January 2012

NC

m agazine

fun.

GET READY FOR

IN 2012

COLBIE CAILLAT DIA FRAMPTON:

MORE THAN JUST A VOICE

INGRID MICHAELSON JAKE JOHNSON TALKS FOX’S NEW GIRL

MAYER HAWTHORNE VOL. 3, ISSUE 1 | JAN 2012

life/after/denim

lifeafterdenim.com

AT URBAN OUTFITTERS, NORDSTROM, & MORE

You have a story to tell.

Let us help you tell it.

TATE GHOSTWRITING

tatepublishing.com/ghostwriting

VARIANCE contents 05 Blitzen Trapper 06 Dia Frampton 09 Rep Your City 10 J Metro 11 Ben Nolot 12 Kreayshawn 16 Colbie Caillat 18 Shiny Toy Guns 20 Rachael Yamagata 22 Jake Johnson

All the scoop on Fox’s New Girl...and then some!

25 Supercute!

26 Showstopper: Megan Hilty 28 Mayer Hawthorne 30 FutureSounds

The sounds you need to hear in 2012

34 Ingrid Michaelson 37 Tanya Kach

The New York Times Best Selling Author Speaks Out

38 Fun.

The band is back & better than ever

41 Outasight 42 If They Can, You Can: Life/After/Denim Why this young company launched in a recession

44 Web Wonders

Greyson Chance, Mike Tompkins, Tiffany Alvord

48 Afterthoughts: Album Reviews 50 What’s the Word: Book Reviews 52 Priscilla Ahn 54 Phantogram 56 Q&A with Shelby Meade

January 2012, Vol. 3, Issue 1

art & design Kristin P. Threadgill editorial director Jonathan Robles managing editors Weston Shepherd Rachel Faylene editor-at-large Amanda Morad features editors Emily Hulseberg Merlyn Hamilton contributing writers Shayla Eaton, John Mouser, Brittany Pickering contributing photographers Fadil Berisha, Cedric Bihr, Lindsey Brynes, Jeremy Cowart, Laura Crosta, Chris Fitz, Doron Gild, Will Hart, Tyler Kohlhoff, Anna Lee, Ray Lego, Meeno, Josh Newton, Patrick Randak, Kevin Scanlon, Schiko, Daniel Silbert, Christianne Taylor, Lady Tragik web developer Josh Tate project development Bryan Norris business development Chris Rutherford

60 The Shameless Life of Shanola Hampton 62 Four Year Strong

www.variancemagazine.com

Wingin’ It

B

efore their show at the Theater of Living Arts in Philadelphia, Pa., Blitzen Trapper front man, Eric Earley, loaded up the band’s van for a preshow drive. He and the band caught up with Variance to discuss their new album, American Goldwing.

Whether it was from his two-year stint of being homeless and living off the land, or his experimentation with drugs, singer-songwriter and guitarist Eric Earley now has a tight grasp on his music and what he wanted to portray to his fans with the new record.

Earley says the inspiration for the new album was, “All the failed relationships I’ve been in the past few years…it’s personal stuff…it’s a record I just wrote trying to be as honest and straightforward as possible.”

The writing style and lyrics that come from Earley set Blitzen Trapper apart from the rest of the bands in their genre. Just reading their bio, written by Earley, readers get a look into his experience, and the story of a band that reads like a book you don’t want to put down.

Growing up, Earley played and listened to the bluegrass and folk music his dad listened to. He recalls live music at family reunions and porch jam sessions when he was young. Growing up in small-town Salem, Oregon, Earley had little ambition and never considered

the band discusses their latest musical creation, American Goldwing

written by emily hulseberg music to be a career option. It was inspiration from his life experiences and things around him that made him decide to pursue music and try to make something out of it, hence their self titled, debut album, Blitzen Trapper.

“I pretty much wasted my twenties away drinking and doing drugs and getting in trouble,” Earley recalls. When the band, comprised of guitarist and keyboardist Erik Menteer, drummer and vocalist Brian Adrian Koch, bassist Michael VanPelt, and guitarist, keyboardist and vocalist Marty Marquis, put out their first album, Earley’s inspiration to write was easy to find.

“The songs were just a reflection of where I was at that time, the person that I was…people seem to like it.”

The six albums from Blitzen Trapper show the progression through Earley’s life and his experiences, like when he was homeless for two years, by choice. “The lifestyle I was living was definitely completely off the grid,” he says. “I got rid of all my possessions and I was just sort of floating…I’m never that aware of my direct influences… [the songs] just sort

of happen.”

The recording process for American Goldwing was a bit different from the normal Blitzen Trapper recording process. With previous albums, Earley did all the mixing but this time left it up to someone else—a choice he said he was glad to make.

