Target Audience Magazine Summer 2011 by Ellen Eldridge

For Artists, Musicians, and Writers Who Want to Avoid Starvation

Issue #13 - SUMMER 2011

Find Yourself. Hit Your Target.

Making it as a Graphic Designer Facebooking Your Business Avalanche Tour Photo Album Featured Artist & Poet

returns to mayhem

Publicity 101 Getting the Mediaâ&#x20AC;&#x2122;s Attention

IN THIS ISSUE: Features

Summer Reading

Publicity 101..............................06 Tips on getting media attention for your band or business.

Facebooking your Band............37 Tips on user your Facebook Page for band or indie business promotion.

Mayhem Festival........................08 Interview quotes with Megadeth, Trivium, other bands and photos.

The Armageddon Chord...........40 Jeremy Wagner’s book about transcribing and performing a song written by the Devil!

The Rob Zombie of Atlanta.......18 Interview with Shane Morton; creator of the Silver Scream Spook Show Making It in Graphic Design ..........04 Interview with Meredith Locklear of Jack and Molly Design FINE ARTIST FEATURE...................52 Mystikka Jade interview and art FEATURED POET................................58 Atlanta’s Jeannie Caryn writes, paints, and writes music! See what inspires her!

Dolor ......................................................39 Rick Florino’s first five chapters into the chaotic connections among those in Dolor, a town whose name means “pain.” V4: Water Vamps..........................41 Deanna Anderson reviews G.L. Giles’ latest vampire novel about water vampires. Delicious............ ............................28 Micro-fiction by Lucas McPherson

Live Reviews/Interviews KMFDM..........................................31 Live review & pics from

DRAGONCON......... ..........................20

The Bottom Lounge in Chicago, IL

Avalanche Tour.............................22

Mayhem Festival..............................12 Interviews with All That Remains, Machine Head’s Phil Demmel talks Locust

Review & Live Pics

Warped Tour ...........................................24

MIAMI HORROR .....................................35

Interview with The Devil Wears Prada

“No Shoe-gazing here”

Birmingham Sidewalk Film Fest......14

The Ladies of Sport..............................36

Check out the 13th annual Sidewalk Fest with columnist David Feltman

How worlds collide

Hesher Out on DVD.............................16 You see a twisted F***, I see an individual who cares, really deep down

Indie Film Director Speaks on

If a picture is worth 1000 words...

THE SWORD..................................30 Live review from the Masquerade!

THE OFF HOURS.....................................29

CREATIVE NONFICTION WRITING CONTEST Details on p. 25

Staff Ellen Eldridge - Editor-in-Chief Cyan Jenkins - Art Director Russell Eldridge - Music Editor Rose Riot - Photography Editor Victor Schwartzmann - Poetry Editor Contributing Writers: Kim Acylic, Deanna Anderson, Kate Davenport, Ellen Eldridge, Russell Eldridge, David Feltman, Gail Fountain, RJ Frometa, G.L. Giles, Brandon Harrington, James HesterJerel Johnson, Nathan Liss, Ivonne Lucia, Lucas McPherson, and last, but certainly not least, ET.

Contributing Artists: Jeannie Caryn, Mystikka Jade, Rose Riot Photography Interested in contributing? Ellen@targetaudiencemagazine.com

CD Reviews p. 46 South of Sanity, What Model Citizens, Chapter 14, Palooka, Mister Heavenly, Meek Mill, Machine Head, Indestructible Noise Command, All Shall Perish, Andy Palmer

Making it as a Graphic Designer Meredith Locklear is the owner of Jack and Molly Design. She works as a graphic designer and artist, and established her own online business through Etsy. The spirit and passion Meredith exhibits makes her a perfect candidate for Target Audience Magazine because she made a success out of her passion for art while helping other independent business people and artists with logos, banners, and web designs.

Meredith

How did you become interested in graphic design? I have always been a creative person and have always enjoyed all disciplines of art; Graphic Design was the one business where I truly could combine all mediums I love and succeed (and making a living!) Is your bachelor’s in design, communication, or something else? My BA is in Graphic Design. I also have a minor in English. Designers also need a good grasp on the written language because some much of our job is editing what we see on screen. When you started your internship(s), were you looking for layout work? What did you want to be when you grew up? I wanted an internship with established agencies where I could soak up the most knowledge. I was thrilled when I was chosen for such a well-known agency! I wanted to be an artist in some form. I am also an organizing extraordinaire. Graphic Design requires an organized way of thinking because so often, we are organizing information. Once you landed the position of Creative Director for your publication (and did you start there or work your way up in the company), did you experience any defeatist feelings when your designs had to conform to client’s wishes? I started with my company from the ground up. I was the first paid employee for our publication and as 4

Locklear the company grew, so did my position. I manage 13 weekly newspapers now and the entire creative staff. We are expanding all the time! Graphic Design is 50% educating your clients. The more information you give them upfront, the better. All designers have to conform to client’s wishes to some degree, but the key is to educate them on what is good design and what your process is. Is that feeling of desire for limitless creativity what drove you to open your Etsy shop and how did you structure your first (assuming) independent business? YES! I love creating whimsical, fun artwork. Etsy is the perfect place for that. It IS actually how I structured my first business. It is a great place for trial and errorto see what sells and what people like. The community is also fantastic. I’ve met fantastic people from all areas of the world beginning amazing businesses. What advice do you have for other designers or even other craftsmen attempting to earn extra income while releasing cathartic energy through selling on Etsy?

The most important thing you can do is brand yourself. You need a logo, matching business collateral. You also need people to have an “ah-ha” moment when they visit your online business. They need to know what you are about; you can achieve that by visuals and your written explanations on your profile, item descriptions and other areas that deserve wellwritten information. How much time do you spend working for clients of your Etsy business? Would you consider working independently from home or do you still feel the need for a “day job”? I spent about 12-15 hours a week on Etsy and my side business. I think I could easily move to working from home on my own, but really enjoy my regular job.

For those interested in your services, what are your best sellers and items most beneficial to other independent artists, musicians, writers, and business owners (including Etsy sellers)? LOGOS! I sell mostly to small businesses who need identity design. New businesses truly need an entire branding package to get their business off on the right foot, and to appear professional. It is worth the investment! That should about do it. Our audience is comprised of aspiring artists, musicians, and writers so I anticipate this interview to be beneficial to artists and as a helpful resource for those musicians, writers, and even artists (photographers and painters) to learn where they can easily get a great website design made for their customization.

For more on Jack and Molly Designs visit

http://www.etsy.com/shop/jackandmolly

Interview conducted by Ellen Eldridge

Theme: “Volunteering” write a creative non-fiction essay about any experience that fits Email ellen@targetaudiencemagazine.com by Dec. 31, 2011 for details SUMMER 2011 ISSUE

I once cold-called a licensing agent to ask if I could send in some promotional CDs for bands I represented. I think the guy had been chained to the basement floor, and forced to listen to all the CDs that came in because of his forlorn exhalation, “But we have so Maaaaaany.”

Publicity 101 Getting the Media’s Attention

I almost fell out of my office chair laughing. It’s so true! All agents, writers, labels, etc. get so many CDs shuffling across their desks that there is no way they will ever finish listening to them all. Sometimes, as a writer, the picture on the front makes the decision as to what gets played next – or at all. Unsolicited (the ones the writer, label, etc. did not ask for and probably doesn’t want) CDs and demos get stacked in piles around boxes of cheese nips and Monster Energy drinks. Every once in a while, one slides off the desk and lands on the floor where it will live well beyond the band’s next release. Writers can be the biggest snobs you will ever meet on the web because: 1. Everyone wants their attention, and they have that power thing. 2. They quickly get jaded from all the crap that they hear when they first start out listening to everything that lands on their desk or inbox. When I approach a writer or podcaster as a promoter, I think of the popular boy in school with his, ‘Why are you even talking to me?’ look. His buddy over at Roadrunner just called him about the latest SXSW all-you-can-swallow party they will be attending together. The independent band or promoter becomes the new towel boy hoping to get on the team. Some writers don’t want to be told what artist is good. Often, certain publicists will build writers’ trust, or at least develop a good relationship with them, and can then convince the radio station, reviewer, label, etc. to listen to your songs, and give you some love/hate. 6

By Kate Davenport

What can you do yourself, with or without a publicist, to get more attention online? Increasing your fan base, and turning those fans into live show tickets and iTunes sales comes from knowing how to get the attention of reviewers, interviewers, and local publicity. How, you ask? The simple answer: TIME. Time, coupled with persistence, that an independent artist invests into crafting the perfect words to describe that perfect song that he just finished. If writing and recording the song couldn’t be done in one take, why would an independent artist or promoter expect to write the perfect press release or catch a DJ’s attention the very first time? You have to show them you are serious, that you want it more than anything else, more than anyone else. Artists who take the time to click through every link to every music site followed by bands they’d want to tour with, or fans they’d want to read their album review, will reap bigger benefits from their publicity work. My advice includes gathering the contact information of potential street-team fans in a usable format, then send individualized emails to these sources. Take the time to upload photos and music to as many media and social networking sites as you can find. Then, take more time to make connections on those sites with fans that can reasonably be expected to follow you. Know that old expression TIME IS MONEY? Well, that is why artists and labels have publicists – because no matter who you are there are still only 24 hours in a day. Eye-catching press releases, and the time to make

the connections with people who have never heard of you, and don’t really care, can make a band a success because of that other expression, IT ISN’T WHAT YOU KNOW, BUT WHO. Writers, labels, DJs, etc. gloss over hundreds of emails a day and you have to stand out to get past their filters. Before you write to someone asking them to take their time out, usually for free, to review your talents, put your own time into reviewing theirs. Read some of their reviews, rants or interviews. Follow them. Add them to your own networks. Comment on their articles. You are not only the towel boy here, but you are asking them for their time, which is money. You’d better already be giving some of your own. Plus, if they recognize your name from a comment you made on their last post then they are more likely to open an email from you, especially if it’s a wellthought contribution. RECIPROCATE. If a blogger, podcaster, or anyone touts your work online, link it up! Post their comments everywhere for your fans to see your media attention, and to get the writers more page views. They will appreciate you for it, and when you release a new single or want help promoting a local show, they will be much more likely to help you out again. To get into a lot of print magazines or many of the zines, podcasts, etc. you almost have to have a publicist or someone with connections helping you. But, unless you are paying a huge sum to an established team who is willing to work on your promotion fulltime, or have a label who is going to do so, you are going to need to do a lot of work yourselves (DIY). Every week. And not just one guy in the band, the whole band has to find their roles in creating and expanding a band’s presence both online and in the community. I give my bands lists of active chats and music forums to get into in their genre and talk about music. If you know your stuff, the people in the discussion are going to wonder who you are. And tada! More traffic to your websites and social media. Ideally, not only do the members of the band split up this work, but they organize street team members to help, get their fans to re-post everything they do, and get the band’s ‘‘superfans’ involved.

Hint for the Future: GOOGLE + G+ is going to be a great resource for musicians when it is ready. It’s easy to find people who are ACTIVE in music promotion on a daily basis, as opposed to surfing the web, and getting dead links or websites that aren’t being maintained. My source at Google says they are working on a platform for bands, but did not give a date of possible launch. Meanwhile, a few bands have set up profiles as members of the band, or by using the band names as their names if they can fit it in as such. (Can be awkward if your band name is Order Of Corvus). The major issue with that is that Google doesn’t want bands setting up their accounts yet. I’m all for gorilla marketing, but if they catch you faking anything on them they can shut you down - not just the G+ account, but the Gmail account it is attached to, along with all the documents as well. It’s not worth attaching it to your real band Gmail account, losing everything.

I recommend clients set up a G+ under their personal accounts, and use their own profiles to promote their band, because let’s face it, no one wants to piss off Google. Whether you hire a publicist or not, the more time you put into your own online promotion the better off you will be. The more times your name is out there, more people talking about and to you, the more recognizable your band (Brand) name will become. And the more recognizable your name, the easier time you or a publicist will have getting the attention of the oh-so-busy-writer. Kate Davenport is a publicist for Filament Records and OS Records including the bands Oblivious Signal and Modena. She contributes to several online publications and is available for promotional writing or consultations. Find her at gplus.to/katedavenport

SUMMER 2011 ISSUE

photo by Ellen Eldridge

photo by Rose Riot photo by Ellen Eldridge

photo by Rose Riot

As far as the headiner, Disturbed, Godsmack, Megadeth are the headliners of Mayhem. Some people feel that Megadeth should be closing, but my experience in the festivals over the years is that being the last band on the bill, at the end of an eight to ten hour day, when people have

been drinking in the sun and getting hammered all day, is not always the best slot. I think where we're at is really a great slot. The energy's great. People are excited. As a fan, if you didn't come to see the second stage bands, but you came only to see the main stage bands, there's is always one band before us. It's either Machine Head or Trivium. It was going to be In Flames, but they had to drop off the tour. So, there's always one band ahead of us, and the energy is great. Some times it's still daylight out, so you feel the summertime festival vibe. It's cool.

What do you think makes â&#x20AC;&#x153;In Wavesâ&#x20AC;? so powerful? Paolo Gregoletto- I think the main reason with that song, and that riff, is everyone writes now with technicallity to show off and we definitely have the ability to do technical stuff, but I just wanted something that was pure aggression, and in my mind the more notes, the more flashiness, that's not aggressive. That's not angry. If you want to emote anger in a riff, it's going to be a simplistic riff. Everything about it is very percussive, and when we play it alive it just hits you right away. It's nice. It's so different. We've never started a song like that. Really never had a riff like that. We've had parts that are rhythmic. That are locked up, but not to that extent, and it's only two notes that are being played, but it's all rhythmic. It's all about being tight as a band. In a way, it kind of sums up where we're at as a band. We want to be the tightest band we can be. Everyday, when get off stage, we're picking things apart to see where we can make the set tighter.

SUMMER 2011 ISSUE

Photos by Rose Riot Photography 10

On a tour like Mayhem, it can probably get to seem like the movie Ground Hog Day where you wake up, do your interviews, and have your set time. How do you stay inspired, break up the monotony, and remember what day it is?

