STEAM Magazine South Texas Entertainment Art Music volume 7 issue 11 February 2019

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2 NEW MOVIES & MUSIC 4 COMICS 5 QUICK READ 6 ALBUM COVER OF THE MONTH 7 CD REVIEWS 8 ANDREA J KETCHUM: FINE TEXAS ART 11 G LOVE & SPECIAL SAUCE: 25 YEARS OF MUSIC 12 LUCKY GIRAFFE: WHAT MOVIES ARE MADE OF 14 SOUND S OF I SLAND TIME: JUSTIN ESTES LEATHER SKULL WITH LEATHER-TOOLING & TATTOO ART

BY ANDREA J KETCHUM

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THIS IS YOUR YEAR! J. Michael Dolan If you can just stand back and point your lens at today’s entertainment industry, then shift your POV just a couple of degrees, you should be able to see that there are so many more opportunities today then ever before in the history of show business.

And after observing our esteemed industry slowly transform with the times, there is no doubt that the Internet, specifically Netflix, Amazon and Spotify have disrupted the traditional content-distribution supply chain and caused profound changes in the entertainment industry…for the better and forever!

That said, if we artists & entrepreneurs (especially composers, actors, writers, directors, small biz owners and big dreamers) continue to resist the exponential transformation that is currently taking place in our awesome industry (specifically in television, movies, music and publishing); and if we fail to educate ourselves or go through the necessary learning curve (and alert our agents, managers and reps to do the same), then we will always be stuck in indecision and baffled as to which way to go. We will always be faking our conversations and pretending to have answers. We will always be juggling our priorities, changing our goals and redefining our commitments. And we will always be “almost” making it and forever chasing our dreams instead of catching them!

Important because This is not the year to hold back and wait—it’s the time to jump into the deep end of the pool! These are the days of the creative artist and the fearless entrepreneur. And if you can relate or resonate at all to what I’m saying, then this is YOUR time!

RELENTLESS RESOLUTION J. Michael Dolan • Your music, acting, writing, art or film career is where it’s at today because of the daily choices & decisions you made in 2018.

• Your business is where it’s at today because of the daily choices & decisions you made in 2018.

• Your financial situation is where it’s at today because of the daily choices & decisions you made in 2018.

• You are the person you are today because of the daily choices & decisions you made in 2018.

Important because it’s fun to make new years resolutions.

However, I think it’s more effective and productive to make daily or weekly ones. It’s easy to announce, “this will happen next year!” It’s much more productive to proclaim, “this will happen today or this week!”

I CAN’T PROVE THIS! J. Michael Dolan I was 29 when I started Music Connection magazine. Zero money, zero experience. I couldn’t PROVE to anybody that MC was going to work. But I could KNOW it. I was holding it in my hands and reading it in my mind before I ever committed to actually doing it. Just like an actor sees the scene played out in her mind’s eye before she ever hears the word “Action!” Just like when a songwriter hears the music in his head before he ever writes it down.

Important because you may not be able to PROVE to investors, producers, agents, managers, staff or even friends and family that your crazy, genius idea will work. But you can KNOW it! And the manner in which you articulate that KNOWING may be the only convincing “pitch” that sells it.

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John Hartford is probably best known for writing one of the most covered tunes of all time by an American songwriter, "Gentle On My Mind." The royalties from that one song afforded him the opportunity to record his music, his way. It also allowed him to immerse himself in his life’s passion for steam boats and working life on the Mississippi river, which he did as a teenager in Missouri. John got his riverboat pilot’s license and became an honorary captain on the Julia Belle Swain steamboat and even wrote a song in her honor that appeared on his 1976 record, MARK TWANG. He often said that he’d have spent his life working on the river if music hadn’t gotten in the way. This guitar playing, banjo picking, fiddle sawing, string artist would go on writing, singing and tap dancing his way through his musical life. He would incorporate a variety of first-class musicians, or just play solo, clogging on his amplified sheet of plywood. It didn’t matter. I initially took notice of John Hartford when he was a regular on "The Glen Campbell Goodtime Hour" and before that, as a writer on the “Smothers Brothers Comedy Hour.” I saw him for the first of three times in June 1970, a year before the release of this seminal album. The last time was in October 2000, just eight months prior succumbing to non-Hodgkin Lymphoma at age 63.

A lasting memory from that day was holding the door open for him as we were leaving a restaurant and he was entering. I remember thinking, "This'll be one to tell the grand kids someday." He is indeed having a

great time in his own element on AEREO-PLAIN, playing and breaking new ground with a hand-picked backup band of some of the best of the times: Norman Blake on guitar, Vassar Clements on fiddle, Tut Taylor on dobro, and Randy Scruggs on bass.

This LP was a huge influence on the 2nd generation of bluegrass musicians that was soon to be dubbed "Newgrass," and he’s still a favorite of string band music lovers everywhere. It’s hard to single out one track on this great album, but try "Steam Powered Aereo Plane."

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In response to the suppression of the first democratically elected leader of East Pakistan (Bangla Desh) in 1970, and followed by the massacre and terror inflicted on the people who fled to neighboring India for their lives, Indian sitar maestro Ravi Shankar took notice in a big way. Ravi expressed his deep concern to his friend and former Beatle, George Harrison.