“This is probably my favorite [album] so far,” Early says. “I’m a lot closer to these songs than any other.” This album is so personal it almost became Earley’s debut solo record.

Earley says his songwriting comes from a place where he doesn’t worry about the why, what, or how. It centers on the experience of day to day living.

“Life just sort of happens and I write.”

blitzen trapper

by jonathan robles

A

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A

year ago, Dia Frampton was working in a cupcake shop in New York. Now she’s going on tour with country music superstar Blake Shelton and working with artists like Kid Cudi and Foster the People. What a difference a year makes!

“There was definitely a learning curve,” recalls Frampton, just moments before taking the stage on The Tonight Show with Jay Leno. “I’ve worked with a lot of amazing people in the last year—including Dave Harris (the guitar player for John Mayer). It was really different but very exciting.”

Frampton captured America’s attention on NBC’s hit series The Voice, where she placed second in the finale. But for the singer-songwriter, who many knew prior to the reality show as one half of the duo Meg & Dia (with her older sister), this new chapter in her career hasn’t been without challenges.

“It was actually kind of scary at first,” says Frampton. “I would be in rooms with professional, hit-making songwriters hovering over my shoulder—making sure every line rhymed perfectly. I actually remember going home some nights trying to write in my living room and I’d hear their voices telling me, ‘that doesn’t rhyme’ or ‘that won’t make sense to the public.’ I finally had to clear my head of all the advice and all their rules and just write for myself.”

It’s certainly a different world for Frampton, who admits to having a bit of culture shock.

“I didn’t even have a Facebook page before the show,” she concedes. “Now I’m trying to keep with Twitter and social media. I’ve had to adjust. Even when we went on The Voice tour, it was crazy having all these people load our stuff and we just showed up for sound check. I’ve always been the person who drives seven hours in a van and a trailer and loads with the band. That’s the world I’m used to.”

“I finally had to clear my head of all the advice and all their rules and just write for myself.”

It’s the world many of her old fans are most familiar with as well, which has led some to have reservations about this new phase for their beloved Dia. “We were really in a rough patch before,” explains Frampton, acknowledging her fans’ concerns. “I think that’s what a lot of people don’t know, is how we were doing. For the last tour we went on, some nights there would be 17 people there and we couldn’t even make enough gas money. This was definitely a band decision and a family decision. I think this is the next step for us, honestly.”

Holding fast to her roots, Frampton affirms her indie music background with her debut solo album, Red—despite now being signed to Universal Republic.

“I actually wrote about 50 songs for this album,” she says.

“There were several songs that the label really liked but I wasn’t feeling them and they decided to go with the tracks I liked instead.

Not all of the songs I wrote were good radio songs, though. My sister and I wrote ‘Hearts Out to Dry’ together, which the label supported because I loved it so much—even though it’s not exactly radio friendly.”

While most of the music included on the album reflects her own style (she co-wrote every song), she admits to being pulled out of her comfort zone a lot.

“I’m not very good at writing dance songs,” she confesses. “So working with Foster the People was very interesting and out-ofthe-box for me. I think creatively that was really challenging but also really fun. It got me going in a totally different direction and we kind of just went crazy.”

Continuing in a different direction, Frampton hits the road with her mentor-turned-friend from The Voice, Blake Shelton, beginning January 12. And while it’s definitely different from what she’s been accustomed to in the past, she’s looking forward to it.

“I was a little hesitant at first,” she says, chuckling. “But the country crowd is really nice. They just want to have a good time and have fun and enjoy music. I’ve done shows where everyone is too cool and they’re afraid to dance, so they just stand there with their arms folded. And there’s shows like the Warped Tour, where we performed and had bottles thrown at us because we came out with our acoustic guitars. So, yeah, I’m excited about this tour. To be honest, I’m just excited about the future.”

Frampton’s album, Red (featuring Kid Cudi and Blake Shelton) is now available everywhere and the second season of The Voice premieres February 5 after the Super Bowl on NBC.