Have you ever worked with a vocal coach?

SUMMER 2011 ISSUE

Interview with EDDIE HERMIDA The fourth annual Rockstar Energy Drink Mayhem Festival Extreme stage spotlighted All Shall Perish, a metal band that does not feel fettered to descriptions of death metal or metalcore. This group extends its passion for intensity to crowds of all metal influence and audiences of every facet of the insanely diverse bay area music scene from emo to tech death embraces All Shall Perish. Singer "Eddie" Hermida took time to speak with Target Audience Magazine music editor, Russell Eldridge, shortly after its Atlanta show at the end of the Mayhem Festival tour. Target Audience Magazine: How long have you been a singer?

learned a lot of breathing techniques and a lot about projection. Basically, what she teaches is the implication of projection into caricature voices; the same thing you would do to make the Donald Duck noise, or the Mickey Mouse voice. You implicate that with projection into screaming. Who are your current favorite singers? I would say one of my favorite singers of all time is Rob Halford. Also, Mike Patton and â&#x20AC;&#x153;Weird Al" Yankovic. I really love Randy Blythe from Lamb of God and Corey Taylor from Slipknot. All those people have learned to manipulate their voices properly.

Eddie Hermida: 12 years Have you ever wanted to sing other styles? Do you ever have difficulty with your voice after a show or after recording? Well yeah, just like any muscle in your body; if you work it a lot it's gonna get tired Is there anything that you do before or after a show to be able to keep singing night after night? Yeah, I warm up. I usually take about 20 minutes before I hit the stage to warm up and I do a slight bit of warming down afterward. I run some scales, but mostly a lot of breathing exercises and working on the lowest part of range to highest. Have you seen any of the Melissa Cross videos? Yeah. I was using a lot of her techniques before I ever saw any of her videos. Being a trombone player, I 12

I actually sing a bunch of styles, but my voice is a little too coarse for the radio style, but it's something that I can do. I can do different styles, but I can't incorporate them all in one. You mentioned that you played trombone. What other instruments can you play? I play the rest of the brass section; a little bit of French horn, a little bit of trumpet. Baritone and tuba I can handle if it's real simplistic parts, but once you get into running 32nd notes, my fingers don't really match up very well. What does All Shall Perish have coming up after the Mayhem Festival ends? We're going to tour in southeast Asia and Australia, which I'm really excited to do.

Phil Demmel plays guitar for Machine Head, and has since 2002. The band recently finished up its tour with the Rockstar Energy Drink Mayhem Festival, and Demmel took the time to speak with Editor Ellen Eldridge about his role in the band, and his contributions to Unto The Locust due out on Roadrunner Records Sept. 27. After admitting to Phil Demmel that I especially liked the first and last tracks on Unto the Locust, he told me track one, “I Am Hell,” and the closing track, “Who We Are,” act as bookends where the outro acts like an epilogue to the story-telling throughout the album. Instantly, Demmel back-tracked to clear up any misconception that Unto The Locust is a concept album by saying, “Each song is so different, like a different chapter” connected by the musicianship of Machine Head. “Each song acts like a ride;” some rides more closely related to roller coasters and some more like the Haunted mansion, but all are “full of emotion” and, “If you read through the lyrics you can see how these songs are therapeutic for us.” On which songs did you contribute to the lyric writing? ”Be Still and Know,” and on “Locust” I came up with the concept; the metaphor of a locust for somebody who comes into your life under false pretenses – as a co-worker, a friend, lover, etc. – and robs you of your resources. Then, when discovered, they just fly away and into the next person’s life. I’m sure you know someone like that!” What other songs did you contribute lyrics to? For “Pearls Before Swine” I contributed more of the concept – Robb [Flynn] had lyrics, and I came up with writing the story of addiction – not any particular thing, though. I am a big fan of the show “Breaking Bad” so I took the ideas of something slimy, dirty, not hopeful at all. The concept or idea behind “I Am Hell,” the opening track, dealt with telling a story of a pyromaniac – a female because, apparently, females have a higher percentage of involvement with arson, and crime in general, from passion and love, which makes them

more dangerous. I imagined a pyromaniac writing in her journal about the process – realizing a sickness existed, and writing about the feelings surrounding the obsessions. We had the music first, and I wrote some lyrics that Robb fit for the cadence of the song – as he does with all contributed lyrics. Some words or phrases just fit the cadence better. What do you have to say about the moods across Unto the Locust? The moods of the lyrics fit the music like on “I Am Hell” the mood is burning – literally – with fast, angry music and guitar work. “Be Still and Know” has more of a mood indicating hope, struggle, and a knowing that the light at the end of the tunnel is light inside of you. That’s been on my mind a lot lately, keeping me going. Was there a greater sense of pressure when recording Unto The Locust due to the critical acclaim and success of The Blackening? No, no pressure. We probably felt more pressure in writing The Blackening, but with this one we just had to write a record we liked and were all proud of, which we did. How did playing on the Mayhem Festival benefit Machine Head? We got to play on the main stage for half the tour, and I think the combination of aggression and melody won over a lot of Godsmack, Disturbed, and Megadeth fans. If you could sub in with any band that ever existed, what band? Metallica (no hesitation in this answer). We grew up in the Bay area so we saw them before Kill ‘Em All everybody in a metal band owes a lot to Metallica.

SUMMER 2011 ISSUE

Lucky 13: Another Standout Year for Birmingham’s Local Film Festival By David Feltman If I told you I spent my weekend attending an independent gay and lesbian film festival you probably wouldn’t assume I was in Birmingham, Alabama. Despite whatever stigmas and biases might surround Alabama, there is a thriving cultural life that extends beyond college football, and the Sidewalk Film Festival (now partnered with the SHOUT Gay and Lesbian Film Festival) is one of its crowning jewels. I’ve been attending the Sidewalk Film Fest since my high school days, and have had a chance to see it continually expand in scope and quality. Each year’s roster of films and events has been deeper and better than the last, and its 13th year was no exception. Spreading out across nine venues and three days in Birmingham’s theater district, Sidewalk was a smorgasbord of shorts, features, panels and Q&A sessions with film makers. This year introduced “Sidewalk Central,” an area free to all comers and featuring discussion panels, films, and music. And while the free movies and music was nice, the addition of the discussion panels was the biggest boon to Sidewalk Central. The panels included such topics as how to make an investor’s package, how 14

to make a feature on $5k or less, and how to score a movie. It was a veritable “how to” guide for budding amateurs and wannabe filmmakers. The opening film this year saw the return of Ti West with The Innkeepers. West’s debut film, House of the Devil, won the Sidewalk 2009 Best Feature Film award, and the comedic horror of The Innkeepers definitely proved another welcome addition to the lineup. With something in the neighborhood of 140 films this year, it’s impossible to touch on all of the noteworthy films, so I’m only going to hit on my favorites and the winners here. The documentary Sound It Out illustrated the relationships of the owner, employees, and Patty Schemel: Hit So Hard

customers of the last vinyl record store in Teeside, England. Sound It Out only lasts about an hour, but paints an interesting portrait of the music industry, and the record collectors that fuel these niche shops. Also on the music doc list was Hit So Hard and Live at Preservation Hall: A Louisiana Fairytale. Live at Preservation Hall chronicled the collaboration between My Morning Jacket and the Preservation Hall Jazz Band, and the jazz band’s mission to preserve Dixieland/New Orleans jazz. As an added bonus, the Preservation Jazz Band performed at Sidewalk Central. Hit So Hard, part of the SHOUT series, followed Patty Schemel, the lesbian drummer of Hole, and her battle with addiction. Schemel was in attendance for a Q&A session and a meet and greet for her fans.

My personal horror addiction led me to the double billing of Japanese gore film Hell Driver and the Spanish home-invasion film Kidnapped. Hell Driver is about a school girl who fights space zombies with a chainsaw-katana. What more could I possiHell Driveresisinabout school bly say about that? ten Kidnapped was atile feature floorlength and put up her scrolled Barbara’safull length mirror. Over about years film shot in only 12 takes. The long takes not only molding in the dining room and Me with my shopping bag on the girl who fights space zombies I’ve to craft, Barbara’s showsbeen remarkable but extendliving a sense of reroom and re-hung her doors floor with that deep plum Chinese withstarted a chainsaw-katana. What lentlessness to an already unforgiving film. a lot of other things coat on hold for one day, or as Barbasement , lots of times. She (and but not finished). Who’s made the bara said, when they come back. takes pantouts seams andand The Wise Kids Finalin shout go tofor Biteme Marks more could I possibly say moss green isleafy balloon shades jacket She saysthe I don’t have a pairbacks. of films from SHOUT series. Bite Marks In the middle of two worlds, about that hang in her not so small a another back. She’s shortened skirts. Her clever comedic horror about the travails of in her that? no-man’s land, standing kitchen windows - that have re- in the bit of light at the edge of magic hands created a pewter homosexuality and vampires. The Wise Kids, on the placed the of flat cotton blinds with basement that’s always dark, with silk gown for follows me witha red other hand, trio beaded of teenagers coming vines and yellow straps for our son David’s wedding, in a small, south- flowers she once its rows and rows of mysterious age, and discovering themselves would give a spring-like clothes in no plastic hung from and shortThe littlefilm black one-shoulernatown. explores themes thought of spirituality look anytime dered number rhinestones masterfully, andwith is definitely worth seeking out. to her little kitchen. dressing poles, waiting for someforYouNew Years,more when I this wasn’t Some can learn about year’s festival at thoughts of that walk- one, somewhere, that’s by other quite over my turning-50 slump. ing down Barbara’s blue-grey car- bolts of fabric leaning against www.sidewalkfest.com In Barbara’s basement tucked peted steep stubby stairs, past a walls, a glimpse of brown, some beneath her little blue-grey house rectangular alcove with the one turquoise, and lying by my feet is a 13th Annual Sidewalk Film Festival beige and purple 60’s pileWinners of piecework of sweater arms (a very distant relative perhaps to high-heeled shoe and ominous cardboard shoe and red-orange-blue paisley and Jury Awards a Colonial), one of many on the There the start of her forest black wool pant legs, that’s by a hodgepodge of a street, a right turn boxes. •Best Feature: Narrative - Without, Dir: Mark Jackson of six-foot tall bolts of fabric, their mannequin torso-bound in strips past humdrum bushes across from •Best Feature: Documentary - Guilty Dir: Julie Moggan but of frayed white silk, a pleat, a tuck. tipsPleasures, of cardboard showing, neon turquoise siding. With a small black-flecked bronze and backyard with Narrative a pink and purple more •Best Short: - Terrebonne, Dir: the Jeremy Craig But in front of me, of course, iridescent silky white and flecks of is always Barbara talking, talking Rose•Best of Sharon under her kitchen Short: Documentary - Mr. Happy Man, Dir: Matt Morris window; out front a crab tree that red on grey for the bridesmaids’ Brooklynese, or laughing her big dresses and wedding gowns she’ll green eyes spotlight bigger as she •Best Animated Filmcrimson - Bike Race, Tom Schroeder bursts into bold deep in Dir: bring to life. AScott forest that’s grown spring; her front door fluffy Dir: sits on her swivel chair, scissors in •Bestby Alabama Film - Thea Chief, Christopher and Mary Baschab and propagated to every free ring•Clint of hostas in anCharacter array of greens. her hand, a skirt or pants on her Howard Actor Award - Sean Nelson, in Treatment space of wall in the basement’s lap, in front of her and to her elBut first, shoes off, Performance a step inside, Award tiny room the steamer •Special Breakout - Nateby Rubin, in Wussdangling a glance up past two stairs to a from its pole at the ready and the bow sewing machines. To her left, cubbyDir: holes filled to overflowing •Kathryn Tucker Windham for Storytelling - Two-Legged Rat Bastards, Scott Weintrob kitchen where a wall clock’s Award per- dark wood antique hall table un- with remnants of her past in colors petually striking Film 2:40 -and there’s der Youth, •Best Student An Inconvenient Dir:mirror Slater Jewell-Kemker a peek-in that’s heaped the suggestion of a round table in swatches and beaded necklaces reminiscent of sunbursts, saffron, Audience Choice Awards under a window, since its time it’s and matching earrings and empty apricot and flame, of cream and marigolds, pumpkins, earth, of al•Best Feature: Bag of Hammers, Dir: Brian Crano been topped withNarrative stuff, like- aA new boxes that wait for things to be monds and papaya, punch, coral, surger and a tool box, and an oscil•Best Feature: Documentary - Manput in the intoGlass: them.The By Dale a hatBrown stand Story, with Dir: Patrick Sheehan lating saw (her birthday present). a stack of black felt floppy hats. periwinkle, iris, lavender, sage, and •Best Short: Narrative - Annie and Her Anger, Dir: Tam Le cobalt, aqua, porcelain, teal, ice But always with papers, clothes, I’d scooped one up, tapped it green, clay, ochre, sand, and stone. •Bestthings Short: Documentary - The Dancer, Dir: Seth Stark always in motion, things to my head and was a farmer and ready to Alabama get doneFilm or done to byin the ToSheehan her right an antique cabinet •Best - The Man Glass: The Dale Brown Story, Dir Patrick a half pint model (the hat tipped this feisty single lady with long that used to hold screws and bolts, bird’s nest hair and popping out to my eye) and Napoleon (front but since Barbara has become a sea green eyes, who’s laid her red bent up) and Paul Revere (up with treasure chest for spools. Hesher both sides), giggling, making facSUMMER 2011 ISSUE

crash literally shook up the father, Paul Fornay (Rainn Wilson), son, and grandmother, Hesher’s whirlwind of destruction stormed in to metaphorically shake up an awakening. Comic relief comes from the complete lack of judgment pot-smoking Granny exhibits toward the nearly naked Hesher’s uninvited presence in the family home. It goes to show that most of us do judge too harshly and should reach out to understand others more by offering to walk with them or teach them to smoke from a bong – as Hesher does for Granny. A particularly powerful scene that shows the metaphor of the movie exists in the simple story of a feeder mouse standing up to Hesher’s snake in the cage, causing it to starve. The intoxicated Hesher tells Granny the story during the bong-smoking lesson, but the message gets across.