George responded by organizing the first superstar benefit concert of its kind. New York’s Madison Square Garden was booked for August 1st, 1971 for two concerts with all profits going to UNICEF for “relief to refugee children of Banla Desh.” George got to work assembling a band of A-list friends, procured Phil Spector to produce the audio recordings, and hired a film crew to record the event, all in five weeks. What could possibly go wrong? Well, Eric Clapton was deep in the throes of addiction and wouldn’t come to

New York unless heroin was provided for him. Guitarist Jesse Ed Davis was brought on as a hedge against Clapton’s nonparticipation. Bob Dylan showed up for rehearsal, but was nowhere to be seen when it came time for his spot. George can be heard saying, “Is Bob here?” right before the crowd roars at Dylan’s entrance. In addition, there was a dispute between record companies about licensing and distribution. But George pulled it together and produced this spectacular 3-record set. Side one is Ravi Shankar’s stage setting performance with his long time accompanists.

The rest of the album is a rocking extravaganza of talent that includes George, Clapton, Billy Preston, Ringo Starr, Leon Russell, Klaus Voormann, Badfinger, and a whole slew of session players who happily accepted George’s invitation. Dylan’s set was a look back featuring five songs closely identified with his early output, played acoustically with help from George, Ringo and Leon. There was a loose feeling to the whole evening, as evidenced by Ringo’s flubbing the lyrics on his hit, “It Don’t Come Easy.” George closed the concert with his song written for the occasion, “Bangla Desh.” Almost $250,000 was raised from the concert, followed by millions more over the years from album sales and documentary film. It’s safe to say that this concert was a big boost to the future careers of some of the brilliant musicians who played.

Billy Preston’s “That’s The Way God Planned It” set the stage for a successful run at the pop charts through the ‘70’s, while Leon Russell made The Rolling Stone’s “Jumpin’ Jack Flash” his own.

DELGADO BROTHERS TWO TRAINS (BELL ASHER)

BY RICK J BOWEN Inspired by their whirlwind of experiences after winning the 2016 International Blues Competition, the Delgado Brothers further refine their East L.A heavy soul sound on their fifth album Two Trains release in the fall of 2018. The 11-song collection is a dynamic and soulful work, fussing influences from rock and soul to Latin, folk and jazz and the strong themes of love acceptance and social consciousness into a unique sound pallet that defies pigeon holing. Drummer Steve Delgado is at the center of all things with impeccable groove and soaring tenor that is keenly support by brother’s joey on guitar and bobby on bass along with keyboard man David Kelly. The Latin rock anthem “Live For Today” opens with a powerful message of positivity that leads to a slinky Memphis groove dedicated to MLK for the sentimental “450 Mulberry (I Won’t Forget).” The title track is a message of how to do right over a shifting blues fused

JORDIE LANE GLASSELLLAND (VITAMIN RECORDS, WORLD WIDE RELEASE)

BY ROB DICKENS Jordie Lane‘s album Glassellland has been around Australian traps for a while, having been released here in September 2016. The album has received significant acclaim from this warmly-regarded ex-pat Australian roots artist and now, with its world-wide release in late 2018, I thought it timely to reflect on the virtues contained within.

First up, the album title refers to the Glassellland sign in Glassell Park in suburban Los Angeles where Lane has spent some time (he now lives in Nashville). The sign is likely an ironic and workingclass nod to the famed Hollywood sign which wa s originally ‘Hollywoodland’.

It is Lane’s first studio album in five years. In many ways the record owes a lot to Clare Reynolds who has had her own busy career as a singer/songwriter. The pair struck up a friendship at a songwriting night, commenced writing and singing together, eventually coming to perform in the wellreceived theatrical production Grievous Angel: The Legend of Gram Parsons as Emmylou Harris and Parsons – this was a terrific collaboration which they pulled off despite the ambitious nature of the project.

Glassellland was produced by Reynolds (she has worked with Timbaland) and somehow the pair created this seamless collage in a series of transitory studios, which they built and deconstructed in varying spaces in northeast Los Angeles, with studios doubling as kitchens and confined spaces from which there was no escape from the music. To add to this highly personal touch, the pair also engineered and played every sound on the album With Reynolds training as an opera singer and Lane’s background as child to a circus troupe couple and nomadic ways, the duo’s perspectives were vastly different which greatly freshened

sonic. The sweet R&B love song ‘If I Could Only Sing,’ rolls along easy then makes way for more sizzling salsa Rock of “Circle of Friends” that features percussionists Ramon Banda and Ishmael Pineda. The slow blues ‘Talk to Me,” expands the form and allows Steve to showcase his emotional depth.

Teresa James lends her voice to the lilting “Ohana Tennessee” and the Gospel infused ‘Things Have Changed.” This fine album goes further than your typical blues rock record to explores themes of self-examination, preservation, remembrance, and love over sweet melodic landscapes; an accomplishment the brother should be proud of.