//07

Dia tour 2012 Frampton Jan Jan Jan Jan Jan Jan Jan Jan Jan Jan Jan Jan Jan

12 13 14 15 17 19 20 21 22 25 26 27 28

Toledo, OH* St Louis, MO* Lincoln, NE* Ames, IA Madison, WI Rapid City, SD* Bismarck, ND* Billings, MT* Bozeman, MT* Nashville, TN Columbus, GA* Duluth, GA* Pensacola, FL*

Jan 29 Jan 31 Feb 01 Feb 03 Feb 04 Feb 07 Feb 08 Feb 09 Feb 10 Feb 14 Feb 16 Feb 17 Feb 18 Feb 19 Feb 20 Feb 22

Clearwater, FL

Orlando, FL Jacksonville Beach, FL Greensboro, NC Towson, MD Northampton, MA West Chester, PA Erie, PA* Charleston, WV* Cleveland Heights, OH Highland Heights, KY* Columbus, OH* Roanoke, VA* Pittsburgh, PA Rochester, NY New York, NY

Feb 23 Feb 24 Feb 25 Feb 29 Mar 01 Mar 02 Mar 03 Mar 04 Mar 06 Mar 08 Mar 09 Mar 10 Mar 11 Mar 13 Mar 14 Mar 15 Mar 16 Mar 17 Mar 18

Worcester, MA Reading, PA* Fairfax, VA* Akron, OH Ann Arbor, MI Chicago, IL Kansas City, MO Denver, CO

Salt Lake City, UT Spokane, WA* Seattle, WA* Boise, ID* Portland, OR* Reno, NV* Bakersfield, CA* Sacramento, CA* San Jose, CA* Las Vegas, NV* West Hollywood, CA

*Indicates tour date with Blake Shelton

gaba gavi NEW EP

singer/songwriter

"Temporary Hero"

now available on iTunes 06\\

THE LIVING ROOM New York, NY

Written by Rachel Faylene Interview with Jennifer Gilson Club owner, busy mother of three, and Girl Scout leader Jennifer Gilson runs New York City music venue, The Living Room. Through location adjustments, fan base changes, and the high cost of Manhattan real estate, this live music guru has managed to maintain a spot for artists, music enthusiasts and even young children to enjoy good company and good performances. What’s the secret? According to Jennifer, “there is and always will be a crowd looking for new music and there will always be people expressing themselves through song…. As long as you have good music, people will always be interested.” And although it might take more than just good music to keep a place packed out, she says in order to create a successful show there must be “talent, confidence, and an attentive audience.”

Many well known artists are tied to The Living Room for its open arms and respectability. “There was a tight group of songwriters that lived there over its five years—probably the most noteworthy being Norah Jones,” says Jennifer. Not only does the venue hold a place for up and coming artists, but also provides live music for children during their Kids Shows.

“As I became a parent and watched the singer-songerwriters I knew becoming parents, it was a natural progression. I’d always wanted to have some family events but the first space wasn’t very kid friendly…By housing kids shows, parents and children get to see live music together.”

The Living Room holds true to its name, welcoming everybody to “stay a while.”

The Living Room 154 Ludlow Street New York, NY 10002 http://www.livingroomny.com/

SOUNDPONY Tulsa, OK

Written by Jay Hancock I believe in magic. Not the age-old, pulling rabbits out of hats kind of magic, but that static in the air that stands your hair on end. A little under six years ago, this pleasure dome was created in Tulsa, Oklahoma. Tucked in a corner just a few doors shy of the historic Cain’s Ballroom, half of a bicycle hangs from the red brick façade with a low lit sign that simply says SOUNDPONY. This is my second home, and what a home it is. I have found myself immersed in what looks like a bar on paper, but in reality has become more than that. It’s a clubhouse for anyone and everyone; outcasts, artists, hipsters and those who have had their hips replaced.

The pony is about riding bikes, listening to great music with good friends, and dancing for whatever reason the day may bring. Oftentimes you may find yourself in the cramped alcove at the front of the bar, where local and national bands apply their trades freely. The experience is always intimate, sometimes rowdy, but always in good nature. It’s about leaving your hang-ups at the door and embracing life. It has kept me grounded and continues to help me appreciate what Tulsa has to offer. A family has been built here, and we will ride this majestic steed ‘til the world burns down around us.

Soundpony 409 N Main Street Tulsa, OK 74103-1611 http://thesoundpony.com/ //

REP YOUR

Want to Rep Your City? Know of a music venue, bookstore, record shop, or local hotspot that deserves a spotlight?

Submit a suggestion or write a piece (less than 350 words) at variancemagazine. com and your city might be represented next time!

CITY////////////

//09

J METRO

"MUSIC has NO

genre."

Earning the Title story by shayla eaton

“Music has no genre,” says Houston local, J Metro.

Although J Metro’s music is influenced by funk, soul, and jazz, that’s not enough for him. He is inspired by classical composers like Beethoven and Debussy, while the likes of Bob Marley, Elvis Presley, and The Beatles affect his music as well. Such lyricists as John Mayer and Lauryn Hill have also sparked creativity in his album, Deluxe Edition.

“I’m like a kid in a candy store,” says J Metro of his musical styling. “I want it all, and I believe that if someone were to listen to my collection of works that they can find whatever it is that they are looking for.”