Hesher (Joseph Gordon-Levitt) crashes into the Fornay family home like an angel who got drunk and tattooed on the fall to Earth. The pain of the landing never made the headlines, but through his deviant behavior, seemingly depraved indifference, and insane antics, he showed others how to feel grateful. Hesher combines the character personalities of many people with whom I have been friends in high school; the mask of suicide stick figure and middle finger tattoos, topped with long hair covering a smoker’s smile, belies a good person underneath. The superficial movie plot revolves around the griefstricken Fornay family whose son, T.J. (Devon Brochu), clings to the wreckage of the car in which his mother died as the result of a car crash. Just as the

Another scene happens during the critical climax of the movie where T.J. nearly gets himself killed tracking down the car in which his mother died – when he is asked, “What are you doing?” The poignant question acts as a turning point in the movie where the characters start feeling their way through their own recovery. The subliminal soundtrack of early Metallica and Motorhead songs speak to the themes in those same lyrics. Re-reading the lyrics to “Motorbreath” off Metallica’s first album Kill ‘Em All (1983), it sounds like the song was written for the movie. Hesher teaches us, in a very powerful and chaotic way, that we need to take stock of our pain or it will consume us, and angels come in all shapes and sizes. Be sure to buy your copy of Hesher from LionsGate Films and visit http://www.hesherthemovie.com/ for more information. Review by Ellen Eldridge

SPRING 2010 ISSUE

The Rob Zombie of Atlanta: Interview with Shane Morton

Photos and Interview by Rose Riot Photography It’s challenge for me to say the name “Shane Morton” without also saying “I love that guy!” Shane Morton is an artistic and creative force to be reckoned with. Shane grew up in St. Simon’s Ga., but has called Atlanta home for over 2 decades. He has been called “Rob Zombie of Atlanta.” I spent several hours talking to Shane and touring his creative masterpiece of a house that includes a Godzilla room and an enchanted forest bedroom as well as a back yard that looks like the back lot of a sci-fi/horror movie set. I can completely understand any comparisons to Rob Zombie, but, honestly, Shane Morton is one of a kind. Shane started off in Atlanta working at a poster shop where he did airbrush. He also fronted the band called “Something” and was a local character and could often be seen wearing old man style sock garters and socks with long shorts. Since those beginning days Shane has grown his creative empire. He has gone on to front other bands and played bass in the The Luchagors. 18

Shane has also created a vaudeville show called The Silver Scream Spook Show, worked on several movies, and Adult Swim. He created The Zombie Apocalypse Haunted House, produced Monster Bash music and Art Festival,

Target Audience Magazine: So, let’s just start talking Shane. You just start talking about your work. Tell me about growing up; how it all started.

Shane Morton: Growing up in the 70s was a great time for kids. There were so many cool things going on then. I read Tolkien as a kid and watched Godzilla at 4. Growing up in St. Simons was also a great experience. It was like Lord of the Flies growing up. I just ran around outside all day, no shoes, long hair and I grew up with a family that was like The Adams Family. Our house and recently put together a rock was filled with rubber bats and opera about Dracula. This is only a crazy birdcages. When I was kid, short list of the many projects Mr. I was poor. I didn’t realize it for a Morton has had a hand in in the long time. One of my favorite stolast 20 plus years. ries was when I wanted to be Lon I was very interested in finding out Cheney from London After Midmore about how the creative pro- night. My dad took me to the drug cess works for Morton and fromstore. We bought a poster board. where he derives his inspiration When we got home he made me a for the many and varied mediums top hat out of that poster board, a in which he creates. This is a man cape out of a garbage bag, burned who seems artistically limited by a wine cork to make black makeup very little and I wanted to hear all for my eyes and cut up a milk jug about how his mind works.

Interview with Shane Morton

for fangs. For $.10 I was Lon Cheney. This had a huge influece on me So you are going to make a pilot TV show for The What kind of teenager were you? Spook Show? I was a terrible teenager. I mean, I was a good student and got awards, but I was a subversive force in the school system. When I was 14 I had a job for a local newspaper and at 16 I was working in an airbrush shop in the mall. I ended up getting a scholarship to go to SCAD.

Yes, we are working on it right now. It will be the most prepared TV show ever! We’ve (Authority Entertainment) been working on it for 4 years. We are making 3 episodes, and then we will try to sell it. Either that or turn it into webisodes ourselves. It will be sort of like Pee Wee Herman. The fall of Pee Wee Herman was the worst thing that ever happened. People are ready for us. They are ready for a show that is like the Pee Wee Herman Show.

One of the most impressive things I’ve seen you do is the Atlanta Zombie Apocalypse. AZA is really cool.

How does the creative process work for you, with so We put that together in 2 months. As soon as I saw many different things from paintthe location, I could “see” the finished project. I was ing and sculpting to performing in happy with it this past year but next year it will be bands, and making movies? even better. We just signed a 10-year contract for AZA Well, what makes you a creative perand as long as Cathulu doesn’t come at us, I’ll be doson? What drives a person to being ing Zombie Apocalypse. almost possessed to create? What if The Silver Scream Spook Show is a variety vaudeville type show in which Shane plays a character called professor Morte, who is joined by a cast of ghoulish characters who sing and dance their way through high jinx then present the audience with a classic horror or sci-fi movie. There are usually 2 versions, when it runs. A matinee geared towards kids and a night time show that is a more adult oriented). The Spook Show is important to me. I don’t want people to forget who Lon Chaney and Bela Lugosi are. Children shouldn’t be watching Freddy Kruger; they should be watching the classics. The “first” creators of anything are always the best. I want people to know what the classics are. I know very creative people who work in film who don’t know who the classics are.

they are possessed? In history, we see that often people come up with the same ideas at the same time sometimes on opposite ends of the globe. Artistic movements happen all the time all over the world at the same time. I get triggered by all these things that go on around me. Artists are not creative as much as they are sensitive. It’s like they have an antenna that goes out and picks up preexisting things that are all out there. I think that things go through an in individuals filter, but I don’t think there’s any real creativity. I think most artists just tap into a wellspring of knowledge. Everyone has their own individual filter. Mine has monsters and science fiction in it. I just vomit all that stuff through my filter. Artistic movements happen all the time all over the world at the same time. It’s possible to meet your creative doppelganger.

SUMMER 2011 ISSUE

a t n a l At

Dragoncon Without Words

SUMMER 2011 ISSUE

w e i v e R e v Li

Interviews

Stone Sour

Atlanta's Masquerade Music Park opened its door with a welcoming wind of fresh spring air flavored by the smell of hot dogs, pizza, and $7 beer at the Avalanche Tour on April Fool's Day. What a collection of happy-golucky fools, parents with their high school kids, and adults freely enjoying the rock of radio friendly acts Stone Sour, Theory Of A Deadman, Skillet, Halestorm, and Art Of Dying.

HALESTORM

Art Of Dying

Theory Of A Deadman impressed with its symmetrical drum set with a silver rack that seemed to extend the design of the x-ray on the bass head. The blue-black logo complimented the orange glow of the Sabian cymbals warming the air around the audience. Quite delightfully, the band played “Blame Canada” in its entirety through the PA before gracing the stage. Tyler Connolly appeared looking like one of the original “Guitar Hero” characters and the band jumped right into the set. Interestingly enough, they played a version of “The Cat Came Back” replacing cat with “bitch;” it made for a great sing-along song. Review and photos by Ellen Eldridge

e h c n a l a v A

Stone Sour

Skillet

Stone Sour

Theory of A Deadman

SUMMER 2011 ISSUE

The Ohio metal band, The Devil Wears Prada, took its name from the book with the same title. However, the band chose it with a different theme in mind than the moral of that novel. To them, it represents anti-materialism and its mindset against idolatry.

LEFT TO RIGHT: Chris Rubey, Andy Trick, Daniel Williams, Jeremy DePoyster, James Baney, Mike Hranica Photo by: Adam Elmakias

Since its formation in 2005, the group has released three full-length albums, one E.P., and five videos. It has been reported that the band's MySpace site has received more than 6 million plays of its songs and the band is ranked number three among Christian artists. Already, the band has released a single from its new album called "Born to Lose" that is being played in live shows. Explaining the concept for the new album, Dead Throne, in a recent interview with Carlos Ramirez, lead singer Mike Hranica stated: “By the time I was more involved in the music scene, I realized that the people in these bigger bands were not gods. That’s the inspiration behind a lot of the stuff on the album. I think the way some people worship these bands or celebrities is out of hand.” The band performed on the main stage as a headliner for Vans Warped Tour. In between sound-checks, in grueling summer heat, drummer Dan Williams took a few minutes to speak with us about the group’s latest efforts, and to give readers a glimpse into what they might experience from his band this summer. Target Audience Magazine: What’s the best thing about playing Vans Warped Tour? Dan Williams: Well, it’s hard. It’s hot and you’re in the sun all day. I’m not complaining though. We’re very fortunate and glad to work with Vans. I guess the best thing would be the crowds. We get a consistent audience when we play Warped Tour. Every day we draw a crowd of 15,000 to 20,000 fans. We’re happy playing almost anywhere, but we work hard and it feels better after we’ve made so much effort to play for a large group of fans, rather than maybe getting inconsistent numbers at clubs or other venues. At clubs, we might get stops with only three hundred people, but on the Warped Tour we get steady and consistent exposure to large numbers and we appreciate that greatly. Warped Tour is great. There’s a lot of camaraderie. We get to meet fans and a lot of cool bands along the way. There are lots of activities and things to do at Warped Tour. It’s not just music. Continued pg. 26 24 11

Itâ&#x20AC;&#x2122;s BACK!

Creative Nonfiction Essay Contest Winter 2012 Theme: VOLUNTEERING Have you ever volunteered to be in a friendâ&#x20AC;&#x2122;s low-budget movie, helped an elderly lady cross the street only to have her mug you, or decided it would be a worhty idea to agree to pick up dog poop at a local shelter? Creative nonfiction is all about the creative, yet true, embellishments we take with writing. Recount an event with sensory detail and drive your reader into the heart of your life experience. Send your 1100-1500 word creative nonfiction about volunteering to Ellen@targetaudiencemagazine.com before December 31, 2011.

WIN: Custom Journal & Cover story

THE WINNER WILL RECEIVE: Cover feature in the Winter 2012 issue A custom made journal (blank book) or YOUR design Visit: Cyan Jenkins http://cyanjenkins.blogspot.com/

SUMMER 2011 ISSUE

What do you like most about your new CD? Pretty much everything. I don’t mean that to sound conceited. It’s just that I’m so satisfied with the new record. I think it’s our best work yet. I think it’s our most mature effort yet. Our previous CDs were more concept albums, specifically planned out from the beginning and throughout the whole process with a theme. The new album has its own sort of theme, but we were giving ourselves a little more freedom to just be creative on it. We had a new producer too, who changed the dynamic of the album and encouraged us to explore and not limit ourselves. I definitely had fun making it. What, if anything, would you have changed or improved on the new CD? Not much really. Chris Rubey, our guitarist, does most of the songwriting and arranges the structures of our songs, so it might be better to ask him. If I would have wanted anything to be different, it would have been that we had more time. More time to just relax and work on recording the album. I think all of us would have liked to have had more time off to work on recording the new album, but we’re used to it. You guys (The Devil Wears Prada) have a reputation for working really hard as a band. Yeah, we’ve not had more than six weeks off, at one time, during our six years together. We play and tour constantly. We usually tour an equivalent of about nine to ten months out of the year. It doesn’t leave a lot of free time to record or make personal stops. I guess if I had anything to change about the new CD, it would be the recording process. Who or what inspires you to play music the way you do? In high school, we were in concert band and marching band. Just hanging out with friends really. We listened to and liked Blink 182. We also were big into Christian metal bands like Underoath, Norma Jean, and As I Lay Dying. I thought ‘cool, some people that like the same music I do,’ so we just started hanging out together. It was pretty natural. We’re just inspired by life and what’s around us.

If there is anything in the modern music scene you could change, what would it be? Oh man! I guess that it’s so easy to make music these days. You know? There’s such a lack of substance and creativity. Nowadays, anybody can record an album at home on their computer and put it online. Anybody can get an iTunes account and sell their stuff. It just seems like there’s a lack of creativity in the industry. With the Internet and computers, people can digitally produce music while having little or no experience. Any kid can become a rock star by posting on YouTube. It’s just shallow? Yeah, it doesn’t require much thought or ability. I just would like to see more depth. What is your favorite The Devil Wears Prada song to play live? Oh, without a doubt it’s “Born to Lose” off our new album. I’m really glad to have something new to play these days. It’s a great song. Out of our six years together as a band, I’ve probably not enjoyed playing a song as much as I have that one. How did you get the chunky, low-end sound for the guitars on “Born to Lose?” As the drummer, I don’t know how Chris does it exactly, but producer Adam D from Killswitch Engage made it a point to get thick, chunky, low-end rhythms in our sound. What do you recommend other artists do in order to gain popularity and success? Just be honest. Again, play music that has substance. Obviously, work hard, but just be yourself. So, how should one work smarter and not harder in order to be successful in music? Don’t use prescribed methods. Don’t limit yourself with preconceived ideas about how you think things should come together. Don’t be afraid to try new things.

