At the closing of the year

I was torn as to where to post this.  It could go on my music blog or on Put A Face On It but since it covers all arts and artists, here seems to be the best choice.

Again, I choose the best song for this night, "At The Closing Of The Year".  It took up residence in my heart and my spirit the first time I saw "Toys" and it lives there still.  "If I cannot bring you comfort then at least I bring you hope".  "There is nothing more precious than the time we have".

2013 was a year of hope and precious times for me.  It started with a couple of interviews and meetings I'd waited a while for.  Wil Francis/William Control and Geoff Rickley were both part of the very first Warped Tour I went to in 2006.  This year, William was the opener for Black Veil Brides' U.S. tour.  Our conversation proved to me how intelligent and dedicated to his craft Wil is.  The NY show was so great.  William Control and his fans were a perfect match with Black Veil and theirs.  I also had my first and only photo pass for that show.

I had briefly met Geoff in the Acoustic Basement tent at VWT in 2012.  This year gave me the opportunity for a full interview before the Acoustic Basement Tour stopped in Connecticut.  I also got to spend some facetime with him at the show.  The Acoustic Basement show also brought Brian Marquis into my life.  Later this year,  Brian caught me offguard by remembering me when I climbed onto Bus #22 to interview Billy The Kid Pettinger.  Brian is a great musician,  a great road dad and such a genuine person.  He's also lucky to be alive.  During the Warped stop in Key West, Brian was struck by lightning.  He tried to stay on the tour but his doctors did end up sending him home.

January saw two huge tribe features in FourCulture.  After having his feature put on hold by William Close being selected to compete in America's Got Talent, we were finally able to do a second interview and create a great article.  Also in the first issue of 2013 was Lucent Dossier and their wonderful founder, Dream Rockwell.  In our interview she left me with truly great words of wisdom.  I do my best to always be mindful of the point on the arrow of my life compass.  Dream and William both introduced me to some more of the core values of the tribe.

In February, I had another one of those close encounters that didn't quite connect with Adam Lambert but I did get to do a short interview with legendary, funk guitarist Nile Rodgers.  I discovered that he lives right here in Connecticut and his "We Are Family Foundation" works with the people dearest to me...youth.  Thanks to meeting and befriending photographer Robert 'Bobby' Braunfeld, I was able to watch the whole awards ceremony and performances from the floor at the Hammerstein Ballroom.  The performances included the first and only of Lambert's "Shady"by all the artists involved in its creation - Adam and Sam Sparro who wrote the song and Nile who was asked by them to add his perfect guitar line to the recording.  Live with Chic adding the extra punch, it is by far the best live version of that song.

Although hectic schedules prevented the father-son interview to go with Hans and Bill Haveron's first father-son gallery show in Dallas, it didn't stop me from getting to know the Haveron patriarch.  Today Bill is a very dear, dear friend and is yet another one of the special gifts that has come from my friendship with Hans.

St. Patrick's Day was spent in Manhattan but not for the parade. I was downtown at Webster Hall for Canadian multi-genre band Dehli 2 Dublin.  After experiencing their show, I still believe they need to be on Warped Tour.  These musicians took a challenge of mixing Celtic, Eastern Indian, African and Reggae and have come up with something exciting and really great.

May was super special.  After a year and a half I finally got to meet William and experience The Earth Harp.  I did write a review but words don't do that instrument justice.  They also fall short when trying to describe William.  However, I will tell everyone that I now am even more certain that he is the chillest person I know.  Also at Metro Tech Plaza that day, I had my first encounter with Treeman, Lionel Powell.  This meeting gave me a chance to watch him interact with people and the environment.  I was totally enthralled.

A few days later was actually the beginning of June and a super-special trip from Steven and I to Queens and Manhattan.  My son had recently turned 21 so we included a birthday lunch in the adventure but we started out the morning on the #7 to go to Long Island City to do a photo-journal at 5 Pointz.  Both of us had our breath completely taken away and took hundreds of pictures.  After lunch we headed down to the East Village and met up with Treeman and videographer Michael Angelo.  We did interviews and photoshoots and had a blast.  After I treated Steven to the best soft-serve in the city, The Big Gay Ice Cream Shop.  Sadly the photos we took were used in a series of op-eds for 5 Pointz as greedy developers flexed their muscles to destroy the one and only living museum of aerosol art in the U.S.  Today, the complex has been white washed and is an horrible splotch on the landscape of Long Island City.  At this time it seems like NYC is in store for yet another big steel and glass generic box in its skyline.