DELGADOBROTHERS.COM RICK J BOWEN: WABLUES.ORG

YOLA WALK THROUGH FIRE (EASY EYE SOUND)

BY ROB DICKENS

the process thereby enhancing the finished product.

Glasselland has many observations from Lane’s time in America and his well-known, dry humour seeps through much of its content. He is an outsider who is happily immersing himself in another world. There is a special closeness we have with Americans in music and culture more broadly, but there are stark differences where we are polls apart – levels of outspokenness, respect for our leaders, awareness of the rest of the world, gun culture. This dichotomy gives Australians a unique perspective and, in this respect, Lane is ahead of the game. Case in point, “America, Won’t You Make My Dreams Come True?” with its Americanisms and pop culture references. If you listen hard you will uncover some gems and a clear landscape as to the craziness going on in his adopted country (I wonder what the hell Lane would make of happenings in the USA since he wrote the song!).

Another gem is “Black Diamond”, a catchy track documenting an old Australian miner’s tale of paying money to sleep with a ghost. See the clip where Lane performs the song at Folk Alley Sessions helped out by The Stray Birds.

There’s the tender “Time Just Flew” and “Act Like This”, full of resigned regret about missed opportunities, love lost and fatigue associated with mundane life. The finger picking lights up “Dreamin’ The Life” an alternate take on ‘living the dream’ and the closing, touching love story of “Rambling Mind”. “In Dreams Of War” a Beatle-esque piece overflowing with insights of everyday self-interest.

The total clincher though is the totally vivid and disturbing narrative of Lane’s great-grandfather and his war-time experiences – “Frederick Steele McNeil Ferguson”. With a resonating, sparse riff and steady, front-of-house percussion, this is reminiscent of the great Neil Young brooding arrangements. Buy the album just for this song – harrowing.

Why it has taken Glassellland so long to get a wide release, I know not. It matters not. The time to enjoy this personal, discerning, exemplary assemblage is now.

JORDIELANE.COM ROB DICKENS: LISTENINGTHROUGHTHELENS.COM

This is a truly remarkable album. An epic. It sweeps up stunning arrangements, well-crafted songwriting and masterful session playing, with Yola’s commanding and glorious vocal presence to give us, and I say this with the utmost confidence and prediction, one of the great musical joys of the year. It stands proudly beside some of the classic releases from Aretha Franklin and Dusty Springfield.

Yola’s personal story is fascinating. She has gone from living homeless on the streets of London to joining British band Massive Attack, opening for James Brown (who once told her “Soul’s a thing and you got it!!”) and now to Dan Auerbach’s recording studio in Nashville.

Hailing from a small town outside Bristol in the UK, Yola Carter grew up in poverty with an unsup p or tiv e pa r en t w ho “banned” her from making any music. She also experienced stress -induced voice loss and being literally engulfed in flames in a house fire, which inspired the

album’s title.

Yola‘s debut album Walk Through Fire is produced by Dan Auerbach (The Black Keys) and is released February 22 (on Auerbach’s Easy Eye Sound). Dan co-wrote and produced her record with a team of old school session musicians and writers who have worked with the likes of Elvis, John Prine and Aretha Franklin.

These included Pat McLaughlin and the legendary Dan Penn (“Dark End of the Street,” “Cry Like A Baby,” “Do Right Woman, Do Right Man,”), among others, to write together over five days in Auerbach’s Nashville studio.

Having assembled this terrific original material, Auerbach then turned to some of the most iconic session musicians performing today to record the songs. Bassist Dave Rowe (Johnny Cash, Dwight Yoakam, Chrissie Hynde), keyboardist Bobby Wood (Elvis, Wilson Pickett, George Jones), drummer Gene Chrisman (Aretha Franklin, Dusty Springfield, Johnny Bush), steel player Russ Pahl (Don Williams, Leon Russell, Nikki Lane), and guitarist Billy Sanford (Roy Orbison, Waylon Jennings, Tammy Wynette). Guests also joined, including Vince Gill (whose tangled counter vocal is heard on “Keep Me Here”) and bluegrass icons Ronnie McCoury, Molly Tuttle, Stuart Duncan, and Charlie McCoy. Are you getting the picture? Every component masterfully assembled and the collection from this English lady with a memorable voice starts to sound like a landmark Aretha or Dusty outing.

Dan Auerbach stated, “The moment I met Yola I was impressed. Her spirit fills the room, just like her voice…she has the ability to sing in a full roar or barely a whisper and that is a true gift. She made everyone in the studio an instant believer.”

Yola’s debut album Walk Through Fire is essential .

IAMYOLA.COM ROB DICKENS: LISTENING THROUGHTHE LENS.COM

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knows maybe someone will come up and say I have this beautiful skull do you think you could work that? And I might go back to it.

Or I might change and do something completely different because honestly you never know where one ability or type of art will lead to.

Continued from Page 9 I figured you'd moved to Lockhart for the barbecue, not for the horse.

Oh yeah, well that was a good part of it too but it had great grassland for the horse.

So that brings me to the beautiful art you’ve been creating here in Texas. Everything from leather tooling to wildlife portraits to beautifully decorated and lacy carved skulls, it’s all new for you.