Some musicians expect fame and fortune to just be handed to them, but J Metro knew he had to work hard to get to where he is today. He began piano lessons at age six and performed in community choirs, plays, shows, and was a band member all through high school.

He then majored in music theory and composition at Morehouse College in Atlanta, Georgia. While his family is chock-full of singers, songwriters, pianists, and guitarists, he takes great pride in knowing that he earned the title of “musician” by formally studying the art and being able to read and write music.

“Ultimately, however, I would have to agree that my mother’s family has many talented people, all of whom helped shape my talents, and some of whom have more God-given ability than I could ever hope to have.”

Thanks to his higher education, J Metro learned that mistakes are unacceptable during a performance. “I was taught to practice until you know the piece two hundred percent because one hundred percent disappears as soon as an audience is present.”

The audience certainly hasn’t disappeared though. His Facebook page is growing rapidly, with just a few away from ten thousand fans. He also has well over 18,000 followers on Twitter and his popularity hasn’t stopped there.

“My favorite moments are always when I can open a Billboard magazine and see one of my songs on the charts,” says singer-songwriter. He achieved Billboard charting for eleven consecutive weeks in 2010 with “My People” and has charted sporadically in 2011 with “Alcoholic Logic.”

With as many fans and support as J Metro has, he still gets nervous. “If you are not nervous, you are not human,” he says. “I have songs I have performed a million times the exact same way, and I am still nervous before every performance.”

“Every day is a struggle to keep going because the industry is such a battleground and a war of emotional attrition for independent artists, but I continue on the mission because at the end of it all, it’s what I love,” he states. That kind of attitude is what makes him seem more than human. He knows his weaknesses and stays humble. Humility in the music industry is uncommon, but not for J Metro. Even when it would be easier to just give up rather than fight, he still keeps going headstrong.

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film

ben

“For us, this movie is about a movement . . .”

nolot

telling modern slavery’s story When people hear about a global injustice like sex-trafficking, many purse their lips, say ‘what a shame,’ and return to their Twitter feeds. Some open their wallets and donate to organizations that help restore victims. Benjamin Nolot picks up a camera and searches four continents to find a solution to the problem.

Nolot is the writer, director, and producer of Nefarious: Merchant of Souls, a feature-length documentary exposing the seedy underworld of the modern-day sex industry and the agonizing legacy it leaves its victims.

The numbers are daunting. 27 million people are enslaved around the world today. Human trafficking is a $32 billion per year industry, bringing in more revenue than the NFL, NBA, NHL and MLB combined. Of the 192 member countries of the United Nations, 161 report human trafficking within their borders.

With little background with sex-trafficking, Nolot thought he was setting out to make a short, informational video. It evolved into a project that spanned four years and 19 nations. “Once we got into the issue, we realized that human trafficking is far bigger and far more complex in scope than we had originally anticipated,” Nolot says.

“On our first trip, we thought we were just going to capture all these stories and document what’s going on, but we came back with more questions than we had answers for.”

That’s when they decided to go back to the drawing board, scrapped the video agenda, and chose to follow the story— wherever it led them. “That decision took us on a journey for four years across four continents.” They gathered information, expert analysis and the personal stories of those enslaved through more than 100 interviews and 800 hours of footage.

“Statistics became faces,” Nolot says, “Information became real stories. We wanted the film to be worthy of the girls’ stories we were telling.”

The side streets of Amsterdam’s red-light district or the notso-touristy beach towns of Costa Rica aren’t the best places

to be whipping out camera equipment, so Nolot and his crew captured their B roll clandestinely: iPhones, hat cameras, sunglass cameras, “pretty much any undetectable way you can film something.”

Despite their filming precautions, the trips weren’t without frightening moments. “I almost died in Bangkok,” Nolot recalls. “I wound up in a hospital there with some kind of illness, to this day I don’t know what it was, but I was deathly ill for about a week. We were pick-pocketed and robbed, confronted by Johns and pimps, and terribly sick multiple times, so, it wasn’t all fun.”

Not all fun, but worth it, Nolot says. “The feedback we’ve gotten from some of the largest anti-trafficking organizations out there is that this is far and away the best film on the subject and I think the reason is because we explore some of those deeper layers that people don’t often understand and really peel back the veneer of the sex industry in a way that causes that ‘aha’ moment. The film in that sense is catalytic,” he says.

“I think there’s a really big, untapped power in the realm of film and that is the power to change the world. Films change people and people change the world,” says Nolot. “Through Nefarious, we want to see people ignited with a passion for human dignity, for the sanctity of life, and the conviction that no human being should be bought or sold. For us, this movie is about a movement as much as it is about the film.”