Lastly, some people say you’re just using faith and religion to sell records. I sometimes work with kids in public schools as a substitute teacher. I heard some local high school kids debating and one of them said The Devil Wears Prada is not really Christian, just like Marylin Manson is not a Satanist. He said it’s all a gimmick to sell records. What would your response be to the kid who said that? Since October 2005, we’ve been saying the same thing onstage. For six years we’ve said the same thing. People are going to say and think what they want regardless. I would say to him that people in other bands don’t get half the crap we get for being Christians. We are who we are by choice. We’re not trying to sell records with our beliefs. We’re just being ourselves. We’re not forcing it on anybody. There are basically two kinds of Christian music. There’s worship music, and then there’s outreach music. Our music falls into the latter. You mean worship music like on most Christian radio? Three-chord and kinda homogenous sounding? eah! There’s a segment of society who like that, and we’re fine with it, but that’s not us. People have different tastes. The stuff on radio is mostly the same sound. We like being different. We just want our music to touch people. We want to reach out with our music and make people’s lives better. Interview conducted by James Hester

Cyan Jenkins (941) 504-5165 CyanJenkins@gmail.com

SUMMER 2011 ISSUE

(Microfiction)

“Delicious” (Microfiction) (Lucas McPherson is the author of POETRY, SONGS AND STYGIAN STORIES, which was released in early 2010; it’s available as either by an e-book or paperback at http://www.iuniverse.com/Bookstore/BookDetail. aspx?Book=170123) Lucas McPherson

Lucas McPherson

(Lucas McPherson is the author of POETRY, SONGS

She was processing all my paperwork as a new employee for SecurityWeb, the security company I’d just AND STYGIAN STORIES, which was released in early been hired when I first caught a whifforof her delicious Though was really indescribable scent. “Really?” I said,itmocking disbelief, “I don’t since 2010; by, it’s available as either an e-book paperback believemixed it.” her skin mingled with it, I’d say it was like fresh peaches with musk. Yummy! I was going to be at was www.iuniverse.com happy seeing and smelling her first thing every morning just marinating happily and“Believe it,” she simply statedin at her that scent point, without having to leave her desk to check in another new her even realizing I was inhaling her in. She interrupted my reverie with, “Since you passed the security She was processing all my paperwork as a new employee. check and already have security andI’d installer experience, you can start today if you’d like; I’m employee for SecurityWeb, thesystem securitysales company both As hats, time went I fantasized about her more sure you behired scheduled somewhere since so toby, speak. ” justcan been by, wheninI first caught a whiff of you her wear and more. I wished I could marinate in more than

delicious scent.beThough was really indescribable “Sure, that’d great.itI’d like to start right away. just Theher sooner getting a paycheck scent. II start wished I could marinate in allthe herbetter, ya since her skin was mingled with it, I’d say it was like know,”fresh I saidpeaches with my most charming smile. juices…feel the slickness of her mustiness cover me, mixed with musk. Yummy! I was go-

taste her blood on my lips, etc. The blood. It always ing to be happy”seeing andwith smelling her first thing “Yeah, I know, she said an equally winning smile. every morning and just marinating happily in her

came back to the blood. The other bodily fluids were

****************************************************** scent without her even realizing I was inhaling her in. always enough to begin with, but I always ended up

craving blood.seeing her first thing in the morning. She interrupted my reverie with, “Since passedit was In the days, weeks and months thatyou passed greatthe always check and already securitythat system **************************************************** I lovedthe hersecurity sexy, but refined, style.have I learned she generally only ate salad and a few crackers for lunch. sales and installer experience, you can start today if ** Being thewas security gave me the One day I teased her about being a vegetarian, because I assumedinshe onebusiness because I never saw her you’d like; I’m sure you can be scheduled in someawesome opportunity of casing out and being privy eat anywhere meat.since Sheyou didn’t my playful ribbing and said sweetly, “Oh, though I don’t generally eat meat, wearmind both hats, so to speak. ” to those lovely single females who didn’t have a I’m no vegetarian.” security system, when I visited their places trying to

“Sure, that’d be great. I’d like to start right “Really?” said, mocking disbelief, “I don’t it.”them security systems (secretly hoping that they away. TheI sooner I start getting a paycheck the believe bet- sell wouldn’t go for it, so I’d have easy access to them). ter, ya know,” I said with my most charming smile. “Believe it,” she simply stated at that point, having to leaveI moved her desk check another new emWhenever to ato new towninthe death rates “Yeah, I know, ” she said with an equally winployee. always rose, and security businesses thrived. ning smile. As time went by, I fantasized about her more and**************************************************** more. I wished I could marinate in more than just **************************************************** ** I was used to attacking, killing and bathing in her scent. ** I wished I could marinate in all her juices…feel the slickness of her mustiness cover me, taste the blood my potential customer-victims; howher blood on my lips, etc. The blood. It always came back to theofblood. The other bodily fluids were alIn the days, weeks and months that passed it ever, being obsessed with a workmate was differways enough beginseeing with,her butfirst I always up craving the blood. was greattoalways thing inended the mornent. Basically, I didn’t want to shit where I ate. Yet, I ing. I loved her sexy, but refined, style. I learned that couldn’t thinking about her, smelling ****************************************************** Beingstop in the security business gaveher, mewonthe aweshe generally only ate salad and a few crackers for dering what bathing in her iron-scented red rivulets some opportunity of casing out and being privy to those lovely single females who didn’t have a security day I teased her about being a vegetarwould besystems like~~~ (secretly hoping that they wouldn’t system,lunch. whenOne I visited their places trying to sell them security ian, because I assumed she was one because I never One I could it no more. to rose, go for it, soher I’deat have to them). Whenever I moved to aday, new townstand the death ratesI had always saw anyeasy meat.access She didn’t mind my playful taste her sticky sweet metallic life-force, so I set and security thrived. ribbingbusinesses and said sweetly, “Oh, though I don’t generabout finding out where she lived. It wasn’t too hard ally eat meat, I’m no vegetarian.” ****************************************************** I was used to killing andinbathing to find out where sheattacking, lived since we worked the

in the blood of my potential customer-victims; however, being obsessed with a workmate was different. Basically, I didn’t want to shit where I ate. Yet, I couldn’t stop thinking about her, smelling her, wondering what bathing28in her iron-scented red rivulets would be like~~~

One day, I could stand it no more. I had to taste her sticky sweet metallic life-force, so I set about

same office. I didn’t even have to find her personnel files on her computer. No, all I had to do was ask someone where she lived. Obviously, this was going to be easy as she was somewhat careless about sharing her private information.

with the Glock pistol she was holding in her right hand pointed at my package.

**************************************************** ** I would have gone to her house to attack her that very night, but work had gotten even busier recently. And, it wasn’t just me wreaking havoc on the peace of mind of the good citizens of this town. Evidently there was another serial killer in town. Even so, on the following Monday, I was afforded my opportunity. Work was slow, and Lamia (my lovely female work buddy and the one I’d set my bloody sights on) had left work early, saying that she was feeling poorly and wanted to go home and rest. Perfect, I thought, I’ll be seeing you there shortly!

“Really,” she laughed, still pointing the gun at my gentleman’s luggage, “you’re a bad liar.”

**************************************************** ** She must be asking for it, I marveled, as I found her backdoor open; I didn’t have to pick a lock, break a window or anything. I had the rope in my hand; I preferred old-fashioned strangling before I slit the necks of my victims to taste and then bathe in their blood. It makes sense that growing up I’d heard that Elizabeth Bathory was said to be an ancestor of mine. I reached the second floor and saw two rooms. Entering the first one quietly, I saw a large shape in the bed. Creeping up to it with rope in hand, I quickly pulled the covers back. My mouth was most assuredly agape when I saw a long pillow underneath.

“Whoa,” I said, generally scared for the first time in I don’t know when, “I was just checking in on you.”

“Put the gun down,” I said commandingly.

She laughed with, “that won’t work with me. But I’m glad you showed up. I kind of figured I’d help the process along. I’m not really sick…well, at least not physically. And, you see I’m hungry, but like I told you before, I’m no vegetarian. It’s just that I don’t eat furry animals.” I laughed, figuring I might not have anything to fear after all, “Really…then what do you eat?” “You!” she said, firing her Glock first at my penis and then at my brain, as my being faded forever into just this ghostly kind of consciousness forever haunting her cannibal house. “I’m sure you’ll be delicious.” And, it was then I realized that I did, indeed, have much to fear, for not only had I been outplayed, but I’d been the stupid victim for the first and last time ever, caught in her sticky-sweet psycho-killer’s web.

*************************************************** ** “Looking for me?” Lamia said in a sweet voice behind me. I jumped up and then gathering my wits somewhat about me, lunged for her. “No, no, no,” she said in a teasing voice as she showed me the seriousness of the situation I was in

SUMMER 2011 ISSUE

The Sword Live at the Masquerade 6-9-2011 Review and photos by Rose Riot

Who doesnâ&#x20AC;&#x2122;t love a good heavy metal concept album? If you have had such a craving, then you are in luck. The Austin Texas band The Sword just released its 3rd album Warp Riders and, yes friends, it is a concept album. It tells the tale of a banished archer named Ereth whose journey takes him to encounters with witches, androids, and space pirates. The story is told via melodic metal vocals by J.D. Cronise and chunky, yet beautifully-frenetic, dueling guitars from J.D. and Kyle Shutt. The direct and deliberate rhythm section of Bryan Ritchie on bass and Trivett Wingo helps create the emotion for the epic tale. The Sword recently played at The Masquerade in Atlanta supported by Zoroaster and Kylesa. All three bands are part of a metal revival movement that takes inspiration from Black Sabbath, Judas Priest, and Deep Purple, among others. The Sword is a full-bodied band that plays music that is like a heavy, yet steady, rainstorm.

Live 8-14-11 at the Bottom Lounge in Chicago I always split KMFDM’s career into parts. Their sonic evolution seems more focused than that of most bands, with each step comprising two or three studio albums instead of one. A few years ago, I stopped buying new albums. I listened to Hau Ruck and Tohuvabohu when they came out, and didn’t like them. I just didn’t find them very compelling, somehow. I gave up. “They’re over, for me,” I thought. I watched a promo video for the latest album, WTF?!, and I liked what I heard. So I was eager for this show. Unsurprisingly, half of the main set songs came from WTF?!. First up was the latest single, “Krank,” a take-no-prisoners, instant classic. KMFDM also L-R: Steve White, Lucia Cifarelli, Sascha Konietzko played five songs from other recent albums and three from older ones. The title songs from Hau Ruck and Tohuvabohu were done quite well—I might give those albums another chance. The first ‘old’ song up was “Megalomaniac.” In my own experience I consider it newer, but it is almost fifteen years old now. I used to have a VHS promo of the music video, which I must have watched dozens of times, and I consider it the last piece of cyberpunk pop culture. The members took turns moving around the stage. Jules Hodgson and Lucia Cifarelli traded spots most often, and frequently leaned into the crowd. Steve White moved back and forth a bit as well. Andy Selway, of course, stayed behind his drum kit throughout the show, and whether by design or not, he was mostly obscured from view by gear and lighting. Frontman and sole remaining founding member, Sascha Konietzko, similarly stayed dedicated to standing behind his MIDI trigger bass springs (played with batons) and knob synth. Ever the reserved concentrator, he stepped out to appeal to the crowd just a few times, notably for the classic “A Drug Against War.” Even standing back, he did project a good time with plenty of raised fists and other gestures. Lucia had a bass spring and synth stand as well. The pair were also both dressed in old-school industrial style, he in body armor, cargos, and his signature aviator sunglasses; she in red and black garters, corset, stockings, and latex. Jules and Steve were attired in more pedestrian fare. William Wilson of Legion Within, who contributed some vocals to the album, joined in to sing “Potz Blitz,” and wore black bondage pants and a black button-down shirt. Two laptops in the background ran loops and samples. Well, what of the newer sound? It reflects the trajectory one would expect from knowing the KMFDM’s history. Compared to the past: more melodic, less aggressive, more complex, fewer basic power chords. Lucia has taken on a great deal of the vocal duty, which is a welcome development from the days when female vocals were relegated to backup more often than not. I would still enjoy hearing her sing some of the hits from the 90s, such as “Juke Joint Jezebel” or “Light.” The sound at Bottom Lounge was very good, as usual, although my one complaint is that Sascha’s mic was not loud enough, and his voice was totally lost when he and Lucia were both singing. Otherwise the balance was very proper and I could pick out all of the instruments at will. Incessant cries of “KMFDM Sucks!” managed to bring the band back out for two encores of two songs each. (I think the chant a bit off. I suppose it’s nice that the crowd is aware of history, even the ones with “Under 21” wristbands, who were mostly in bassinets and diapers when “Sucks” was a new song. Personally, I’d prefer “KMFDM Rules,” but “Rules” didn’t have a line so catchy.) Some around me were trying to guess which song would be first for the encore; I myself was attentive enough to catch the cork pop that opens the glorious heavy anthem, “WWIII.” I would really love to see a live banjo player for the subsequent solo; I guess an extra person on tour to provide 28 seconds every night isn’t quite practical. Next was possibly my favorite KMFDM song ever, “D.I.Y.” Not much to say except that they killed it. Fantastic. Another break, more “Sucks” chanting, and William Wilson returned to lead in “Day of Light” and retired again. The main band wrapped it up with the 1990, Slayer-sampling, breakthrough heavy club hit “Godlike,” which has been their closing song on every tour I’ve seen. Twenty songs in total; a great show. KMFDM is back, and I bow to the warriors. It’s not a return to an old sound; it’s just one that I like again. Review and photo by E.T.

SUMMER 2011 ISSUE

interview with director Megan Griffiths By Kim Acylic

Synopsis You're awake when everyone else is asleep. You're standing still as traffic is whipping by at 70mph. Your off hours are spent trying to figure out why you're here, whether you want to stay, and how to leave. In THE OFF HOURS, Amy Seimetz (TINY FURNITURE) alluringly commands the screen as Francine, a waitress whose liberation from her mundane existence is long overdue. In the restless world of the night shift at a highway diner, Francine's life consists of casual encounters and transient friendships. What she wants is out of reach--or is it that she's lost track of wanting anything at all? When a banker turned big-rig driver (BAGHEAD's Ross Partridge) becomes a regular, he sparks hope in Francine. As change begins to invade the quiet diner, Francine is reminded that it is never too late to become the person she was meant to be.

For the past decade, Megan Griffiths has been an active member of the independent film community. She received her Master of Fine Arts in Film Production from Ohio University School of Film. While in school, Griffiths wrote, directed, and edited three award-winning short films. Her thesis film, “Not Waving but Drowning,” was a 2001 Student Academy Award nominee. Griffiths made her debut feature, “First Aid for Choking,” after relocating to Seattle, followed by the narrative shorts “Moving,” “Eros,” and the short documentary “KEXP: The B-Side.” She has produced such projects as the acclaimed 2007 Sundance documentary “Zoo,” and the upcoming, Sundance, absurdist, buddy-comedy, “The Catechism Cataclysm.” In 2010, Griffiths completed her second feature, “The Off Hours,” a film she also wrote. Starring Amy Siemetz as a restless small-town diner waitress, the all-star, indie cast of “The Off Hours” also includes Lynn Shelton (“Humpday”), Ross Partridge (“Baghead”) and Scoot McNairy (“Monsters”). TAM: So, you’re debuting your second feature film, “The Off Hours,” at the Northwest Film Festival? It premiered last week at the Seattle International Film Festival.