Early in May I came to the understanding that my plans to go to Temecula, CA for Lightning In A Bottle were not going to happen.  As many friends know, I'm calling that my "Dorothy Moment".  I understood that "If you can't find your heart's desire in your own backyard, then you never lost it to begin with".  The moment I accepted that more members for the tribe came east.  So in the end it all had a purpose and I love where it has gone.

Also in June, having cancelled that trip, I saw that July 14th was now an open date on my calendar.  Deep inside I knew I was supposed to go to Warped Tour, despite being without my photographer for the first time in four years.  When I quickly and easily got my application in and approved, with an ace in the hole if that didn't work out, I started contacting PR's for some old acquaintances as fast as possible.  The result was outstanding.

The first band I interviewed upon choosing a journalist's path was Motion City Soundtrack. Although I met Justin Pierre two years earlier, after that I spoke to every other member of the band but him.  Earlier this year I got to interview Josh which was great but the other founding member continued to allude me. It would be at the Comcast Music Center that I would finally chat with Justin.  I also introduced myself to tour founder, Kevin Lyman who in turn, introduced me to the general manager of the venue.  I got to hang out with my road daughter, Bethany and gift her with a unique piece of Kill Hannah jewelry.  Courtney was no longer typed words on Twitter but someone I could actually share a hug with and watch her work.  I reunited with JT from Hawthorne Heights, got to interview someone else I'd waited quite a while for, Shane from Silverstein. Got to dance with Young London and then talk to them later.  Learned the stories of upcoming pop band, Echosmith, saw The Used, William Beckett and Relient K.  Then it was off to the bus yard to spend some very precious time with one of my oldest road kids...Jinxx.  I ended the day as perfectly as it started,  watching him with Black Veil Brides.  Driving home, I knew that I was never supposed to go to California.  In Hartford, I recharged my batteries and was reminded why I came this way to begin with.

October presented the chance to do the interview correctly that I had started with Sutan Amrull in April of 2012.  I also did my first Skype interview with someone in Bali.

2013 closes with news from a friend that has the potential to bring a huge change to my life.  There are things already in the works for sharing more of the tribe with the world.  I come into 2014 with a even more respect and appreciation for the tribe, their graciousness, generosity and sincerity.  I will strive harder to earn my place in this family by living these ideals.

Happy New Year.  Let us find more keys and unlock the doors to freedom, peace and unconditional love while locking away hate, fear, deceit and all other manners of evil.  My light to you.

de Young Museum | de Young Museum

de Young Museum | de Young Museum:









'via Blog this'

Check out all you Bay Area peeps. One of those times I wish getting to the Left Coast was easier.

A key to success by Alexander DCD

We are all aware of keys in life.  We are always unlocking something in ourselves or others.  One of the themes in most people's lives is success.  It starts with learning to do the basics.  We, hopefully, succeed in learning ways to convey ourselves through life - rolling, crawling, walking running.  We must succeed in learning how to nourish ourselves.  Eventually we learn how to cook, shop, grow food but first we must succeed in getting food into our bodies.

Next would probably be communication.  A baby succeeds at getting the attention it needs by squacking or crying if it is in some kind of discomfort.  Eventually it learns words or signs if they are mute.  If they are deaf they must succeed at learning to read lips and sign language.  A blind child must learn braille.

After we succeed at the basics then we deal with more complex concepts of success. Transportation/conveyance - riding a skateboard, skiing, rollerblades or driving a car.  Communication - using a telephone, a computer, ART!  And of course success in a career.

Alexander hits the nail on the head with this piece.  Success takes dedication, conscious or unconscious. The baby is dedicated to succeeding in getting the attention it needs.  It does not stop making noise and/or moving until an older, more developed human notices and comes to the baby's aid.  The five-year old wanting to ride a bicycle will suffer bruises, cuts and sore muscles until they have achieved that perfect combination of motion and balance.  The college student who gives up a party to study so they see that Suma Cum Laude next to their name in the graduation program.  The eighty-year old who sits with their laptop until they succeed at sending that photo of their grandchildren to a friend via email.    Each of these people at each step in their lives have committed, dedicated themselves to the task at hand.  If they lose focus, drive or ambition they are no longer dedicated and even if they do not fail, they will not succeed in completing the task to its fullest end.

You can learn more about Alexander DCD and watch more videos on his YouTube channel, on his blog and on his official website .

