter and The Blame has been a pillar of the Austin music scene for nearly three decades, helping shape the city’s rich musical history along with songwriting partner Ruth Ellsworth. Over 200 artists have found gold in the songwriting genius of this Texas Troubadour, including Stevie Ray Vaughan, The Fabulous Thunderbirds, Robert Palmer,The Counting Crows, Storyville, Omar and The Howlers, The Brian Setzer Orchestra, Ruth Brown, John Anderson, and Waylon Jennings. Bill Carter and The Blame’s evolving lineup has hosted some of the world’s greatest musicians, including guitarists Charlie Sexton and Denny Freeman (Bob Dylan Band), Chris Layton (SRV Double Trouble), Dony Wynn (Robert Palmer), Mike Thompson (The Eagles), Johnny Depp, Billy Gibbons, Brian Setzer and many others. Carter is also a founding member of the famed Hollywood band “P” with Gibby Haynes of The Butthole Surfers, Johnny Depp, and Sal Jenco. They released the eponymous album ‘P’ in 1995 on Capitol Records, featuring Steve Jones from the Sex Pistols, Flea, and Ruth Ellsworth.”

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Bill Carter and Johnny Depp on The Late Show with David Letterman.

As the show at The High Road came to an end, I was almost too timid to walk up to the stage to introduce myself and kindly ask for an interview once he broke down his equipment on stage. Though I am glad I mustered up the courage to make a proper introduction and ultimately write a story about this great artist. Secretly I was also relieved that he recognized me from Z Tejas, which made the introduction less intimidating.

Nicolette Mallow: From the perspective of a songwriter and musician performing in the official SXSW showcase, do you enjoy the festival and how have you seen it change over time?

Bill Carter: Yes. I think it’s great and I think it’s come full circle from how it all began. SXSW has evolved so much over the years. I’ve been in Austin since 1976 and when the first festival took place in 1987: it was predominantly local musicians and it was very small in comparison to what it’s become today, a million times bigger than the start. As time went by, more and more big names came into town, which was nice because it built the festival into something much more powerful. As time went by, however, it seemed to become more about mainstreams artists and less about the local music scene. Now it seems to be an infusion of both, and I am certainly happy to see more local artists performing this year. My wife (and songwriting partner, Ruth Ellsworth) and I first got involved with SXSW through our mutual love for songwriting. She and I have written hundreds of songs together. Honestly I identify most with being a songwriter and I prefer to be recognized as a songwriter more so than I like to be described as a musician or performer.

NM: Regarding the upcoming SXSW show at The Continental Club, which other musicians will be performing with you?

BC: Accompanying me that night will include artists like Will Sexton, Dony Wynn and Charlie Sexton.

NM: Is the Continental Club your favorite venue in Austin to perform at?

BC: (He smiles.) Yes. It is my favorite venue. Many of the venues I grew to love are now long gone. The original Antone’s on West 5th was another place I loved to play music but then it was relocated and it wasn’t the same. They are going to reopen a new Antone’s downtown and I am anxious to see what it is like and if it will have the same vibes as the original location.

My next question was more a question of curiosity. Even though I worried it might seem counterproductive to ask Carter about another artist in the few minutes I had to interview him. I couldn’t help but wonder about the Johnny Depp rumor. I formed a silly, girlish crush on Johnny Depp decades ago after the film “Cry Baby” came out in the 90’s when I was a kid and was saddened when suddenly every girl in the world had a crush on him, too.

NM: I remember hearing at Z Tejas that Johnny Depp once accompanied you on stage at The Continental Club for a musical performance. Is this true?

BC: Yes. I’ve been playing music with Johnny for decades. I’m the godfather of his children and he’s a great friend of mine. We once formed a band in the spur of the moment in the 1990’s called “P”. We were the headlining band for the Austin Music Awards for SXSW. Johnny was in Texas, nearby Austin, filming “What’s Eating Gilbert Grape” and he came into town for the gig. The band included Gibby Haynes of The Butthole Surfers, Johnny Depp, Sal Jenco and I.

NM: You’ve won many awards and have obtained many prestigious recognitions, your career is remarkably full. I’m very impressed by all I’ve read and heard. Therefore I am curious, what aspect of your artistry and your career are the most rewarding and fulfilling?

There was a brief pause before he answered.

BC: Well, my wife and I have written so many songs together. Many of those songs we wrote have later on been covered by artists I respect and admire. Stevie Ray Vaughan covered our song “Crossfire” and Robert Palmer covered “Why Get Up”. To be acknowledged, appreciated and respected by great artists like these whom I esteem, value and respect has been the most rewarding and fulfilling aspect of my career. There was also one night on David Letterman I particularly enjoyed. Johnny Depp and I played “Anything Made Of Paper” together, which is a song my wife and I wrote. It’s about the West Memphis Three case. A case that involved three teenage boys who were accused of murder and placed in jail for life before they even hit adulthood. It’s a powerful story, check it out.

NM: Austin has changed so much in the 20 years I’ve lived here, off and on. Since you’ve been here so much longer than I, and have seen a lot more growth. Do you think you and your wife will stay in Austin with all the vast changes in the city?

BC: That’s a good question. The growth in Austin has been difficult for me over the decades. The venues changed. The music scene changed. The people changed. It used to be a funky, intermingled town that was quiet and serene with a booming music scene. It was cheap and easy to get around. It was so beautiful then. Around the late 80’s, maybe 1988 or 1989, that city died out and something else began to evolve. I’m sure you’ve seen the changes since the 1990’s. Even people who’ve only been here five years can see changes. Now there are 30 story buildings and it’s crowded, expensive and it’s just not the city that I came to know decades ago. I don’t know…I only come in town for shows. I am from Seattle and sometimes I think I would like to keep a place here, and have one there. But I really don’t know.

NM: My last question is a bit random, but is there a reason you’re only wearing two rings on the same fingers of each hand?

BC: (He laughed) Only because I didn’t feel like wearing the others. I own a lot of rings, cuffs and metalwork that I like to wear. It depends on the day or the mood I am in what I will wear. But there is one ring that I almost always wear, aside from my wedding ring. (He says as he extends his right hand). Johnny Depp gave me this ring when the first “Pirates of the Caribbean” was being filmed. It was the first ring made for the movie, and he told me that he wanted a new one made for him with a gold bandana and a pair of eyes made of rubies. So I got this one and I wear it everyday.

Be sure to catch Bill Carter at his upcoming SXSW performance at The Continental Club on South Congress from 11:00 PM to 11:40 PM on March 21, 2015. The official SXSW artist statement for Bill Carter entails the following: Legendary songwriter and Austin Music Hall of Fame inductee Bill Carter has been a pillar of the Austin music community for over three decades. His songs have been covered by over 200 artists from Waylon Jennings to Robert Palmer. Winner of an Austin Music Award for “Best Song of the Decade” and BMI’s Million-airs Award for Stevie Ray Vaughan’s only #1 hit “Crossfire” Carter and his world class band, The Blame, serve up a wicked stew of slyly crafted Americana. Look for a new album slated for release in 2015.”

For more information regarding Bill Carter, future shows and bookings – please visit his website at www.billcarterandtheblame.com.

Note: This story is originally published on Rank & Revue in July 2015.

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