You’re originally from Ohio; how would you com- decide this is the place!? pare the film industry there compared to Seattle’s? We looked for a diner for about five years, but it wasn’t I was born in Ohio but moved away when I was six until about three weeks before the shoot that one of and didn’t come back until graduate school. I don’t our office PA’s mentioned Ed’s #1 in Burien. I drove know much about Ohio’s industry actually, since I over to check it out and fell in love. It had the look was pretty focused on classes and student films dur- I was hoping for, and also felt like it was in the miding my years there. I can talk about Seattle’s industry dle of nowhere (even though it’s about a ten minute though. I moved here right after film school and have drive from downtown Seattle). The owners let us use been here eleven years. Over that time I’ve found it to it with basically only one rule – don’t leave anything in be full of the most encouraging, supportive, talented worse shape than you found it. Because the place had people. I never meant to stay this long when I came been closed for a while, we actually had to repaint, originally – it just ended up being really hard to leave bring back kitchen appliances and booths and generbecause I have always felt so at home here. ally stock the place up like a functioning diner. It was mountains of work for our art department, but I think Tell us about your documentaries. that work shines through and brings a richness and I was a co-producer on “ZOO,” which premiered at beauty to that location that makes the film what it is. Sundance in 2007. It’s about the incident in Enumclaw where that man died from a perforated colon after a Being such a tiny space (the diner) was in hard to get sexual experience with a horse. I really love that film. some of the shots you wanted? It takes a topic that could be salacious and offensive We were somewhat limited, but I think we ended up and turns it into a beautiful and non-judgmental look getting a camera pretty much everywhere. The real at the human beings involved. challenge in that space was reflections, since three of How did the idea for the “The Off Hours” come about? the walls were floor-to-ceiling windows. They would have to light what was inside, light what was visible I was working the night shift for a couple of months at outside, and then go around and try to take care of all a local film lab and I was really having problems with the reflections of our own lights that would appear in the lack of human contact that resulted from working the diner’s windows. My DP Ben was pulling his hair while other people were sleeping. I wondered what out! that might do to a person over long periods of time. I transferred it to a diner setting and began to create The other actors were amazing; how did you pick each characters through which I could explore these kinds one and decide which character they should play? of themes. I did a lot of casting by watching other indie films over What was it like working with the film star Amy the years and just taking notes. I saw Ross Partridge in Siemetz (“Wristcutters- A Love Story”), and how did the Duplass Bros movie “Baghead,” and then I heard rave reviews about him in Steven Schardt and Sean you come to cast her? Nelson’s “Treatment,” which shot just before me. So, Amy’s a really natural and honest performer. I was my DP Ben introduced me to Ross via text message really fortunate to have her in the film. My friend, and we were off and running. Scoot McNairy was recLynn Shelton, introduced her to me over email and I ommended to me by Lynn Shelton, who was not only sent the script and we started chatting on the phone an actress in “The Off Hours,” but also a consulting about the role. Working with Amy (and the rest of the producer. They had met at the Indie Spirit Awards and actors) on set was really an organic process. We would Lynn had been looking for a way to include Scoot in just run the scenes and make small changes whenone of her own movies, so when I was asking her adever anything didn’t feel real. Everyone in this film vice she gave me his name and his email and I sent him was a complete and utter pleasure to be around. (By the script out of the clear blue sky. He read and liked the way, Amy has the tiniest role in “Wristcutters” – I’d it and then agreed to come to Seattle for the shoot, credit her with “A Horrible Way to Die” or “Alexander which at that point was just weeks away. Bret Roberts the Last”). was a friend of Scoot’s, but also someone I had met Let’s talk about location (my old favorite run down years before (in 2007) when we were originally trying diner behind my apartments) How did you find it and to get the film off the ground. My producer Joy Saez SUMMER 2011 ISSUE

recommended him for the role of Ty way back then. It was such a piece of luck that he and Scoot were close friends, because I think their dynamic on screen is really enhanced by that history. As far as local casting, I called Tony Doupe right away after making the decision to move forward. I’d worked with him on a bunch of Seattle movies and thought he would bring a lot of humanity to the Stu role. We held an open call for many of the other roles and I found Walter Dalton (Levi), Madeline Anderson (Jenny) and Gergana Mellin (Jelena) that way, as well as most of the supporting cast. We were amazed at the fabulous level of talent of the people who came through the doors at our auditions. Gergana was probably the most exciting discovery, since we never imagined we’d find someone so right for the difficult role of Jelena right here in the Northwest!

running and improve upon it, we’ll likely see plenty of other projects with a Northwest setting heading to Vancouver or Portland.

I think “The Immaculate Conception of Little Dizzle” is an awesome film. “Zoo” is a beautiful film as well. I produced a film last year called “The Catechism Cataclysm,” which is hilarious and deeper than most people give it credit for. And “Humpday” of course.

radar to keep their reputation or become classics, such as “Trainspotting” did?

Which film makers, local or otherwise do you find under-rated? I love Nicole Holofcener’s work and wish she made more movies. I thought “Blue Valentine” was amazing and the performances in it were two of the best I’ve seen in ages. That movie got some recognition for Michelle Williams, but the director and Ryan Gosling were horribly overlooked in my opinion. What inspired “The Off Hours?” Where do you typically find inspiration for your films?

I usually get inspired by observing people and trying to figure them out. When I started working on “The Off Hours” script, I was a lot of people in “I think it’s important to the indie noticing my life that were making Who are some of your fa- business that there are breakout compromises and giving vorite northwestern film on their ambitions in hits. If there wasn’t, making indie up makers? order to pay rent and feel Obviously, I love Lynn Shelfilms would be harder” more secure. The jobs ton. She’s a close friend of they were taking and the mine but I’m also a genuine fan of her films because lives they were living didn’t inspire them, and they I think she is able to capture an emotional honesty didn’t seem to have anything outside of their day jobs that many filmmakers can’t achieve. I think SJ Chiro that filled that void. I think this is unfortunately very is also doing great work, and I love the short films of common throughout the country, and I really wanted Matt Daniels. to explore what landed people in these unrewarding Also, any favorite films that were specifically either circumstances. filmed in Seattle or based in the Northwest? Is it important for you that indie films stay under the

I think it’s important to the “indie” business that there are breakout hits. If there wasn’t the promise of breaking out, getting independent films made at all would What do you think of films such as “Twilight” or TV be much harder. There’s always the hope that they shows like “Grey’s Anatomy” being filmed in a fiction- film will find a wide audience, and that kind of drives al northwestern setting? the whole movement in a way. I don’t know any filmWhen it comes to production, the bottom line will al- makers that would say that they don’t want people ways be a determining factor. Until we can create an to watch their films – they aren’t making films so that environment in Washington where these production the finished product becomes a paperweight on their companies can spend less and get the same quality, bookshelf. If there were no audience there would be we won’t get them to come to town. We had an in- no point. centive program until recently that was working to attract those larger projects. Unfortunately, it wasn’t renewed in the last legislative session. Unless we can For more info on the film THE OFF HOURS: collectively get that incentive program back up and http://www.theoffhoursfilm.com/ 34 11

Who knew that four Australian boys could sound like Kool and the Gang and move like James Brown? I made this discovery myself on June 15th at The Masquerade in Atlanta when I saw the band Miami Horror. The room was full of people bouncing, dancing, and vogueing. Miami Horror has roots in Disc Jockeying and house parties, but has evolved into a touring musical force. They have played Field Day, Big Day Out, Good Vibrations, ‘Groovin The Moo and Splendour in the Grass festivals .They describe their musical genre as “Grand Illusions/Psychedelic Visions.” Their current tour, titled “Summersun,” is supporting their album Illumination. This is a band that does not take itself too seriously. No shoe gazing to be found at this show; only synthy dancey goodness. Review and Photos by Rose Riot Photography

SUMMER SUMMER2010 2011ISSUE ISSUE

The Ladies Of Sport Empires Fall (2009) and singles

Soothing electronic soul? Try to describe the way the haunted vocals carry a background melody that dances around a fire of thematic elements involving metaphors for murder. One of the singles, “Irish Brothers,” presents The Ladies of Sport in an alluring way – grabbing the audience like a hand under the bed wrapping around a leg, but with the same style as seduction. One look at the band and the listener will realize the hand belongs to a lovely lady pulling you into the bed and not under it – until you remember this is a three-person band with two ladies and one gentleman. Rich DeCicco, lead singer, songwriter, and instrumentalist, met sisters Ann and Mary Kohatsu in a Lower East Side dive bar in New York City after they moved across the nation from Los Angeles. Calculate the odds this trio would meet up, begin to record together, and release a debut album, Empires Fall, in 2009. The opening, clapped rhythm in the second track, “The Product,” creates the band in an instant, and claims those in the room who didn’t even like the first song. Such is a feat for an extraordinary artist. Combining pure rock rhythm with just enough electronic music to flavor a harmonious soup…well, “it isn’t about how we make it; it’s about how we bring it to market.” But don’t think for a second that invalidates the opening track, “Schoolbus,” because the rhythm of the backing drums and the harmony of the vocal/ 36

keyboard combination make a splash. The droplets from that splash will hit listeners later, such as the song catches in a way that will resonate in the listener’s mind even days after hearing the song. The lyrics seem trite on the surface, but draw deeper with further examination. “I think the bus is coming are you getting on the bus – are you gunna sit with us – schoolbus will be my miniature model of the world.” The quality of the lyrical metaphor recalls “Handlebars” by Flobots, but The Ladies of Sport could take a lesson on dynamic (as could all musicians) from the way Flobots build dynamics both in lyrical content and musical style. What The Ladies of Sport do best in “Schoolbus,” aside from the lyrics, involves the interplay of the keyboard and the drums – especially the well-timed cymbal crashes. Since the 2009 release, Empires Fall, The Ladies of Sport have released a digital single every month, luring in fans with catchy, electronic beats and lyrics to make the audience think. The release of “ManchildSpeak” on Sept. 6 signals those who have not yet heard The Ladies of Sport to lend an ear – and a pair of feet to dance. Fans can easily keep up with The Ladies of Sport for FREE here: http://theladiesofsport.bandcamp.com/ Review by Ellen Eldridge

Facebooking Your Band of Business

Every quasi wanna-be business needs to have a Facebook page. No one can honestly deny the impact of social media that can turn a daydreaming Internet surfer into your next customer. Whether or not you own a bick and mortor store (physical location) or you run your business online, you must familiarize yourself with Faecbook and its insights. Once mastered (and before they change again) you will be able to make quantifiably determinations about the growth of your business through social media.

with a “yes” or “no.” Fill in the blank questions work well for increasing user interaction, which increases the amount of people who will see your posts.

The easiest way to measure some semblance of success is through an increase in page likes because this means your business has a better chance of being seen by more people. BUT, interaction is the key to continually rank in your fans news stories.

The Interactions section of the Insights dashboard shows you how many impressions (i.e., the times a post was seen) and the percentage of feedback each post received. The higher the impressions and feedback percentage, the more interested your audience is in that particular topic. You can also get a breakdown of what type of media (audio, video, and photos) fans are consuming. Maybe videos aren’t resonating with users, but if photos are, post more of them!

Before I continue with that, though, many people don’t understand the importance of having a “Page” for the business as opposed to a “personal” account for adding “friends.” With a Facebook Page your business interacts with other pages for networking purposes, does not limit the number of “fans” that can like your page, and allows you to direct traffic back to your main website. Your business page must have at least 30 “likes” before you can start to use “Facebook Insights,” but this tool for measuring customer engagement, which is FAR more important than playing a numbers game of accumulating “friends” is free after 30 likes. Insights shows you the number of users who have visited your Page, viewed one of the Page’s posts, or interacted with a post during a selected time period. Knowing which of your posts received the most attention in terms of feedback and comments helps you to key in on what kind of content your fans like. For example, if you are a band and you want to attract more fans your music, you need to do a little grunt work and seek out what sort of person likes your music. Avoid open-ended questions that require thought and ask things that can be answered

What interests your fans? You may not want to think about what your fans like, but posting that you ate a burrito for breakfast may win favor with your diehard fans who want to know your every move, but attracting new fans is essential to your success.