Yes, which is kind of funny because no one taught me how to do leather work. I went to the store and bought a kiddy pack of four tools, a quick instruction book, and a 2-foot by 4-foot piece of leather because if I'm going to try something I'm going to try it big and there’s nothing like learning as you go. I found leather tooling was really interesting.

A leather piece takes a very long time to produce, so I did that for a couple of years.

That's a great outlook, because like you said earlier if you don't enjoy it, don't do it.

Exactly, you can never guarantee how long you're going to enjoy doing something before it's time to move on; and maybe it's just you have a new idea or found something that that grabs your attention in a new way.

I imagine that your shop is set up for one type of project when you walk in and by the time you get to the other end of the room it has morphed into a whole new thing.

What gave you the idea to carve the skulls?

Actually, it started when I was in Lockhart and some people asked me to paint cow skulls. There was a Rancher there that would pull out all these cow skulls from his big property and he had a big pile of them and he said if I designed a skull for him he’d give me five skulls. Which is a big deal now, because people are hoarding their skulls; it's a very popular thing and buffalo skulls especially get big money. Anyway, he asked if I had thought of carving them. No, but it got me thinking so I got myself a Dremel tool and drew a pattern using the leather tooling designs and started drilling. It's very timeconsuming and depends on the type of skull you have. Cow skulls are thinner; buffalo skulls are incredibly thick and take twice as long. I did a couple Exotics like a wildebeest which was smaller and faster and it's very beautiful.

I’ve seen pictures of your skulls but I can't wait to see them in person. Your animal collection is so incredible, they almost look 3-D. The way the eyes just suck you in and the fact that they have just enough gloss on them that you can't tell if they are wood burned, painted, or inked. Honestly, I just love your work.

Yeah, the depth in the eyes is very important to me. These are all animals I’ve photographed here. After I’ve treated the wood I draw the animal, then paint, then seal so that each one is really deep and you know I don't know how long these animals will be the thing I do. Right now I’m enjoying the animals and doing these types of commission pieces (which I've done quite a few) and then when I don't enjoy doing them we'll see what comes next. You know that's often what happens; the art will run its time and who 10 STEAM MAGAZINE FEBRUARY 2019 WWW.STEAMMAGAZINE.NET

Exactly it's a little bit of a rolling stone that never ends.

Having the ability to adapt like that and having that much talent in one person, which is you, is just incredible. I think people could learn from you.

Well, that’s what makes it fun because you keep learning new things and just because you’ve never done something before doesn't mean you can't do it. I pick up pamphlets quite often to see if there’s something that interests me. Actually, I just picked up one the other day on metal embossing because I saw some beautiful things online and thought “that can't be too hard.” I’m doing the same thing as I did with the leather tooling; I bought a couple basic tools and a piece of metal and off I go! To start with I'm hammering on copper and who knows maybe I can do Western painting on copper. I really just kind of keep thinking of new ideas that I

can try once or twice and if it grabs me great, if it doesn't oh well. You just have to try to see where it takes you.

Facebook.com/ AndreaJaneKetchum On Display Now:

ROOSTER’S Emporium 145 E Hopkins, San Marcos TX

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Guest Artist Exhibit 13811 Ranch Rd 12, Wimberley Tx

February 2- March 26

By DC Washington, Sound Magazine

Garrett “G Love” Dutton, Jeffrey “The Houseman” Clemens, and Jimmy Jazz Prescott are celebrating their 25th year as touring and recording artist. With over 15 records released, this pioneering band has been an influence to artists such as Jack White, Jack Johnson, The Avett Brothers, Slightly Stoopid, and many more.

With their signature blend of Delta Blues, Hip Hop, Funk, Rock and Roll, and Jazz, the Special Sauce have literally created their own funky stew of American music.

Expect a high-energy mashup of funky beats and songs written from the front porch to get the world smiling and dancing to the positive message of Love and the Blues.

It's interesting that unlike other musicians, you've never relocated to a major hub like LA, Nashville or Austin. do you ever regret that move or has the fact that ‘hubs’ seem non-existent with this new digital industry make you feel good you didn't relocate and proved you could build a following without doing so?

I've had a lot of mixed feelings about this in my life. In 1993 we got our record deal and we hit the road hard. I was living in Boston at the time; some friends came up and moved my stuff back home to Philadelphia

while I was on the road. I chose to live in my hometown Philly with the friends, musicians, and family that I was close to as opposed to moving to New York or LA to be in the industry scene. Years later, parts of me regret that I hadn't moved to LA or NYC and wondered whether that would have enhanced my career or not. Along the way my first son was born which later moved me back to Boston, where I currently reside. Now I'm engaged and have to a 2 year-old as well, and we are now moving to Cape Cod to start our new family. They say life is what happens when you're busy making plans and I've learned this to be very true. I feel by choosing the deep roots of family and friends over chasing some industry pipe dream I've been able to stay rooted, stay true to my music, and have a wonderful career. I'm very happy.

of affairs in the music industry others credit it for allowing them to connect more deeply with fan. As you put together new set lists every night, do you find yourself inquiring with fans or checking out what is resonating music wise with them on the streaming platforms?