Watch the Nefarious trailer at nefariousdocumentary.com. http://www.facebook.com/nefariousdocumentary Nefarious II: The Sexual Apocalypse, which deals with the demand for sex that feeds the trafficking industry, is currently in production.

by amanda morad

//11

Kr∙eay∙shawn /creation/

Noun: Video director, designer, musical sensation, and cultural pariah Synonym: White Girl Mob

12\\

by Rachel Faylene

She’s

the girl next door, if you hustle in the streets of East Oakland. She’s the girl you take home to mother, if you want to get kicked out of the house. She’s loved, hated, followed, threatened, and more importantly, she’s on everyone’s mind.

Formally Natassia Gail Zolot, 22-year-old internet sensation Kreayshawn has single-handedly turned the rap game upside down and isn’t waiting for anyone to respect it.

In her younger years, she took up freestyling, directing music videos, and conjured up ways to make a living. Her videos for artists like Lil’ B were later recognized by the dean of Berkeley Digital Film Institute where Kreayshawn was offered a scholarship and attended two semesters. She then left school to focus on her talents and begin the journey to her career.

In 2010, she released her mixtape Kittys x Choppas and a video for “Bumpin Bumpin.” Although it wasn’t a groundbreaking season, the following year was good to Kreayshawn, rounding up more than 2 million views for her “Gucci Gucci” video within a two-week period. She later signed a record deal with Columbia and was nominated for Best New Artist at the MTV Music Video Awards.

In addition to performing her own music, she also continued to produce music videos—her latest being shot for Red Hot Chili Peppers.

While the band chose to go in another direction, she is still grateful for the experience. “You know, I just had a very narrative video. Like the whole video took place in a New York underground party so the scenes for the video would be dark because it was shot in a warehouse. So they knew the treatment before they were getting into the video, but they went for more of a lighter performance based video. I’m not mad.

I’m not trippin’. It was still fun.”

Media, fans, haters, and celebrities alike took an interest in Kreayshawn’s project making her one of the hottest new artists of 2011. “It’s cool to see the fans connect with the music and connect with the little movement that’s going on,” she graciously comments.

It’s a movement that is expanding rapidly and encourages others to creatively express who they are and where they come from by their own means.

She wears her inspirations and personality on her sleeve quite literally, from the tattoos to the wardrobe. Disney characters and cartoons cling to her like she clings to her pre-fame era. And her soon-to-be Aladdin-themed tattoo pays homage to her favorite Disney movie. She explains the reasoning behind the image saying, “I’m always thinking about the past and I’m always like a ‘stuck-in-my-childhood’ type of person. So I like to get colorful tattoos and stuff.”

Missy Elliot has been replaced as Kreayshawn’s musical in-

fluence by best friend and fellow White Girl Mob member, VNasty. What is the White Girl Mob you might ask? “It started off as just like, you know, the name of a group of friends hanging out. So that’s just what we would say when we were all ridin’ around being crazy and stuff like that,” says Kreayshawn. “I mean, there’s no real definition for it. You’ll just know when you’re mobbin’. You’ll feel it.”

Flaunting a cat obsession is also among the many attributes that make Kreayshawn who she is. If she isn’t consumed in the Twitter world, or fondling a cat, she’s most likely consumed in a cloud of smoke. In fact, when asked to choose between her favorite interests she replied, “Damn, I don’t know if I could choose between cats and smoking weed…I’d probably have to smoke forever and look at pictures and videos of cats.”

//13

And while most girls her age are busy looking for a suitable husband, her sights are set on finishing her first full-length album that will release early 2012. That’s right; she hasn’t even released an album yet and is already making famous friends and getting compliments from Justin Bieber. “He shook my hand and he was like ‘I’m a big fan, Kreayshawn.’ I was like ‘Oh my God.’ I didn’t know what to say.”

Look out, Gomez. There’s a new kitty in town.

more powerful nemesis: stereotype. “I think it’s always hard either way, you know? You’ve got a lot of expectations and stuff like that but it’s definitely hard because if you’re a girl, people always want you to be a certain way or look a certain way. And then being white, people already feel like you don’t belong in hip hop.”

Clawing her way through the haters hasn’t seemed to slow this hip hop princess down for 2012. She states, “I know the world is going to end and stuff, so I’m just putting out my album and having as much fun as I can.”

The end of the world concept can be terrifying, but not as terrifying as following up the success of “Gucci Gucci.” Although there is a lot of pressure to release a record that proves she isn’t just a fad, nobody can question an album that features Snoop Dogg.