The key to your heart

Forgive me. Somehow I missed my own timing on this one.  It was intended to be posted yesterday.

Valentine's Day.  Although a "Hallmark holiday" is a day when we are focused on letting those we love know in the form of gifts, cards, meals that they are important to us, special.  Of course we should be doing that every day and honestly, I'm one for spotaneous romanticism.  I much prefer flowers, delivered to the office, for no reason at all.  But that's not the point of this post.

One of the many analogies of romantic love is "giving the keys to your heart".  I never really thought about that phrase much until I started writing this key series.  The first thing that came to mind was a conversation with a former lover about happiness.  I had said something to the effect that this person made me happy and that I would be incredibly sad without them.  The response floored me.  Instead of thanking me for the compliment, he said that he never wanted that much responsibility in anyone's life.  He went on to explain that we should all be capable of creating our own invidual happiness with a love interest merely putting an extra shine on the happiness we had already found and maintained on our own.

Being single for ten years now, I completely understand what my lover meant.  I have not only achieved my own happiness, I have found joy and peace.  As much as I would love to be in a romantic relationship, I have established an entirely new circle of friends that stretches from New York City, to Chicago and now to Los Angeles without traveling any farther than a three hour drive.  These people, with their arts, talents and spirituality have filled my life with so much vibrance, inspiration and blessing.  When I am interacting with them, either face-to-face, over the phone or on-line the colors of our friendships are brighter and just more but when I am alone, that joy and love is still there.  The flame is a softer one and warm instead of strikingly hot but I am genuinely happy.

So what about the keys to my heart.  I've always been able to unlock my own emotions and set them free.  I've never been one to actively look for "the one" who can open me up but some people have come along that have shown me new "rooms" within myself.  Sometimes it does take someone new to release emotions, spiritual ideals or creativity.  But are they the only ones who can do that?  Maybe it's possible that they were one of many who had those particular keys on their ring.  There maybe others that have them too.  The thing is, and here is the wisdom being unlocked, you already had those keys on your ring from day one so when or if that person leaves your life, you can unlock those doors yourself.  We all know deep down that no matter how badly the relationship ended and how much it hurts to revisit parts of ourselves, eventually the hurt subsides and we remember the lessons learned and realize that there are places we want or need to go back to, good things that we desire even without that person there to share them.  We never forget where those rooms are and most of us probably poked around at them while we were healing from the break-up it just hurt too much at the moment to actually open them.

A personal story about the rooms in my heart and in my spirit that I slammed shut and then boarded over years later in a different relationship.  I ended up with someone that was so different from me that I moved into the basement of my heart and soul, leaving creativity and spirituality in the bright sunny rooms on the main floor and in the attic.  I spent 20 years bending and shaping myself into someone so far from my real self trying to make this person happy.  When I think about it now...I never had the keys to his heart and nothing on his ring fit the doors of mine.  Instead of opening me up, he shut me down. When I finally walked away from that relationship, I came upstairs from the basement.  I threw open every single door and fountains of color and beauty poured from every one.  Yes, some of the objects in those rooms had collected dust so I cleaned them off and opened all the curtains.  Then I kept going up to the attic; the home of all my quirks and excentricities.  Old dress forms, cheval mirrors, giant bird cages and my grandmother's evening gowns all waiting for my return.  Yes, I did reconnect with an old lover during this process and he opened a door or two but mostly he stood by and watched me open them with my own keys.  And when my new found energy proved too much for him, he left.  I was sad but I didn't shut those doors.  In fact some of them wouldn't close if I tried.

The points are these.  First, don't ever think that someone else is the sole bearer of the keys to any part of you.  Yes, revel in the joy when that person does unlock something in you but remember that if that door gets closed at some point down the road, YOU have a key to it too.  Second, don't ever give away your keys.  Don't lay the responsibilty of your joy, your peace and your love on any one person.  It's not a compliment.  And in reverse, don't feel that you are special if that person claims you are the owner of their keys.  That is a dependent relationship and if you both are doing it, it's co-dependency and that is a sick, dysfunctional relationship that will poison the people in it and anyone close to it.

The next time you put on a piece of jewelry or clothing that depicts a key, think about it this way...that is YOUR key.  You own it for life.  Don't give it away.  Sure, you can let others use their keys but always remind yourself that when those people are far away and you want to feel, create, pray, whatever and the door got closed for one reason or another YOU!! can unlock it.