Yes and no. I do check in with the different streaming platforms. It’s interesting to see what songs are most popular according to their streams. When we play a show we like to mix in the hits and the deep cuts. And also any requests that people make through Instagram or Twitter. Music, at its heart is a selfish endeavor; however, when I play my shows it's my ultimate goal to communicate and connect with the audience. So that being said, I love to know what people want to hear

2018 marked the 25th anniversary of the band and as it is very well known that you have a custom set list for the band.

How deep into the well of music did you go to make sure you paid homage to the years of work in your catalog?

Our goal is to perform a completely original show every night and let every night be inspired and unique in its own way. We have really pushed ourselves especially in the last 4 years to dig deep into our repertoire for both released and unreleased songs. You can imagine 25 years of writing and recording our repertoire is pretty vast. It's almost a fulltime job to keep all those songs to performance level. We do the best we can and always look forward to being stumped by the audience. We strive to keep on our toes.

With decades behind you in the business you've seen the industry change dramatically in terms of both format delivery and how artists now make their money, album vs tour. With so many changes things can be lost over time, for example fan mail seems non-existent now as fans are more apt to email or message. Is there something no longer around that you miss that had a place in your time coming up in the industry?

Indeed the industry has changed so dramatically in 25 years that I've known it. We were signed in 1993 and the music business peaked in 1999. Those initial years in the 90s were interesting to be part of because the industry was driven by major labels; we were signed to Sony, perhaps the biggest of them all. There was a ton of money being thrown around. We had fat record budgets and we're encouraged to spend it all. Today is much different as there’s basically no budget. I look back at the 90s and all the money we squandered away making records. I think I make even better records now for literally 10% of the cost and 10% of the time. I regret not socking away more of the money. However,

While technology is blamed by many for the current state

it was just like everything else, you thought it would just always be there and then one day it wasn't. This industry has changed and become digital and connected. Anybody and everybody can participate in it. You used to have to get a record deal, which was nearly impossible, to participate. Now anyone can make a record in their bedroom, so there’s infinitely more competition and white noise which you have to strive above to get your music heard and played. Ultimately these days you have to work hard and more efficiently to see way less return than you used to. And it's more challenging to stay afloat in this music industry game, however, the ultimate goal has remained to make a living playing music and do what you love as a job.

After decades in the business we have a have to imagine your influences have changed quite a bit since your time out on the road as a musician. Is there any new talent emerging now that you draw influence from or are you still finding the source from your original inspiration when you started it out?

It's wonderful to be able to come across young rising stars in my travels. Two musicians who I have become great friends and collaborate with or Ron Artis II and the Truth and Marcus King; both of these guys really knocked me out with their talent and passion. I continue to learn from people who both have inspired me and I've inspired.

We have heard you have a ‘hot sauce’, quite the trend in the culinary area such as fellow musician Steve Perry, how did your time touring the country (and we assume trying various hot sauces) influence the flavor and feel of your ‘special sauce’?

Our hot sauce is a Louisiana style hot sauce.

To me it is an every person sauce. It’s not about heat for our sauce; it's about the tangy, delicious flavor. It’s available at CONTINUED ON PAGE 15

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By Tamma Hicks, STEAM Magazine

Wes Falk & Corey Green, Lucky Giraffe

dustry here in Texas is not as built up as it was in the late 90s, so we're all kind of in this together and struggling and so no one has to present themselves as up-tight professionals like you would in LA. It's a good time to be here, so Lucky Giraffe has a nice friendly sound and it's cool because, you know, Keep Austin Weird.

Mahogany to Walnut and Maple. If we were to find someone who would supply us with Hardwoods, we would love that.

ow long have you two been building together?

2 1/2 years, but we don't always work together. We both started together at the Zach Theater in Austin. I was a full-time carpenter there; Corey was doing parttime work and light carpentry.

We stayed in touch and I was working on a film set and he realized how much better it was to be working on a film set over don't get us wrong we very much enjoy theater that film just gives you the chance to do something different o you have a favorite material to work with?

My favorites are the hardwoods and we have a bin full of everything from

hat's the weirdest thing you ever built?

Definitely the spaceship for me.

I had to build a sculpture of a seal with light bulbs that were able to be taken off quickly. It was for a children's play that we both worked on, Elephant and Piggie; that was a pretty weird set. The biggest set piece for that was monkey bars that could be turned around, be taken apart and used for other parts of the set, and of course be strong enough to hold an actor of at least a 110 pounds who would swing on it as it was spinning around. hat sounds like a really cool set!

Why Lucky Giraffe for a set building company name? Did it have to do with the Elephant and Piggie show?

No, no. I had used this one before, because I had to have a business name for something, and it came about because I’m Irish and tall. The film in-

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should do this like this,” and he would say, “Okay, you're the boss.” That's how I figured out he was telling me how to do it better.

ow did you come to have your shop at New Republic Studios?

New Republic Studios has been around for just over a year now, before hat’s the difference between theater that this was Spiderwood Studios, and and film sets? during that year we have built three sets.