Where do your fans live and who are they? Facebook Insights provides a great deal of statistics on the gender of your users and the age groups that visit your Page. This can be important for tailoring your messages to those who are interacting with your Page the most. You may think men 25–34 years old are your main audience, but Facebook might show that women 45-54 are interested in your business too. How much attention are you getting? Insights shows how many new Likes and Unlikes were recorded over a period of a week or month. It also shows you where those new Likes are from, which can help you better spread the word about your Page to new fans. “Like” us at www.Facebook.com/targetaudiencemag

SUMMER 2011 ISSUE

Book Reviews

Rick Florino’s The Dolor Saga Florino, Rick. Dolor. Published by New American Deities, 2011 http://www.bookofdolor.com/

“Pay Attention” screams the lesson of the first book – or diary– from Dolor, the book that shares a name with its twisted town where a recurring theme of anguish and pain pervades like breath from its inhabitants. “Dolor” means pain in both Latin and Spanish. The community personifies pain in many forms, the most outspoken of which is love. The haunted first chapter, “Lila,” revolves around the suffering of Officer Caleb, a character readers continue to visit with through the chapters, who describes his recurring nightmare-come-true of his daughter’s drowning. This subject will naturally stir the emotions of any parent, but the underlying theme of a man done wrong by his lover just warms up in “Lila” with the ghost’s attempts to right her mother’s wrongs. Each glimpse of character shines light into the darkness surrounding Dolor. The beautiful landscape stays tainted with the evil hidden in its occupants who are all connected to each other. The realizations of just how the characters connect drive the plot and keeps readers excited for the next uncovering. In Book II, “Chrissy,” the main character works as an EMT. Caleb sums up the recurrence of pain stemming from attempting to connect to others in his statement, “My self-loathing often gets the best of me. I hated this dating shit.” And so continues the second chapter exposing Florino’s readers to the weird coincidences and traumatic relationships inside Dolor. The existence of the supernatural and courtship by a blood-loving EMT fan give life to this story. Book III, “Arielle” stabs at the cunning and simplistically evil ways women can destroy men of power and good standing. Lawyer Sam generally fights for the win for his divorce clients, but his wife’s leaving him cuts him down. The best part of the Dolor books is this theme of betrayal for decent, gentle, men. The character flaws of the men coupled with the outlandish injustices of the women they love makes the town of Dolor seem all the more human. When juxta-

posed against the fact that this town of pain has supernatural activity deep within its woods, the escape readers need in a great story surfaces. Book IV tells the story of “Decker,” a homeless man that troubles the main character, Shelly Turner, a 21-yearold pregnant girl, who wakes up in a rehab facility for drug abuse problems. The drug abuse themes connect throughout many of the chapters in Dolor, and Florino does a wonderful job of showing the dangers of addiction without glorifying or preaching. The story’s first sentence instantly shows a connection to the previous chapter for readers who pay attention. The religious themes mount in “Decker” as well, seen through the character of Shelly’s stepmother. While the idea of an evil stepmother can come across as clichéd, Florino does it well in his character development. Dolor’s Book V, “Cassie” concludes the first collection of short stories; five more remain forthcoming from author Rick Florino. Again, the basic construction of the story revolves around an upstanding member of society, a SWAT team member named Kenny. His younger sister, Cassie, bears the brunt of Kenny’s character flaws, which does change things up from previous chapters where the man suffered the most. The familial tie almost makes it feel as though Kenny suffers the most from the culmination of supernatural, Satanic, and the power of drugs on the citizens of Dolor. For a mere $6.66, any fan of horror, Sci-fi, and fiction in general should check out Dolor by Rick Florino. Be prepared for the next five diaries, “Olivia,” “Orestes,” “Lucia,” “Sage,” and “Helen.”

SUMMER 2011 ISSUE

Review by Ellen Eldridge 39

Book Reviews Jeremy Wagner’s

The Armageddon Chord

Review by Russell Eldridge

Upon first glance, some might think “What the hell is this? A guitar player surrounded by fire and destroying the world?” Some might say, “See, I told you so; that devil music will lead you straight to hell!” Well, the old saying is, “You can’t judge a book by it’s cover” and this one is a pleasant surprise. The Armageddon Chord is like a mixture of the movies Rock Star with Indiana Jones and the Temple of Doom. The hero of the tale, Kirk Vaisto, is a world renown guitar player asked to transcribe and perform a tune written by the Devil himself. Helmut Hartkopff is a burned-up, twisted Nazi with dreams of world domination. Festus Baustone is the evil Bill Gates of this story who’s dying and willing to sacrifice his own daughter to stay alive. Baustone and Hartkopf attempt to raise hell, with separate agendas, leaving a wake of devastation behind. The rich story and wonderfully colorful characters make it an enjoyable read, although not appropriate for some. The Parental Advisory warning seen on some CDs would definitely be placed on the front cover of The Armageddon Chord if that sort of thing actually happened, but perhaps that would only make people want to read it more. Jeremy Wagner has written lyrics to more than 70 published songs along with recording six albums, two MTV videos, and touring in 16 countries with his bands, Broken Hope and Lupara. Wagner has been published in RIP Magazine, Terrorizer, Metal Edge, Microhorror and published works of short through Perseus Books, St. Martin’s Press, and Ravenous Romance. There are other books containing stories by Jeremy Wagner that can be purchased from his website www.jeremy-wagner.com For more information on Jeremy Wagner and The Armageddon Chord, please visit: www.thearmageddonchord.com

Book Reviews

G.L. Giles V4: Water Vamps Review By Deanna Anderson

to see the more â&#x20AC;&#x153;humanâ&#x20AC;? side of the water-vampires and see that the youth water-vamps are similar to the human heroes, Robyn and Marion.

I was thrilled when I read about the Water Vamps that Giles created in her Vampire Vignette series; they were a being that no one had created yet, at least not to my knowledge. Vampires and vampirism are not new concepts either superstitiously or literary, and every author needs to come up with a new twist that makes their vampires different, unique, and memorable. With vampires seen as a species, Giles has definitely done this over all, but then she takes it one step further by creating an entirely new species that seems a little like a mermaid, a little like a siren, and all vampire!

Written for young adults, the main characters are children and the adults are secondary to the story, which will appeal to any young adult. Robyn and Marion understand each other, and they (like the water-vamps) have to deal with all of the things children deal with, despite their unusual In V XXX Special Edition Compendium gifts. Even without those gifts, The Vampire Vignettes I-III: Re-Vamped we are introduced to the Water Vamps with their Robyn is a role model for any young female with her insatiable lust for blood and their penchant for strength of character, respect for adults (at least those eating dolphins. But, their story was not com- that deserve it) and her loyalty to Marion, of who depletely told, until V4: Water Vamps, and it will serves his own credit with his loyalty and friendship slake the thirst of anyone wanting to know more. to Robyn. In the end, even the water-vamps come to be people we can relate to and accept in this thrilling ride into the waters of Charleston, South Carolina. Giles weaves a tale of intrigue and gives us a glimpse of the underwater world of the water-vamps and Review by Deanna Anderson the history and origins behind these beautiful and dangerous creatures is truly unique! The description of these creatures is both beautiful and dangerous, much like looking at a venomous snake: It is a lethal beauty. We get to interact with these creatures on a more personal level: they go to school, have spelling and vocabulary tests, have to deal with their parents, and even crush on each other. In this sense, we get

SPRING 2011 SUMMER 2011 ISSUE ISSUE

Book Reviews

Immortal Fantasy!

Blakely, Winston. Immortal Fantasy. CreateSpace, 2010.

Right off the bat, Blakely’s IMMORTAL FANTASY book reminded me of Heavy Metal, the iconic adult illustrated magazine. Though this is no magazine. I would perhaps most accurately describe it as a long (100 pages) noir graphic novel of sorts---plus some! In fact, it encapsulates SCI-FI, HORROR, ADVENTURE and HUMOR. The graphic narrations, with the exception of “The White Raven” (which is a beautifully told storyline with only pictures, no words), include Kotas the Dragon in “Specter of the Damned,” Kotas the Dragon in “The Vision,” “A Junkie’s Delight,” “The Secret Wonderland,” etc. Besides Blakely, Robert E. Fennell and Luis Sierra are collaborators. And, it’s impressive that award-winning fantasy writer Charles R. Saunders wrote the foreword and Jemir Johnson wrote the afterword. Though Blakely’s work is modern in some respects, there is a nostalgic air about it as well…with its emphasis on honor in some parts and its somewhat oldschool comic renderings in parts reminiscent of Jack Kirby and other greats. Definitely worth picking up a copy for both the visual art and storylines!

Review by Lucas McPherson

Book Reviews

Imagica

This young adult novella of 53 pages is easily a fun-filled-one-sit read that’s sure to capture the imagination of all who read it! In fact, it’s dedicated “To everyone who has ever dared to use their imagination.” It is the story of a boy named Eli, who is like a normal 11-year-old boy, except he was only interested in scientifically proven facts---not imaginary things---at the book’s beginning.. Spurred on by his grandfather, to flex his imagination muscles for a change, Eli travels to the wonderfully imaginative place called Imagica, where “Imagination is the way [the folks dwelling there] live” (p. 21). Imagica is a land where grand parties, with lots of food and very interesting guests, are basically

thrown at the drop of a hat and where places like ImagiStation (complete with activities and treats you might find in Santa’s workshop, Willy Wonka’s chocolate factory and Wonderland all rolled into one and then some!) come to life. Eli can’t return home to his “normal” existence till he learns to use his imagination, but he’s aided by friends he meets along the way. Namely, the twins Allaria and Alder and the lovely Princess Illusia. This book reminds me of “The Famous Oz Books” by L. Frank Baum (which I absolutely loved as a child) mixed with a bit of the 1984 movie “The NeverEnding Story” for its both whimsical and wondrous-fantasy-world feel. The title of the book and the obvious primary focus on subjective fantasy/imagination notwithstanding, there’s also a bit of a surprise ending in that objective reasoning/grounded facts really play a surprise, yet integral, part. Without giving the ending away, I’ll merely say that it has to do with why Eli has no imagination at the start of the book, very unlike other boys his age. So, it’s ultimately a story where imagination and cold facts brilliantly coexist.

SUMMER 2011 ISSUE

Review by Lucas McPherson

CD Reviews

Trivium: In Waves

In Waves rocks. Its power and brutality mix harmoniously with melody and force itself upon the listener. After the introduction of “Capsizing the Sea” and its rising action, the perfect storm of rage releases with the repeated line, “in waves,” which washes away the pressure and heat built up in the atmosphere. Sure, one could criticize the title track as lyrically boring in its repetition, but it keeps time perfectly with its theme of questioning how to reach out and whether or not doing so would cause catastrophe to those who would otherwise provide the buoy to a drowning man. The repeated line actually sounds like a musical translation for the wave crashing over and over, be it a wave of emotion or a literal wave building upon itself to drown its victims. The raw anger and determination running through In Waves comes across in songs like “Watch the World Burn” with its chorus indicating “we are the arson.” Songs like this one are stronger than the “heavier” songs because the lyrics are easier to understand - and therefore relate to and scream along with. The placement of growls affect the listener more when the lyrics scream a climax from rising ideas of what happens when we fall - down or in line. “If we all fall down we fall before moving wheels crushed between the gears” opens the track and the chorus climaxes with “Watch the world burn, it sets the air on fire…we are the arson….” Trivium continues to improve its projection of power so that it surpasses the so-called “death metal” or “screamo” bands. This band will not fall in line with pop rock acts, but it will compel listeners on the radio and dominate audiences on the Rockstar Mayhem Festival. Trivium also uses dynamics to its advantage; the guitar and drum work complements the intensity of ideas and metaphors. Many metal bands write songs about frustrations, war, death, fire, and being trapped under ice, but Trivium use lyrics to explore the elements of nature as metaphors the for daily struggles of life and companionship. Each riff leads squarely into a solo driven by the drums and the lyrics stay clean throughout most of the songs while still maintaining a forceful punch of guttural growling. A ballad does wind down the album, as is typical on metal records. “Of All These Yesterdays” speaks to mainstream audiences with mention of rain burning through the pages of ‘all these yesterdays’ continuing its running theme. The closing track, “Leaving This World Behind” winds down with a buried voice crying out and a quiet guitar melody countering the static. The assault of earlier tracks still resonates long after the album ends.

Review by Ellen Eldridge

SUMMER 2011 ISSUE

South of Sanity South of Sanity stands with those truly talented bands that self-produce and avoid conforming to anything for the sake of popularity. Though the guys don’t aim to sound like anyone but themselves, they have a healthy dose of popular influences that can easily be heard in the music. “Down” contains a raw, under-produced sound tinged with an aftertaste - like the crunch Phil Anselmo adds to “Would” when singing with Alice In Chains. ”Can’t Be” seems tighter in its production meaning that buried or frizzy quality sounds clearer. The lyrics also come across tighter and a bit better written, but that doesn’t mean I like “Can’t Be” more than “Down.” The songs showcase different qualities of

this diverse band. Also, I don’t pretend to know much about the ‘right’ notes and I couldn’t point out what scale or key a song is in, but I know what I like and what sounds right to me. The way the solos rip through the spaces between the choruses in “Can’t Be” temper anger like a fist fight in a mosh pit. The phrase, “No I can’t be your ticket out/cuz I’m not in the plan/oh I can’t be your everything/cuz I’ve only just begun” captures that peaceful hope the Carpenters brought the nation in banking commercials with a fiery, modern twist that audiences will quickly relate to and fall in love with…as they fight their way out of most pits. “False Hope” edges on the anger that all South of Sanity’s songs examine with a growling prechorus that unleashes into the chorus with sustained vocal integrity; the “pretty” rides the tail of an evil growl which makes this song hardcore and consumable. Check them out online at http://www.reverbnation.com/sosanity

What Model Citizens Let me tell you what I like about What Model Citizens - honesty flows from the onset of the new band name to the movement in every shaken groove. What Model Citizens sounds like an invitation to finish the sentence and music encourages this sort of reaction from its listeners. The electro-pop vibe and synthy feel lies under a blanket of edgy vocal like some sort of back door Bauhaus. Hasty like a whip with a promising stroke of inspiration and an electronic clap; it’s fun. The Model Citizens provide 42 minutes of fun with songs like the opener, “Don’t Talk Down to Me” which mysteriously transforms into “You’ve Been Set Up” around the two minute marker. Sometimes, the

Review by Ellen Eldridge

realization of being set up makes one feel good like a surprise party. Again, the poppy-punch in singer Alex Musto’s voice adds a post-punk feel, but this is electro pop; difficult to describe, but well worth the ride. Perhaps, the best way to put a finger on this style - as the single “Sleep, Sleep, Sleep” plays with enough energy to wake a house full of heroin addicts - is simply to say an air of European ‘70s punk carefully and masterfully balanced against the goth, electric styling of bands like Bauhaus. A sexy undercurrent exists throughout “As the Lights Run Out” and this subverted feeling exploits the harmonies set against crunching chords. Review By Ellen Eldridge