When the underground reaches the surface

Earlier today I did an interview with Kevin Malone, aka Heaven, DJ from Chicago and he brought up the subject of when underground art moves into pop culture.  We were mainly discussing the Chicago music scene and how it has eroded into "more of the same thing" as some of the best pop-punk, power-pop and electronica groups of the city have faded into the rest of current Top 40.  Probably the most prevalent example of this would be Fall Out Boy and it was their "success" that seemed to pull the stopper from the drain that sucked out the organic music scene and left a bathtub ring of scenesters more worried about their clothes and hanging out at the "right" clubs than seeking out the latest, most innovative music in the city. 

From there, I was pulled into a deeper part of this thought when a friend posted a link to the original music video of "Church of the Poisoned Mind" by Culture Club.  This Brit dance-rock band was one of my favorites in the 80's/early 90's, not only due to their unique sound, but George's fearlessness when it came to fashion and being his own flamboyant self.  The hair, the make-up, the hats...Boy George had me wrapped around his little finger.  If I was not in the life situation I was at the time, I would have found a purple flat hat, corn-rowed my hair and wrapped each braid in ribbons and beads.  I would have searched through my old clothes and found all the bright skirts, flowery tops and danced in the streets to "Tumble For You", "Time" and "It's A Miracle" in a pair of beat-up Capezios ballet shoes. 

I didn't see it then but now it is crystal clear how that fashion and music progressed into the mainstream later in the 90's and has come back into pop culture popularity today.  I can go even farther back to my high school years when David Bowie was raising eyebrows and was the recipient of more than one "tch tch" from pearl clutchers.  Even the kids who were trying to be totally rebellious by listening to that "damned rock music" their parents hated, didn't take to kindly to Bowie, Yes, or Andy Warhol.  It would be later, after they were out of college, with their own kids and trying to be more "intellectual" about their art that these artists and designers became 'cool'. 

Today you can turn on Top 40 pop radio or any hip-hop station and hear all manner of electronic enhancements; vocal and instrumental.  Beats are a dime a dozen, sold by the truckload to producers who use them over and over with a myriad of artists.  Listeners turn on the TV, radio or internet broadcast  and are comfortable with this fact.  Most will never call out the amount of auto-tune, layering or re-use of a synth track that is going on. They also have no idea (nor do they seem to care) what the history of these effects are.  They certainly do not want to know where a lot of it made its public debut...in the seedier disco clubs and gay bars two decades ago. 

A few purests remain and have maintained their integrity, Nine Inch Nails and Smashing Pumpkins if we are speaking of Chicago.  Pop culture has tried to assimilate these artists but really have not been successful.  Both have had songs that turned up on the mainstream pop and/or rock stations but for the most part they are still on the fringes.  However, will someone gravitate to them twenty years from now and figure out a way to make them the latest thing at Urban Outfitters, Hot Topic or some other chain retailer trading in the rags and discs of the current "scene"?  If history continues to repeat itself, probably. 


Sadly, the 'lemming trait' of the human species seems to carry on generation after generation.  People don't like to live outside their personal comfort zone which, in reality, is more a case of not being the one swimming against the tide.  In some cases this is not all bad.  As underground cultures of different nationalities, ethnic groups and sexual orientations brush up against the mainstream to the point where numbers of the curious increase and gravitate to them.  What was previously scary becomes less and less allowing the human family to come closer together which is the ultimate goal.

Dialect Gallery at Lightning In A Bottle

Dialect is a beautiful gallery located on 6th St. in Los Angeles.  They made themselves known to me when they tweeted their appreciation of my interview with Hans Haveron.  Hans has shown at Dialect and holds a special spot in their hearts.

Like Haveron, the gallery packed up their wares and headed into the mountains over Memorial Day Weekend to join the tribal gathering known as Lightning In A Bottle.  Now how, you may ask, can an art gallery provide a proper facility for the works and the staff at an outdoor event?  Well, check out this video to learn the answer.


DIALECT from Howard Kan on Vimeo.

http://vimeo.com/25252873

downtowndialect.com/​
lightninginabottle.org/​
thedolab.com/​

Hans Haveron - moving toward the light

Mural done for Lightning In A Paint Can

I recently had the chance to sit down with Hans Haveron, fine artist from West Hollywood.  Haveron is another one of the post-modern gypsies who now reside in Southern California.  He had just returned from "Lightning In A Bottle", the annual gathering of the tribes that takes place in Silverado, CA.