Well, with theater sets you have to We were actually building a set on anothmake sure that the actors aren't going to er stage and I was telling someone that it hurt themselves, so you have to go over would be nice to own or share a shop everything with sandpaper because as with someone because my garage is your building these pieces you don't overloaded to the point where you just always know who will be using it, chilcan’t find anything. Anyway, a day or so dren or adults. later we were talking with Barry Rodgers, In theater there's a “30 to 6” rule, NRS Operations Manager, about openwhich says a set has to look good from ing a shop and the next day he came 30 feet away, while lasting for 6 weeks. back to tell us that John (Robison) and Whereas in film it has to look good from Jason (Papp), NRS close up because you owners, suggested we “I want a fake weapons never know where use Studio A/Lone they're going to put wall like James Bond style! Wolf. the cameras and it Where you open the doors John and Jason needs to last only a have just helped us and there’s hundreds of day, maybe a week. out so much and cool weaponry!” ~ Wes made life easy here. o you prefer theaThe problem we ter or film? realized quite quickly was that 3,000 sq-ft I prefer film, but I can't speak for may sound large, but isn't large enough!

Corey.

We need more room already, so we are building up by using loft spaces and Oh, I prefer film now. I wasn't a carshelving. We're still building and organizpenter until I was at Zach and met Wes. ing, so the ten-cent tour… right side of Yeah, I taught him all the bad habits the shop, left side of the shop. Ta-da! he has today. It's actually pretty funny The area above the restrooms is because I taught him carpentry and less where we're putting shelves which will than 2 years later he brought me onto a be full of “Gak”. That’s what they call set here where he was the lead Carpenleftover materials and props in movie set ter. language. And don't get me wrong, I Which also is funny because on two sets I was the lead and yet he is the betCONTINUED ON PAGE 15 ter carpenter. So I would say, “Hey, we

woolly worm.

By Jackie Bales FACEBOOK.COM/ISLANDLEGENDS

The portion of Harbor Island that is within the city limits of Port Aransas has a very rich history.

Located

along the same latitudinal line as central Florida, Harbor Island and Port Aransas enjoy a mild sub-tropical climate that has attracted sportsmen and adventurers from around the world.

The

French explorer, Jean Beranger was among the first to discover the Aransas Pass and set foot on Harbor Island in 1720. It was not until the 1850’s that the pass became important enough for Congress to commission a light house aid to navigation.

The United States Corps of Engineers started

a project to deepen the pass in the late 1800’s and the pass and jetties were dedicated in September of 1912. The Aransas Harbor

Railroad was built to connect with the ‘San Antonio Aransas Pass Railway’. The rail line was all of nine and a half miles long but was the essential link between Port Aransas and the rest of the world.

would facilitate the transportation of oil from the Mexican oil fields to Port Aransas as well as other ports up and down the coast.

It

was to flourish on Harbor Island.

To facilitate the export of cotton, a cotton compress was built in 1913. More industry was to follow.

was a revolutionary new concept in ship building. The ship consists of two cylindrical hulls that intersected, forming a long dual tube for oil storage and a central pathway. It more resembled a submarine with a large super structure rather than a sail.

While

It

Industry

World War One was raging, a ship building company came to Port Aransas and set up shop on Harbor Island.

It

was the McDonald Engineering Company of Chicago that planned to build ten ships on Harbor Island (at Port Aransas). The French and Canadian Transportation Company commissioned the project that

The

ships were 300 feet long, 53 feet wide and 21 feet deep with a deadweight capacity of 2,200 tons and a payload of 15,000 barrels of oil. All of the concrete was manufactured in San Antonio.

This research was taken from many different

sources. Some of this material is from the Port Aransas Museum and the Historical Society.

was a concrete construction technique taken from silo construction. They poured the concrete in vertical molds and then laid them on their side to be joined like a giant

WWW.STEAMMAGAZINE.NET FEBRUARY 2019 STEAM MAGAZINE 13

I can see how that would get old. What instruments do you play?

I play guitar and I've been messing around on the drums lately, but that's about it and I'm not a lead player.

You went to TA&MU-Kingsville as well, right?

Yeah, I sure did. In fact, I had the same vocal coach that my parents had and he retired about a year after I got out of school. You know when you're a music major they teach you to be a music teacher and I didn't want that. I switch to Communications major and did that for a good year had my own show on the College radio station, but actually, I didn't finish college.

By Tamma Hicks, STEAM Magazine

You just can’t beat live music, especially in the

Coastal Bend where it blends in with the salty breeze as the sound of waves crash around you. It gives you that awesome feeling that you are indeed on “island time.” It doesn’t matter if you can’t see the water from where you’re at or if you’re on one of the islands or the mainland, because you know it’s there and those sounds transport you. OK – wake up! It’s time to get planning your weekend and of course, you want to hear one of Corpus Christi’s finest groups, The Chanklas.

The Chanklas are led by Justin Estes who at 6’4” with red hair and a full beard, is a commanding presence on stage with one of the biggest voices in the area. You may have seen/heard him with other well-known area bands like Green Party, Pickle Fish, Sunshine Collective, and currently the duo Justin & Niki.