“I’ve been working on it for [a while] actually, so it’s very interesting. There are a lot of new sounds and I’ve even got some singing on it. You know, getting my R&B on.” She goes on to say, “[Recording with Snoop] was crazy. I got so high! It was amazing.”

Touring, recording, and planning out a music video for the new album makes for a very busy Kreayshawn. “I want to shoot a video for ‘Left Eye’ soon. I wrote the treatment so I want to get that movin’,” she says. Rumors of her plans to start her own clothing line are also confirmed. “We’re working on it in this cool sample shop. It’s cool to think of all the different cuts and designs and stuff like that,” she says. “So I’ve been working on that but you know, that’s for the future.” And as if that isn’t enough, she also wants to take up acting. In the most serious manner she says, “I want to meet actors and stuff…I’ve got something I need to ask Will Ferrell.”

So maybe Kreayshawn isn’t the best rapper in the world and maybe she’s not the worst. Whatever the dominant opinion may be, she’s obviously doing something right. And yes, she is still ♪ snatchin’ all your b**ches at her leisure ♪. As for Will Ferrell… someone please get that guy on the phone.

“If you’re a girl, people always want you to be a certain way or look a certain way...”

It’s not all fame and fortune for Kreayshawn, though. Perhaps one of the biggest offsets to her career is the controversy over her use of racial slurs. While she repetitively claims that her partner in crime, V-Nasty, is the one with the loose lips, she continues to receive the blame. “You are the company you keep” has never been truer for Kreayshawn and this just may be a battle that she will never win. Fellow rapper, Game, actually threatened to shove an assault rifle in her face if she used cartain terms again, while female rap legend, Trina, stepped up to the plate during a BET interview in her defense saying, “I don’t see what the big deal about it is. It’s a matter of respect.

If you’re not being disrespectful, if you’re not doing it in a racist way…”

After learning of Trina’s stand on the matter Kreayshawn responds, “It’s cool to know that others understand where people like us are coming from and can come out and say it, too.” But this girl’s fighting more than sensitive listeners. She’s also fighting a quieter,

14\\

releases on

February 7 macymedford.com

Get the album today!

Available on iTunes, Amazon, &

tatemusicgroup.com

//11

C

olbie aillat

[by weston shepherd]

Bursting onto the scene in 2007 with her platinum record, Coco, Colbie Caillat has become a household name with her laid back personality and optimistic lyrics. With the release of her third album, All of You, she again looks to capture the attention of fans with her one-of-a-kind sound. She recently took time out of her busy schedule to catch us up on all things Colbie, and explains why the latest album might just be her best work yet.

V: You just wrapped up touring for the new album. What was it like?

C: It was great! We toured throughout the States this summer and then went to Europe for different shows. Recently, we’ve been on an 8-week tour of the States. It started in August and finished last week! It was fun getting to play the new record for my fans and seeing them sing along, knowing the words. It felt different than any other tour!

V: What’s it like sharing your new music with fans?

14\\

V: Do these changes just occur with experience and age?

“For this album, I wrote songs talking about a specific moment that happened to me or my friends. I didn’t hold back if it was about someone or a hard time.”

C: It’s rewarding. I write these songs at home and then go out and put the record out. I hear that people like it and buy it…but when I see the people in the audience singing every word to every song on all three of my records, it surprises and amazes me. It’s a warm feeling, like, “Wow! You relate to my songs and they do something for you!”

V: You got the opportunity to play with Ryan Tedder of OneRepublic and Andy Grammer while on the road. What is that like?

C: Maybe before I didn’t think I could? Or maybe I thought people would relate to a song better if I wasn’t speaking about a specific moment that I went through. Then I realized that it doesn’t matter—everyone usually goes through the same situations. I love writing because I don’t usually tell people how I feel in person so that’s my way of expressing real emotions without holding anything back. I can write a song and play it for them.

V: Your songs are known for their optimistic and positive outlook. Is this just naturally how you are as a person?

C: I try to. I don’t ever like being in a sad place for too long. I’d rather just get myself out of it. I write about what’s going on exactly, and at the end of the song, I change it to how I want it to be exactly. I like to remind people that they don’t need to be upset for too long.

V: With your first two albums going platinum and gold, respectively, what kind of pressure do you feel when releasing new music? Is this something that you worry about?

C: I’m not competitive so I don’t get upset if it won’t do as well as before. I just like the music that I’m writing with people. I like the music I’m producing with people. I don’t want it to become something that will disappoint me, because that will take the fun out of the music—which is why I went into it.

V: In addition to the music, you’re also known for the philanthropic work that you do. You’ve recently teamed up with VH1 and the Save the Music Foundation, could you tell us some more about that?