Hans was still very excited about his time at Oak Canyon Ranch.  At the event he created a five-foot "live mural"...a piece that is part performance, part painting for the "Lightning In A Paint Can" fundraiser for The DoArt Foundation.  I asked what surface he used for this work.  He said that he usually packs some large canvases and a staple gun.  The fabric can be stretched between trees, mounted to a wood frame or a convenient wall.  He went on to say that he has traveled to other countries and just picked up trash found lying around and painted on it.

Just before "Lightning In A Bottle", Hans had been commissioned to paint a tour bus for Felix Lighting.  The project was completed in one day along with Sean Griffin using "cans and caps", graffiti art.  I asked if there was anything he hasn't painted on, knowing he has covered slices of trees, factory windows and the bus.  Haveron responded that he's sure there are things he hasn't painted yet but he has worked on a fair variety of things including "planes, trains, and automobiles...and boats."

Tour bus for Felix Lighting - collaboration with Sean Griffin

 Where did all of this gorgeous art start?  Haveron ran away from his home in Texas at the age of fifteen.  On the road he picked up a spray can and did a lot of graffiti art.  Eventually he added bristle and airbrushes to his arsenal.

After landing in West Hollywood, Hans did many things to keep life and limb together.  Some commercial art, modeling and make-up.  As he integrated himself into the WeHo Tribe, he connected with groups such as Lucent Dossier, the burlesque cirque troupe.  He designed the airbrush, fantasy style make-up that they continue to use today, after Hans stopped working with them.  "Imitation is a sincere form of flattery" is how Hans prefers to look at it rather than being angry over being ripped-off. 

Cassidy Haley with body art
by Hans Haveron

Haveron worked for eight years as a model.  This put him together with a group of clothing designers that  would become Skingraft Designs.  Here he added people like Cassidy Haley and Johnny Cota to his circle.  He recently worked with Skingraft on the Britney Spears video. 

Another clothing designer he connected with was Roxy Contin.  Roxy is currently Haveron's business partner and room-mate along with being an very successful designer in her own right.  Hans has recently collaborated with her on some design projects. 

Getting down to the really nitty-gritty of Hans' art, he gave a beautiful analogy of how he approaches the creative process.  He said "It's like making a Mother's Day card.  There is nothing in your heart but excitement and love.  You just want to make something amazing for love.  All my art is done out of love and gratitude for being here.  It's like a Universe Day card, thanking it for all the good things.  It's a gift.  An offering."

What drew me to Hans' art was all the symbolism I perceived as I went through the catalogs he has on-line.  Fish, butterflies, moths, these things seemed to speak to me and were the driving force to try to book this interview.  It turns out these symbols were not just my perception but very intentional.   The first thing he explained was my error in identifying certain fish as koi.  They are telescope goldfish, which are bred and raised by the Buddhist monks of Tibet.  Many of the female figures denote the Goddess and the prominent moth is always moving toward the light.

Haveron likes symbolism because he feels it creates doorways for your mind.  Certain objects and creatures cause you to think.  They are also represent spiritual ideals.  Hans considers himself very spiritual, a result of coming through a rough early life and emerging on the other side intact physical, emotionally and psychologically. 

The most profound story he shared with me in regards to symbolism was the explanation of his painting "Sepia's Secret".  Recently pop-rocker Adam Lambert chose an element from the painting as inspiration for his latest tattoo.  The painting had existed for a while and Lambert has now purchased it.  In "Sepia's Secret"  there is the female "goddess", her cloak outstretched to protect two children, symbols of innocence and counterpoint to the ego.  They hold a large key.  Above the goddess is the all-seeing eye of the universe, with its keyhole shaped pupil.

The point of the story is that the child holds the key to unlock the wisdom of the universe.  Therefore all of us but especially artists of all types must always make sure the child is present.  The most difficult part of being an artist is the battle against the ego to let the child prevail so the art can be made.  The child is the creator.  If the ego gets too big, the child dies and so will your art.  It was after Adam learned this story that he chose the key for his growing collection of body art. His previous tattoos, the eye of Horus and the infinity symbol also have very specific meanings to the musician.

Hans says Adam's choice makes complete sense as he does an amazing job of keeping his ego in check and calling on his child to create.  He is a pure spirit who loves helping his friends.  As for Lambert's art, despite his success he still doesn't settle for less than his best. 