CD Reviews

Chapter 14: Like Trees in November Chapter 14 has more to offer than any group within today’s music industry with the amazing talent of both members Tanner Spark (former bassist of the band Destroy the Runner) and Chad Ackerman (As I Lay Dying, Austrian the Machine, Destroy the Runner, and Count Your Curses). Ackerman’s incredible, catchy, and lovely voice, which seems to be more R&B than rock, fits so perfectly into a journey through dream land. The bass, guitar, and powerful drums by Tanner Spark make the trip epic and awesome. The heavier addition of Like Trees in November, the band’s first EP, in songs like “Winter” and “Moth & Rust” recall what many fans of Destroy the Runner loved, but fans who yearned for more punch to their metal will instantly fall in love with these tracks. “Roses” electrifies with the constant double-bass pedals, and insane guitar riffs. On the

other hand, songs like “Acts Aside from Action,” are much more relaxed, and quiet. Anyone could easily dance to “The Wizard of Gods,” with its trumpets, and bass slaps. So, while playing Like Trees in November, fans and listeners who get the feeling to get up and move their bodies should not feel surprised as that only means they’ve connected to the journey. In conclusion, you can waste your time listening to the same crap as usual or go to http://www. myspace.com/chapter14 and enjoy something exquisitely outstanding. What will be your decision? Review by RJ Frometa

Palooka: What’s Wrong with Wanting Everything? Palooka’s debut album, What’s Wrong with Wanting Everything?, powerfully combines classic hard-rock riffs and strong vocals that range from softer, moving ballads to traditional high-energy jams. Released on June 28th 2011, the title track boasts a stunning drum line that provides the backbone for the heavy guitars. Vocalist Rob O’Neal shows his talent throughout this album with the strong, grungy tone in “Welcome to the Morning After,” and in the more mellow, thoughtful attitudes found in “Golden Boy.” O’Neal’s backing by guitarists, Ric Vaughan and Glen Logan, join forces to bring fantastic melodies and hard-hitting solos to the songs. Bassist, Howard Binner, and drummer, Jason Reavis, round out the band. Palooka took the album title to heart and provides a great collection of tracks that brings in the best elements from the past three decades of rock. Fans of old-school rock will fall in love with Palooka’s classic feel and energetic pace from the first track. “Wrecking Ball” opens up with fast vocals,

strong chords, a well felt bass line, and heavy drums. The song pulls the listener in slowly only to bring him back the intensity of felt previously. Palooka’s title track, “What’s Wrong with Wanting Everything,” contains a classic rock attitude and raspy vocals that make for a heavy-hitting, catchy, and well-rounded masterpiece. The album’s fifth track, “Serenity,” carries a deep, personal conflict that can be felt in the sound and heard in the lyrics. “Sun Will Rise” brings a touch of class to the album pairing meaningful lyrics with a beautiful crying guitar to build a softer side while maintaining the overall attitude of the album. “Golden Boy” rounds out the album out with an insightful ballad carrying heartfelt lyrics and melodic riffs delivered with a clean finish. Check out Palooka at www.palookarocks.com

SUMMER 2011 ISSUE

Review by Nathan Liss 47

Mister Heavenly: Out of Love Sub Pop “Doom-Wop” is here! Mister Heavenly has finally arrived in great fashion with its own genre on the debut album Out Of Love. Comprised of Nick Diamonds (Islands/Unicorns), Ryan Kattner aka Honus Honus (Man Man), and Joe Plummer (Modest Mouse), this “super group,” Mister Heavenly, proves to be just that, with catchiness equivalent to Doo-Wop mixed with themes of doomed love and relations.

Great song-writing and a fine mixed bag of talent have proven to be on their way to amazing things by way of standout tracks like “Pineapple Girl,” “Bronx Sniper” and make sure to get your taste by checking out some “Reggae Pie.” It will leave a taste so good in your mouth that you will want more! Make sure to catch Mister Heavenly on tour. It will be a show like no other. Check Mister Heavenly’s website by clicking the album cover above. Review by Brandon Harrington

Meek Mill: Dream Chasers The much-anticipated mixtape release from Maybach-Music Group artist, Meek Mill and DJ Drama definitely does not disappoint. The Philadelphia native has been creating a buzz all summer and with the release of Dream Chasers, it seems Meek Mill has arrived and his stardom is sure to rise. As soon as you press play, the big orchestra sound in the intro track and Mill’s lyrical savvy and flow catch your attention and keep it throughout the mixtape. Songs like “Tony Montana,” “Body Count,” and “Don’t Panic” have the street grit expected from

Mill, while “House Party” and “She Likes It” are sure to have the ladies bouncing. In songs such as, “Dream Chasers” and “Love Don’t Live Here” Mill gets serious and explores tragic realities of life in poverty-stricken, urban neighborhoods in an honest way. Meek Mill adds swag songs like, “I’m a Boss” and “Make this Money” and a few hard-hitting freestyles to complete a collection of songs with a variety of content, simple and catchy hooks over bass-heavy, southern-influenced beats. Meek Mill definitely shows why MMG picked him up and why many consider him a key player in rap’s latest freshmen class. Review by Ivonne Lucia

CD Reviews Machine Head: Untu the Locust After a four-year gap, American metal statesmen Machine Head return with Unto the Locust. With their previous album, The Blackening, achieving global praise and accolades in the metal community, the phrase “anticipated follow-up” definitely applies to the band’s new record. Without a moment’s doubt, Unto the Locust surpasses any expectation fans and critics may have. Where The Blackening was an epic and sometimes overly ambitious record, the band scales back its efforts on Locust ever so slightly. The result is a record that’s every bit as majestic, but much more dynamic and focused. There are no 10-minute-long tracks of riffing madness, but the lengthy song structures of The Blackening are present. All seven tracks on this record are over five minutes, but do not reach past the eight and a half minute mark. Record opener, “I am Hell,” is a three-part song that opens with the eerie Gregorian chant “sangre sani,” which means “blood saints.” Within a minute, the guitars rip into a dirge-like riff before the band kicks in to thrash mode by the three minute mark. The song is a roller coaster ride that showcases excellent riffing by Robb Flynn and Phil Demmel. The band is not all over the place as they were at times on the previous record, as the song is consistent but technical. The second track, “Be Still and Know,” has a power metal opening that hints at a classical influence throughout this song. Drummer

Dave McClain shines brightly on this record, pounding some of the most complex rhythms heard on a Machine Head record. “Locust” is the centerpiece of the record. A haunting but beautiful song about deceiving individuals that prey on people like locusts in the field; this song rolls along like a man with a heavy burden. This track will definitely be a staple for the band’s live shows. Machine Head pulls out some new twists with the semi-acoustic “Darkness Within.” It is not a pop track, but the song’s accessibility gives it radio play potential. Album closer, “Who We Are,” is a song of unity. The kids’ chorus complements the militaristic beat that follows it. It’s simply a killer metal tune that induces headbanging, moshing, and crowd surfing. Metal bands have a tendency to release an “accessible” record after releasing the most brutal or technical record in a group’s career. Machine Head did follow the trend, as Unto the Locust is every bit as heavy, melodic, and complex as The Blackening; just without the heightened ambitions the band had four to five years ago. Unto the Locust is the best record in the band’s 20-year career. Hands down, Unto the Locust shows Machine Head at its finest hour.

SUMMER 2011 ISSUE

Review By Jerel Johnson

Indestructible Noise Command: Heaven Sent...Hellbound Indestructible Noise Command’s new album hit my inbox revealing the most interesting tidbit I’ve heard in a while: This is not a new band, just one that hasn’t released an album in 23 years. If they have been on complete hiatus, I couldn’t tell. The new album, Heaven Sent…Hellbound is clear; well-assembled. I.N.C. has always been perfectly of their time. In the late 80s they appeared with sunglasses, blue jeans, jackets, and long hair of the sort perfect for spinning on stage. Current promo pictures have them posing in all black. And I’m not sure if it’s on purpose, but the five current members manage to display every metal haircut there is: shaved bald, mohawk, long locks, short spikes, and long dreads. They’ve certainly kept up in more than fashion, managing to sound up-to-date. Where before they were very thrash, I would classify them now as more tech metal along the lines of Tourniquet or Mercy Drive instrumentally, with vocals more akin to Mastodon. The album is a tight patchwork of rockmetal elements. Bouncing drum work, strings alternating between sludge and speed, and deep, growling, shouting vocals. Let’s take a look at the three middle songs: “Swallowed” begins like a southern-fried ballad with a slow chugging guitar. This falls halfway through to make room for an interlude that sounds like some of that heaven-sent influence, violins or synths

slowly winding around, before a marching tom head leads into a thrashing bridge under-laid with more jackhammer drums. A solo which progresses to a little melody that sounds straight out of an old Capcom Nintendo game is a nice treat. “The Good Bones Stay Down” lets the vocals pick up a bit, faster on the chorus, and alternating between yelling and whispering. An off-kilter solo appears about three quarters of the way in before wrapping up with a very strong race to the finish. Sascha Konietzko, founder of KMFDM, provided service on “the Stripper Pole Remix” for this song, upping the technological ante in his usual buzzyoscillator fashion, although his hand is not as heavy on the tracker as I would normally expect. “Full Metal Jacket” opens with speed guitar and pounding jackhammer drums and very forceful vocals demanding allegiance. The song evolves to a rollercoaster guitar line which steadily inclines to the summit before racing down in a fury, and barreling through a tunnel before an abrupt stop. Overall, this is good music to speed down an empty highway in the middle of the night. Simple riffs combine with complex structure that reveals some thoughtful composition. The best thing about this album is that it forgoes the slow song that plagues so many other otherwise great albums. Heaven Sent…Hellbound keeps the aggression going all the way through. Review by E.T.

CD Reviews All Shall Perish: This is Where it Ends Death-core band All Shall Perish returns with its first album in three years, This is Where it Ends. Album opener “Divine Illusion” bursts out of nowhere with Swedish death metalesque riffs, blast beats, and guttural vocals. The band’s technical precision and affinity for hardcore breakdowns starts the album strongly. “Procession of Ashes” opens with dissonant chords and a thumping bass before descending into a slow galloping riff. The rhythm of the song changes constantly in the first minute, but the parts fit perfectly. The choppy riffs match lock-step with the drums making for a very concise track. The sludgy, serpent-like riff of “A Pure Evil’ drives the song along a demonic ride. The guitar leads are abundant on this song, while the drums speed up and slow down like a rollercoaster.

Other standout tracks include the pit-starting “Spineless” and the crunching “Royalty into Exile.” The latter song once again shows the band’s fondness for Swedish death metal as guitarists Ben Orum and Francesco Artusato rip out the fast-paced, melodic riffs pioneered by the likes of Carcass and At the Gates. The album closer is the longest song on the album, clocking in at over seven minutes. The melancholy piano keys and haunting string section tug at the heart before guitar riffs and shrieks interrupt the apocalyptic serenity. The song is epic and will definitely be a staple on the band’s touring set list. This is Where it Ends may be the record for the Apocalypse, but if the world does not end anytime soon, the record is poised to make a mark in the American metal market. Let us hope the band doesn’t plan to end it with this record, because from the sounds of things All Shall Perish is just getting started. Review by Jerel Johnson

Andy Palmer: Sometime Around

Andy Palmer isn’t just a musician but also a massage therapist, river raft guide, licensed attorney and, oh yeah, the man spent half a year living in a yurt. So suffice it to say he has done some living. And that experience seeps into his world weary rasp to flavor every song on his debut release, Sometime Around.

Palmer’s gritty alt-folk is grimier than say, Everlast, but not as experimental as Tom Waits, which lands him squarely in Vic Chesnutt territory; not a bad space to occupy. His songs do have a tendency to start off weak, but often pick up in the middle to end strong. Almost every track tempts you to hit the “next” button but always rewards you for sticking around. Palmer definitely has an ear for powerful musical moments but his penchant for hoarding them for the finale makes the songs unbalanced. On “I Died Today,” for example, the violins bring the track home in a big way but if they had been peppered throughout the track would have been stronger overall. Palmer is at his best when he’s not concentrating on the big finish and just gets caught up in the moment. On the Dylan-esque country number “Take

it Down” Palmer actually slows things down at the end, letting his passionate vocals carry the weight of the song effortlessly. Palmer takes a brief ventures into gothic Appalachian-styled folk territory and, perhaps due to my own personal bias, I wish he would venture further. The best track on the album, “When History’s Done”, is understated but heavily steeped in solitude and regret. It’s a sound better suited to his strengths, at least more so than the rock based tracks like “Cripplegate”, which feel stylistically alien by comparison. Sometime Around is a great debut. Despite a couple of stylistic missteps, Andy Palmer proves he is an artist to keep an eye on. Visit his website at www. andypalmermusic.com.

SUMMER 2011 ISSUE

Review by David Feltman

: t s i t r ured A

Feat

Mystikka Jade

Mystikka Jade is a natural born empath who has been working in the metaphysical and psychic industries since the age of 18. She began her career in the early 1990s as a tarot reader on psychic 900 lines such as The Kenny Kingston and Gary Spivey Psychic Networks, as well as in person at a variety of metaphysical bookstores and centers in the Southern California area. She has taught classes and facilitated discussion groups on topics like meditation and psychic development, and has provided blessings and clearings in homes that were believed to be paranormally active.

She is the author of The Love Crisis Survival Guide, a relationship self-help book which is available on Amazon.com and other outlets. Jade is best known for her work as the creator and publisher of MetaCreative Magazine, a digital publication that featured metaphysically infused art and culture in both flash and PDF formats. She has interviewed a number of revolutionaries, including but not limited to: Sylvia Browne, Jackie Beat, Bibi McGill, Stuart Wilde, Derek Humphry and Jack Herer. Mystikka enjoys creating psychedelic art in her spare time, and her work has been featured in a handful of galleries, including The Armory Center for the Arts in Pasadena, CA; and The Art House Co-Op in Brooklyn, NY.

Be The Next Featured Artist or Poet! Submit up to three poems/artwork and a bio to ellen@targetaudiencemagazine.com 52

: t s i t r A tured

Fea

I met you through MetaCreative Magazine http://metacreativemagazine.com/, but even before that, I loved hearing your interviews and indie music play lists on MetaCreative Radio. However, you're probably best known for being a professional psychic since 1993, when you were just 18 years old. Amazing! What personal events led up to this? I grew up as an eccentric, misunderstood kid. Having psychic experiences was a natural part of my life, yet I almost never discussed those experiences, and didn’t put the ‘psychic’ label on them until I was about 15. My best friend at the time really insisted that I was psychic, every time I “knew” something without having been told. I realized she was probably right. When I was 18, I was going from job to job, doing retail or telemarketing. I was on my own living paycheck to paycheck and struggling. I was also attending various metaphysical and spiritual events and was reading tarot as a hobby. I was passionate about psychic arts, and I did free readings for anyone who wanted one. Word was getting out, and a lot of people wanted readings; friends, co-workers, friends and family of friends, friends and family of co-workers… I spent a lot of my available time doing countless free readings at a coffee shop and other random places. I look back on that time now and see those days as the way I paid my dues and gained the experience that earned me a privilege to work in this industry. A lot of the people I read for came back for follow ups and some offered a love donation, usually just five dollars or so, but five dollars went a long way for me back in those days. With the demand as it was, I started to believe that I could make a living as a psychic.