C: Andy Grammer opened for us and he’s amazing! We love his music! I always love learning from them. Ryan is such a brilliant writer and producer, he has so much fun writing songs and being in the studio. To feel his energy and watch his process, it helps me for future writing sessions. It teaches me how I want to be and could be.

C: It’s great that VH1 is helping all these kids in school. I think music is such an outlet for anyone, even if you’re not planning on being a musician or artist when you grow up. It’s a way to express your emotions, just like playing a sport or writing in your journal. We have to give these kids an opportunity to play music when normally they wouldn’t, or because their parents couldn’t afford it.

V: You also had the opportunity to work with Common on your latest album. What is it like crossing genres and what does it teach you?

V: You said you weren’t always able to express yourself until music was introduced to your life, is this why you’re so passionate about Save the Music?

C: I’ve always loved different styles of music. Growing up on R&B, hip-hop, classic rock…and reggae is my favorite! With Common, I’ve been a big fan of his for years and I really respect the artist and person he is. He’s very positive with his lyrics, and the tone of his voice is calming and sweet—I thought he would be the right match for my type of music and my fan base. Working with him was fun! He’s such a great guy, so nice, so down-to-earth and real.

C: My whole life I never expressed feelings. I’d either write it to people or I’d text it to them. Sometimes I would just never say it. When I was 19 and learned to write songs, it was the best feeling for me. It was something I never even knew I wanted to do.

V: You’ve said the All of You album is a “more advanced version” of you. What does that mean?

C: You know—I don’t really know what next year looks like; it’s exciting! We’ll be trying to push a new single in the spring and I don’t know—I’ll just be writing and traveling!

C: The older you get, the more you’re growing and learning. You better yourself, or you know yourself more than the last time. For me, as a writer, I’ve become more honest. For this album, I wrote songs talking about a specific moment that happened to me or my friends. I didn’t hold back if it was about someone or a hard time.

V: So what can your fans expect from you next?

Variance would like to thank Colbie for taking the time to speak with us and wish her the best of luck going forward. For more information, or to purchase the new album, visit: http://colbiecaillat.com.

//17

The Original Line-up Strikes Again by emily hulseberg

Coming together in California, Shiny Toy Guns has roots in Shawnee, Oklahoma, a place that is better known for its country music than electronic rock.

With many changes that have happened within the band, founder Jeremy Dawson shed a little light on what is coming up for Shiny Toy Guns and the inspiration behind their unique sound, new album, and importance of keeping up with social media.

Starting out playing classical piano, Dawson then got a mohawk and decided drums were the next step in his music world. After this phase passed, Dawson found a unique sound that caught his attention.

“I discovered synthesizers, and that opened up a whole world, which is the world of electronic music,” says Dawson.

Growing up in Oklahoma, Dawson, a bassist and keyboardist, and Chad Petree, a vocalist and guitarist, had a lot of time on their hands to dream.

“You have a lot of time to get good. You don’t have to bust you’re a** to survive because your rent is $339 a month,” says Dawson.

During their years growing up, they were exposed to a world of underground music. Dawson says because of Oklahoma’s isolation from the coast, they were able to establish their own style that set them apart from everyone else when they made the move to the west coast.

Dawson DJ’d at all the clubs while in Oklahoma and hosted raves in old buildings, spending time at Campus Corner in Norman when it was “really, really cool.”

After having explored all that Oklahoma had to offer as far as their music worlds were concerned, they made the move to California.

Dawson says, “We wanted to have a big impact on music and be fed by culture and things around us on sort of a future forward level…there is no future forward culture in Oklahoma at all.”

The start of the band came after they got tired of the same thing.

“We were missing the element of a live band, but with so much experience in the dance world our idea was, ‘let’s mesh that together and try and create something new that’s half man, half machine’,” says Dawson.

The group formed when vocalists Carah Faye and drummer Mikey Martin joined with Dawson and Petree. While the band has had numerous line-up changes, they currently stand with the original members, adding Daniel Johansson this past year.

Faye departed from the band in 2008 after being on the road doing 300 shows a year and going non-stop. “Half of us were completely dependent on booze or dressing room disasters to survive. Then we have the other half, the people that don’t drink at all who were just completely annoyed by that and communication broke down,” says Dawson.

It wasn’t until last year that the band sat down with one another and worked out their differences to get the original line-up going, just in time for their new album.

Dawson says, “It was all just bulls**t, and what the hell were we thinking?”

The group documented the reformation on YouTube in a short film titled, “Together Again.”

Dawson speaks up about the importance of a “viral artery” in today’s music world. “You don’t exist without it, you might as well give up and get a job…or you can play covers…or karaoke.”