Lambert shared the tattoo via Twitter and included a mention of Hans' inspiration.  Word traveled fast and Haveron found himself talking to the head of ICM, an agency that represents actors such as Nicole Kidman and Tom Cruise, who congratulated him for having his art being chosen.  This is the first time, that he is aware of, that someone has had any of his work inked on themselves.

Moving on to other works, Hans has done more than one large mural with other artists.  I asked if he prefers collaborative works or creating solo.  He continued on the theme of the ego vs the child by saying that collaborations pull from a different side.  They challenge him to subdue that ego that wants to show-off and take charge of the project so that the child can just let go.  When working alone these two sides also fight for dominance but it's all internal.  He likes both opportunities because of these differences. 

A question I have been asking every artist I talk to is, "What other 'art languages' do you speak?"  I have learned that most creative people, once they tap into that first talent, challenge themselves to find other medium they can recreate emotions in that will connect with observers allowing them to become participants.  Haveron is a classically trained musician who plays guitar, bass and flute.  He is a welder, woodworker and performance artist.   

The last question I got in before we had to wrap due to a photoshoot at his studio was based on listening to the tracks Hans has on his playlist on his Myspace.  There is a lot of "free composition" electronica.  I wanted to know if this is the type of music he listens to when he is working.  He said for the most part, yes.  He likes it to be "other worldly".  He favors pieces with electronically created noises.  He tries to imagine what might make that noise or what the world would look like where the sound came from. 

As we parted we agreed this wouldn't be the last time we talked.  I've already started a new list of questions in the days that followed this conversation.  We both look forward to doing it again.

Haveron Studios
Hans Haveron on Myspace
Haveron Studios on Facebook

Hans and I would like to extend a very special thank you to Adam for giving permission to publish the tattoo/painting story.  There were no Adam questions in my prepared list as I wanted this interview to be about Hans.  The story was part of his spontaneous response to the question about symbolism.  We agreed that I would not include it though unless Adam was ok with it as he has not spoken about it to the press previously.  I'd also like to give a huge thank you to Hans for giving me the photo of he and Adam.  I ask all readers to direct others to come here to view it, rather than copying and pasting it all over the internet. 

Inside or out, is the tribe “safe”

Yes, a tribe can be a sanctuary. But it is in no way “safe”, neither within nor without.

Within the community artists are “safe” to congregate with little concern for those who disapprove of them damaging or polluting their muses. However, once the group begins either individual or collaborative works, the safety net is removed, the bulletproof vests come off and the security guards run for cover. A real work of art requires souls to be laid bare and hearts exposed. Emotions are fair game and are depicted in voice, paint, clay, and words. Others will add critique, edits and embellishments. Some may fight back defending the work in its original form. It is a free-for-all where art is birthed, cultivated, fertilized and grown in to bigger, better, more exciting, more daring.

To create requires risk and courage. It is leaps of faith where, most times, the jumper is allowed to fall, if for no other reason than to see how the impact will affect the final product.
Some creation are the result of fire, water, and wind in their most destructive forms. Other artists must be mindful of torches, filled wine glasses or large fans.

The tribe will support and defend itself and its members when it goes out into the more unsafe space outside the community. It is in the “real” world of cowards art is anything but “safe”. It is radical. It is revolutionary. It adds color to their gray spaces. It makes them hum along. It makes their feet move in other ways rather than one foot in front of the other…over and over and over again.

Art makes them question their faith. Art makes them feel something…anything. Art dares them to to be different. Artisans are not safe people.

So if you want safe? Join the flock that follows itself blindly into the corner of the pen in a rain storm only to suffocate each other. Walk in lockstep, questioning nothing. Live in a place of constant fear.
Or be brave. Thumb your nose at safety. Come into the tribe and live fearlessly.

Describing ‘The Tribes’

Over the past four years I’ve crossed paths with many artists. At the beginning most I knew as musicians. Over time I’ve learned that most of them also work in numerous mediums from film to clay to pen and ink. These folks also tend to gravitate towards each other and take up residence in art communities within the locations they actually reside.
Truly established U.S. tribes seem to be strongest in southern California with other outposts being in Seattle, Chicago and parts of Texas. Surprisingly, the large numbers of artists in New York City tend to keep to themselves with only small close-knit groups with a few cross-overs. Boston seems to be the same with one band of hippie/gypsies that I have been able to pick out.
The point of this blog is to be a beacon to all the tribes mainly in North America but also internationally. As more artisans come forward to identify and define themselves and their communities, the picture should become clearer and the definition more precise of modern neo-tribalism amongst artists.