We sat down with Justin and talked about growing up as a traveling musical evangelist, his influences and recording his original songs.

You had kind of an unusual upbringing. You lived in a 40-foot travel trailer with your parents and you were Traveling Musical Evangelist.

That’s right, we went by the name the Estes Trio and we traveled around Southern Baptist Churches all over Texas and a little out-of-state, North Carolina, West Virginia, Florida. My parents always went to the East Coast. In fact, it was just a few years ago that my old band, Pickle Fish, did a West Coast tour of 18 gigs in 21 days. That was a lot of high stress; traveling long distances and playing gigs almost every night. You definitely learn how well you get along with the people you're working with.

Ah, those are fun trips. Rusty used to book a lot of tours like that. I always wondered how you come up with the name Pickle Fish?

My old bass player and I were trying to come up with the name for the band. One day we were in the kitchen making fish sandwiches and I wanted to know if she wanted to add pickles because I like them. We just looked at each other and said Pickle Fish. So it was just a couple random words that didn't really match but went well together. Kind of like Chanklas, the name fits where we are and the genre of music we play. By the way, Chanklas is actually spelled with a “c” in Spanish and it means flip-flops.

Flip-flops definitely fit the Coastal Bend. Going back to the 40-foot trailer, I'm sure growing up in an environment like that, because you were home-schooled, was fun being a kid that way.

Well, my parents both graduated from TA&MU at Kingsville with music degrees and were Musical Evangelist before I was born. I started singing on stage at the age of four and it was really fun until I was 13 or 14; that’s when I wanted to make friends and didn't want to constantly be on the move.

I think that when you have a lot of different experiences it makes you a well-rounded person.

Yeah, well I'm as rounded as I can be. I grew up on Southern gospel, my bands do a lot of Reggae, Blues, and Country, and I work construction.

Is there a genre you wouldn't touch?

Death metal.

Really? Death Metal no but Rap and Hip-Hop yes?

That's very interesting.

Well, you know that Rap and Hip-Hop are two separate types of music. Rap is Lil Wayne and more ‘gangster’, but hip hop is more of a thinking man's rap like De La Soul, Tribe Called Quest, Beastie Boys. I've worked with a few rappers from Austin and we covered “Mother Fucker” by Mofo Cheerios; a group out of Dallas. I like to introduce people to new music so a lot of the covers that I do are pretty off the wall and unknown so when I change them to fit me people still don't know who they are listening to. I like to put my own twist and own the songs we do. We even do some Conjunto in kind of a reggae style.

So how did you get interested in all these different genres?

When I was very young my dad would bring home new albums for me to hear, so I grew up listening to lots of different music. I was about 8 or 9 when I really starting searching out music that I liked. I found Harry Nilsson and the Beatles; they are my two biggest influences.

And how did they influence? Was it their writing style or lyrics or melodies that grabbed you?

No, I think they stood out so much in my mind because that's just where it all started for me, listening to them. And there's a songwriter that I really admire, Jonathan Fulbright. He can write a song!

Listening to the lyrics you can hear that he’s spent a lot of time on them.

Anytime I hear your name I automatically relate it to reggae because those are the types of bands I've seen you with. The Chanklas, Green Party, Pickle Fish, and Sunshine Collective all come to mind; however, the song currently playing on SteamMagazineRadio.net is very bluesy and I really like it.

Yeah, that’s the first song I finished, "What You Mean.” I've been recording with Tony Saracene at Aransas Music Emporium.

Tell me about your style, your genre, and about writing music. Are you a How often did you move? rhymer or storyteller?

We could be at a church anywhere from one night only to a I don't make everything rhyme that's for long weekend at a Revival. sure. I really want people to listen to the words and say damn that's cool, but I’m 14 STEAM MAGAZINE FEBRUARY 2019 WWW.STEAMMAGAZINE.NET

also extremely critical of my writing because I really want it to resonate in people. Most people do associate me with reggae and I’m kind of working to get out from under that hat. What I really like is a swamp rock kind of thing with my own feel and, of course, gospel kind of thrown in there.

Since I’ve been recording with Tony my routine has been to record for a couple of hours, listen to that and then record more. That’s typically when I'll leave and he'll do his magic and it all sounds amazing. Of course, I really try to leave space for him to add in some of his awesome lead work.

That guy’s a monster.

Is this album going to be an EP or a full length?

Right now I have one recorded the second one still has a few tweaks to make and I've got three or four more ready to do and who knows this could run into a full-length but right now I'm just aiming at EP. I know a lot of the musicians around the area play in multiple groups, but I think you’ve got it down to just two, the Justin & Niki duo and The Chanklas band.

Yeah, Niki Gil and I do a duo with both of us playing guitar and singing. We play all over the area and last year Nikki and I did three nights in a row at the South By Port A Festival in Austin during SXSW. Niki is also in The Chanklas singing background vocals and as well as lead on some of the songs.

I'm not a lead player as I've never been very confident in my playing; however, I'm more of a singer and Rhythm player and I leave that lead stuff to the professionals.