The following year I was able to quit my day jobs when I was hired on a psychic 900 line, a position I landed by pure synchronicity. Within a few months, I was also doing readings at several metaphysical bookstores in San Diego, and working psychic fairs and parties. That same year I also started teaching metaphysical classes and I wrote some metaphysically themed articles for local publications. It is great to look back on that time, because it really was magical to see something in my life take off like that, and it all happened so quickly. I was following my gut instincts and intuition, yet I never actually expected the unobstructed path of opportunities, of one leading into the next. Nothing else in my life has been that easy. I really got a lot out of the interview you did with legendary psychic medium Sylvia Browne in MetaCreative Magazine (Spring 2009 Issue) due to the down-to-earth tone of the interview, etc. Along the same lines, I believe you had an interview with international psychic Cyndall on MetaCreative Radio where you discussed the importance of “demystifying psychics.” I, probably along with lots of others, appreciate the approachability you offer. Would you elaborate more on your demystification style? Thank you! When Cyndall and I recorded that episode, we were talking about a lot of the common misconceptions that clients have in regard to the purpose a psychic is here to serve. People have a lot of preconceived notions about psychics, perhaps partially due to the fact that we have been misrepresented so often on television and in the movies. We wanted to help people understand what our work is really about.

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Featured Artist One aspect of my views on demystification is that I like to keep it real. Readings should be relatable to the client, and I believe a good empath knows how to tap into a person’s frame of reference to meet them where they are at. My readings are spiritually focused on the real world concerns of the present. If someone has never explored metaphysics, I certainly am not going to be overly esoteric with them and use a bunch of metaphysical buzz words that they don’t understand. But if a client calls me wanting to discuss complex metaphysical theories, I can get into that, too. I do what I can to address what is important to the client. What tools (like tarot decks or numerology), if any, do you use when giving readings? Studying and using tools was a really important part of my psychic development. In the 90’s I was using tarot as the primary tool for giving readings, yet I also used runes and astrology. I strongly recommend learning tarot to psychics who are interested in reading clients in person. When doing in person readings, the tarot is a really effective conversation piece to map out a story and spring a reading off of; I used the imagery on the cards to communicate messages to the clients. In ’98 I moved to Vegas and took a break from readings due to psychic burn out and other factors. When I started taking clients again in the year 2000, the tools suddenly felt more like an encumbrance than anything else, and my readings were better and faster without them. Over the phone, people tend to generally want the information quickly, anyway. Many of my clients do not want to wait for a reader to shuffle and lay out cards or take the time to do astrological math.

I know that your true mastery lies with your psychic/metaphysical path with so many years devoted to it, etc.; however, I also learned a lot from you as an author with your book titled THE LOVE CRISIS SURVIVAL GUIDE. What prompted you to write it? Do you see yourself writing more books in the future? Ask any psychic what the majority of their readings are about, and I’m pretty sure you will hear ‘relationships.’ Many of my clients are in the middle of a love crisis when they call. Relationship issues really get people’s emotions triggered like nothing else, and when we are extremely emotional, intuition and reason can get a bit lost in the shuffle. That resulting confusion is the reason why so many people seek out psychic guidance. I usually find myself helping people navigate their emotions, so they can get grounded and more fully understand the situation they are working with. You know that cliché, ‘write what you know?’ I’ve heard that from many different sources. Getting people through a love crisis is what I do on a daily basis. The Love Crisis Survival Guide contains a no nonsense formula of solutions I put together, as a result seeing people’s relationship patterns and dynamics play out over a period of years. I have worked with many long term clients and have seen which approaches harm their relationship situation and which ones heal it. I wanted to take what I have seen validated again and again, and make that information available to others. Writing a book takes a lot of creative focus, dedication and determination. I really admire you, and other authors who are able to churn out multiple books. So much of my creative focus and ‘teaching energy’ goes into working one on one with clients doing readings. So, although I have started other book projects, my focus is elsewhere; I’m creating other things.

Featured POET How would you define a Life Coach? Do you think it’s important to be a certified one? Do you see yourself branching off more along this path in the future? I don’t see myself becoming a Life Coach per se, even though what I do has a lot of similarities to coaching. I do encourage people to take responsibility for what they want to create in their lives. I identify obstacles in the way of one’s goals and introduce tools to overcome them, as a Life Coach generally does. However, I also see things that the client doesn’t tell me, and I couldn’t imagine cutting my psychic abilities out of the equation of my work. I enjoy doing ‘stream of consciousness’ readings and do not like to censor out the psychic impressions I pick up on. I think there are both skilled and professional coaches who are both certified and not certified, and there are also unskilled, unprofessional ones who are both certified and not certified. Who works best for you is often about chemistry and personal preference. Most people require structured training, yet a few can learn from alternative sources, solitary and group studies, and personal adversity and end up with a level of understanding that surpasses what one can achieve through traditionally structured academic systems alone. I have seen many people start to work in the psychic industry, only to give up on it as a career path after a few months or a year. Doing readings is a very intense, high pressure job that requires extreme concentration. If it’s not a calling on a person’s life, I seriously doubt that someone would last very long in the industry. I assume that the same would hold true for those attempting a career as Life Coach. If someone is great at what they do, they will be able to deal with the challenges presented to them and succeed with long term, repeat clients and referrals. Word of mouth is a very powerful marketing tool.

I believe it is very important for people who are going into the psychic industry OR coaching, to really study not just your craft, but other areas that relate to it. One can study psychology, quantum physics, NLP, shamanism and many other subjects that will give them as much insight into people as studying tarot or astrology will. I’m not suggesting that we might master all of these subjects; just that it’s beneficial to continue to explore new ideas that inspire us in regard to our profession; especially because staying inspired in any profession can be a challenge. I’m glad that you brought up NLP, which is something I’ve been super curious about--especially since I’ve also heard it referred to as the “NLP Secret.” I know that NLP stands for Neuro-linguistic programming, but exactly how can it be useful? NLP is very useful in psychic arts, actually. It’s pretty likely that many psychics are using NLP already without even knowing what it is. In any profession where you are working with people, the ability to establish rapport is obviously extremely important, and psychics need to be able to do so as quickly as possible with a client. If someone has psychic gifts and wants to give readings, but has a hard time establishing a fast rapport with some people, NLP can really give them tools to do that. NLP is actually full of communication and self-empowerment tools and a lot of life coaches use it as a foundation for their sessions with clients. I’ve gained some insight from NLP techniques; yet my readings are not based in NLP. One tool I’ve benefitted from on a personal level is called Time Lining, it’s great for putting past traumas into perspective.

SUMMER 2011 ISSUE

Featured Artist I could easily spend the entire interview asking you questions on astrology alone, but I’ll try and keep my questions about it relatively short. I realize that you don’t always have time to go into astrology readings with clients who desire quick answers, but when you used to do lots of astrology readings and for clients who want to take the time now to get that kind of reading, which type of astrology (like Vedic Astrology, Chinese Astrology, Aztec Astrology, etc.) do you generally use and why? I do not market myself as an astrologer. In this day and age, I focus primarily on my natural psychic gifts to give readings; empathy first and foremost as well as clairvoyance, clairaudience and claircognizance. Although I am grateful to have the astrological studies in my background, and I still gain insight from the activity of the planets, and natal chart analysis, there is a lot of magic in pure intuition. Much of astrology is left-brained. I am a very right-brained person, and over the years I’ve found that my readings flow a lot better when I work with that quality, rather than against it. Back in the early to mid 90’s, I trained in tropical astrology with an incredible teacher. We used to trade – I’d give him tarot readings in exchange for one on one astrology lessons. From the get go, I was blown away by the accuracy of the Tropical/ Western approach, and never had the inclination to change direction. I have friends who use Vedic astrology, and I’ve been the recipient of some accurate readings from them, also. And I’ve dabbled in Chinese astrology, but not extensively. I, probably like lots of others, am pretty confused about what’s been called the “13th sign of the Western Astrological Zodiac”: Ophiuchus. For starters, is Ophiuchus a sign or a constellation? And, do you factor Ophiuchus into your own readings?

From what I understand, Ophiuchus is a constellation, and its discovery changes nothing as far as Western Astrology is concerned. Switching gears, I am also a big fan of your visual artwork; I know that you have some of it displayed in issues of MetaCreative Magazine and the cover art of your book. Which are your favorite pieces and why? I really appreciate the compliment. Making art has always been one of my favorite ways to relax. The whole creative process of working with color especially, is very therapeutic for me. Some of the series I’ve created include mandalas, pop art, patterns, abstracts and mail art. It’s hard to pick favorites because there is some emotion or thought process behind each piece that has been significant to me. I do have some that are my least favorites, most of which were created while learning a new technique. When I look at those now I can see my progress, so at least that part is cool. Where can readers pick up a copy of your book? Plus, buy pieces of your artwork? And, get readings? My art is for sale on deviantArt and RedBubble, and my book is available on Amazon and other outlets. Links to all of the above are listed on my official website, http://mystikka.com You can purchase a psychic reading on my website, too. Please feel free to email me first if you have any questions about a reading with me. I generally like to exchange email with a potential client before setting up an appointment. My email address is mystikka@mystikka.com Interview by G.L. Giles

ART & POETRY Groundrules for Submitting

Poetry Target Audience Magazine offers a unique opportunity for fine artists and poets to promote work through exposure AND inspire through the creative process. All artists, musicians, and writers should understand inspiration comes from many and varied sources.

and

art

â&#x20AC;&#x153;I just hope that our fans are people who are inspired by music, and just use our music as a background or inspiration for whatever it is they do.â&#x20AC;? - Maynard James Keenan (Tool, A Perfect Circle) Taking this idea, we offer an Art & Poetry Project in which the best combinations of art/poetry inspired work will be published. Those artists and poets who draw inspiration from one another are encouraged to submit for publication. If you are a painter or illustrator, photographer, or otherwise inclined to create fine art and you do so from the inspiration garnered from an independently written poem, prose, or short story, please submit. We also accept poems/prose or short stories (under 500 words) inspired by fine art in all its mediums. Submit your project with both artist and poet information, permission (both authors of the fine art as well as the written work MUST be copied on the email for authorization), and links to website of both artist and author to: Ellen@targetaudiencemagazine.com

SPRING 2011 ISSUE

ART & POETRY

Jeannie Caryn Jeannie Caryn is more than a poet; she is a singer/songwriter, painter, and writer. Read some of her poems, view her artwork inspired by music and the musician in her life. She is currently working on a screenplay/musical about teens joining the military, called My Life (one of her original songs that can be heard on Reverbnation) Hear her own songs at: www.reverbnation.com/jeanniecaryn Take a minute to reflect on why just creating one form of art may not always sustain. Branching out to other mediums can inspire a blocked writer or musician. Sometimes a painting can bring out those thousand words.

ART & POETRY

Silent “e” Poem by Jeannie Caryn I. The images of voice hear me as voice or a diluted landscape— the circumference of my ovary and spin-e sway as I walk: With the hush of my lips, I wholly confound the skeptical e’s stag-e --an incomplete end for the probing limp’s hug-e rag-e. II. Champagne bubbles rid-e, and tickle as glossy-eyed groom swallows and pontificates to guests about duties, not yet obligations,

happy in this new compartment of life: Lover, mad-e Husband “I am a couple now,” he boasts as wife demands his presence Elsewhere, quit-e a photo guests wear their bests: some still look their worst, a delicious bit-e captured on film: flowersbandplaysfruitcupsbowlsofmixednutssequinstieshighheelspantyhosesandspandex a toast III. A dam-e Children; Grip-e, Pin-e, and Hop-e for the future

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IV. Worn rob-e hangs open, a glob-e of dirty socks, slim-e protruding abdomen laps over stained briefs no dress code required for Acceptance. Read the Sunday paper, and bath-e in toxic memories V. Crimson rose petals a thorn-stemmed can-e: Silence. Fad-e.

ART & POETRY Cliff Diver Atop the edge of the cliff, she stood, another night alone.

Art and poem by Jeannie Caryn

Sea swirling beneath, under yellow-mooned sky, subservient to the will of the universe, she cast off her soul with a dispassionate glance.

In need of rescue from the disintegration of her voice into the atmosphere, she cried. Finally, letting go.

“Cliff Diver” was inspired by the song “Letting Go” by Marc Lawson.

And with the grace of the sea winds

Hear it at:

and the weight of truth,

www.marclawsonmusic.com

behind her, about her neck, body followed soul into the tide below under the moon, another night alone.

ART & POETRY

Give Me A Sign Poem by Jeannie Caryn Check out the inspired song by Marc Lawson: http://www.marclawsonmusic.com/setlists/anothernightaloneep/GiveMeASign.mp3 The flickering lights

and awake,

Her face,

and the circular lamp

pleading

before it’s

guide lost travelers

on knees,

too late,

for something

so I can believe,

to hold onto.

again,

through the cosmos in the jet-blacknight. But devoid of faith, and lacking love, the traveler cannot escape the fissures of his mind. Weary, hurling, spinning, and wandering, alone, He remains, floating, lost,

in the atmosphere He sings

of the

to the universe:

sunrise.

Give me a sign,

This time,

to make me believe,

I hope She’ll stay.

I will find my faith, and be safe

I’m the

forever;

man in the moon who refuses

we've held hands

to die

before,

but numbs the pain

and I need

and counts the days

to know

and waits

Music inspired the artist in Jeannie Caryn to illustrate this portrait of Jamie Dicircio

when to turn to find

for a sign.

SUMMER 2011 ISSUE

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