Our lead guitar player is Tommy Proctor and we have Roy Hollingshead on with Doug Brown on bass. We just have a really good time playing music together.

How often do you

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You had your first annual Cape Cod Roots & Blues Festival held at Nauset Beach in Orleans MA in September. A lot of musicians credit the start of their own festivals with the notion that they wanted to put something together that treated the artists better than they are at most festivals, something about like-minded artists being able to work together better than most festival producers. Was that the case here?

It’s been a long time dream for me to have my own Festival. And be able to curate the artists who we are lucky enough to perform.

So many of my close friends are wonderful

artists. To me it's just a great opportunity to bring the musicians I love to the place that I love. The community of Cape Cod is very vibrant and engaged by the visual and performing arts. I'm just happy to be able to bring through such amazing talent.

What was the most important thing you learned from throwing your own festival that you will carry into future festivals?

We were thrilled to have sold out the first year of CCRB of 2500 people. We can’t thank the community and town enough for helping us through this event and the artist for coming in and supporting us. It’s our goal to keep on growing and improving the whole experience for the artist and the fans every year. It’s also our goal to use the festival as a platform to encourage environmental sustainability. We know this takes extra work and we are continuing our efforts to make this a green and plastic free festival.

What does 25 years mean to you as an artist? Outlasting many is a badge of honor to still be doing what you love?

Yes, it’s certainly badge of honor we hope we are improving with age. We have seen a lot of people who we felt were way more talented than us fall off the side of the road and get left behind. We never take it for granted. Every show, every record, every song, we try to make it the best thing we've ever done. Keep pushing ourselves on and off the stage to be better musicians and better people. Ultimately, it's a testament to the love and support we've gotten from our amazing fan base, who continue to bring the love coast to coast every night.

February 15th - White Oak Music Hall - Houston February 16th - Stubb's BBQ - Austin February 17th - Trees - Dallas PHILADELPHONIC.COM

Favorite songs; one of yours and one by someone else.

My favorite song that I wrote that is Afraid; it’s very personal and means a lot to me. My favorite song in general? There's just no way… Oh, wait. Harry Nilsson’s Think

kay, but being on site here, does that limit your jobs to this location only?

W Of course not, we’re mobile. We can load a trailer and go to just about project site easily; they just have to call. hat's the best part of having the shop?

Easy! The biggest benefit is that air conditioning unit right there! I'll tell you every shop I have ever worked at, even if it had an air conditioning unit it wasn't enough. Because this is also a sound stage that is built to house actors, who can't sweat or perspire while they are acting under all those hot lights, this AC actually cools the place. And now it has carpenters who don't want to sweat while they're working.

LUCKYGIRAFFE.CO NEWREPUBLICSTUDIOS.COM

Set build by Lucky Giraffe: Before,, During,,, and After..

1920’s Mexican Jail from (an Official Sundance 2019 Selection).

play?

What are you looking at doing in the next year or so? Are you guys looking at touring and do you need a 40-foot trailer?

We'd really like to and the trailer would be really nice, but really I just want to finish recording right now. I want to get something out and available so we can promote ourselves better and build a larger following in this area then branch out from there.

hope he cracked a smile with that.

This is awesome, but does it limit NRS on stage-studio space?

Well, we've been in this building for just four months now; however, if they need to use it most of our equipment is on wheels and can be moved to one side,

giving that project use of Lone Wolf’s left stage. The main goal is we want the shop to be so presentable that should a camera crew want or need a shop they could just use our space.

Sister Aimee ,

CONTINUED FROM PAGE 14 Right now it’s offseason in the Coastal Bend, so no more than twice in a week. However spring and summer are coming up and I know that we’ll be playing in Port Aransas at Bron's Beach Carts at least three nights a week, not to mention other gigs at Shorty's, Giggity’s, and places around Corpus Christi.

We keep our schedules on Facebook that's why that's the easiest way to contact us and we're pretty fast at getting back to everyone.

want a fake weapons wall like James Bond style! Where you open the doors and there's hundreds of cool weaponry! h man, yes! When you get that can I come open the door? I’ve always wanted to do that!

Sure! So, over in this area, we have our paint and chemicals. While we were filling out the insurance questionnaire it stated that we have to keep our flammables and incendiaries in a specified space. I’m pointing this out because there's actually a pretty funny story that goes along with this. I was talking to the adjuster who I believe he was reading from his script, because he said, “Do you have anything flammable in your shop?” I said, “In my wood shop?” and he said yes and my answer was, “Yes, everything.”

About Your Troubles from The Point! soundtrack. Great music, great movie.

If one of your kids came home from school tomorrow and said, “Dad, I've made up my mind. I'm going to be a rock star!” What would you do?

You mean after I quit laughing?

They’re my kids so of course, I would support them and their decisions, but I would make sure that they understand it's not an easy road. Musicians work much harder than people realize. You know being a musician now and looking back at our life as traveling music evangelists in a 40-foot trailer I can understand why my dad was always so stressed out.

Facebook.com: TheChanklas and Justin&NikiSing WWW.STEAMMAGAZINE.NET FEBRUARY 2019 STEAM MAGAZINE 15