Keeping up with the changing world is something that Shiny Toy Guns plans on doing in the future. “We want people interacting with us in real time,” says Dawson.

As far as writing styles are concerned, Dawson draws inspiration from a number of different factors in his immediate surroundings. He says, “I surround myself with a lot of different things on purpose. I listen to about 150 songs a week, just to catch vibes.”

This process helps when it comes time to writing a highly anticipated album. With many different release date ideas that have come and gone, fans can expect the album “soon.”

“We are flying right now! We are seven finished songs in,

18\\

and the remainder of the record is basically written, minus a few tweaks and pulls and pushes and tugs,” says Dawson.

As to why the album has been taking awhile, Dawson has his reasons. “You have your whole life to write your first album, six months to write your second album, and your third album you learn from…you stop and you take the time to do it…and that’s what we’ve done.”

Details about the release date and what to expect from their third album has been left up for our imaginations.

“It’s very 2011-2012,” says Dawson.

Dawson credits being raised in Oklahoma for his work ethic and the way he writes music. With progression in his style and writing, he says, “If you never listen to music, your music is not going to change. Find something you like and listen to it.”

SHINY toy guns

RY achael

amagata

Q&A

Yamagata recently spared some time between shows for a Q&A session with Variance Magazine’s Rachel Faylene.

How would you describe the new album?

This record is very spontaneous and has a freshness to it in terms of the music and how it was recorded.

There’s a lightness and an energy to some of the tracks and the way the music is. It just feels very live to me—which of course is how we tracked them, but it’s got a sense of joy to it that I think could have only come out of a crazy roller coaster ride of personal life and business life. There is a sense of liberation to it.

Yeah, you seem like you’re in a different stage of life during this record.

Yeah, I think it was a super long road within the past three or four years of trying to get a record out and working within the label system. That was pretty much imploding from where I was. So it’s super exhilarating to finally organize the musicians and set out to make a record and record it fast and have no parameters other than inspiring each other. I think I had been anticipating that for such a long time and it finally came to be and it was such a sigh of relief in a way.

And you’re obviously trying to stay away from the major label route. What do you think the pros and cons of going about it with a D.I.Y. mindset are?

Well, it’s a lot of work. It’s a tremendous amount of hats to wear but I think that what I experienced in the major label system was that I had a lot of great creative people around me that were really fighting for me and they were restricted in what they were able to do for me because, to survive within that system, I think you have to really be a top seller. Or be, perhaps, a certain genre of music that is going to get the masses in a way. And it’s riskier for anything else. By myself, I think what happens is the music becomes more open and free. It really goes back to playing music and releasing the analyzation of it

so much that it becomes more about the feeling behind it and the emotion behind it, and less about anybody else standing over your shoulder guiding what you should record or how to record it, etc. etc. So certainly the creative freedom and the power being back in the artists’ hands, all of that is amazing in terms of the D.I.Y. approach. But it’s a tremendous amount of work. We are now doing everything that we used to have teams doing. What I like about it is that it’s very tangible from the moment we dream it up, or if I want to do a video and shoot it in a tiger costume, I am intimately involved in talking to the director, getting the costume, setting up the scenes, and shooting the video and scheduling. The time delays of all of this stuff are much less. We put this record out and did videos and press and now we’re on tour all within a span of 3-4 months, which is extremely quick when you consider my taking 3-4 years to get a record out. So that part is really gratifying.

And you released the record through Frankenfish, which you also started, right?

Yeah, it’s my label literally just to get this record out and then we’ll sort of see where it goes after that.

Do you plan on signing other artists?

You know, if I could make it work and be self-sufficient, I certainly would. I run into people all the time who I think are amazing musicians and should get a shot. It’s crazy how expensive it is to be an artist. It’s insanely expensive to tour. It’s getting more manageable in terms of making records but, at the end of the day, I’ve always been frustrated that musicians are the first people to take a pay cut whether it’s a band on the road or people in the studio. It’s set up in a way, for me, that’s frustrating because a lot of the people who are actually creating this stuff are being asked to skim back and what not. I’m working with a distributuion company right now; things like that are over my head at this point. But I would love to invest in that way, in other acts that literally just need some financing or help.

It would be a cool way to get involved so we’ll see.

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So basically you’re playing both roles of being the artist and being the businesswoman. Is that something that came naturally or did you have to do a lot of studying to figure out how exactly to go about doing things?

The business side of things I’m fascinated by only because I’ve had so much experience to show me how not to do something. I was always sort of investigating “why didn’t this happen?” or “How do I make it better?” or “Wouldn’t this be more logical?” You know, I sort of can have part of my brain focused on the creative side but then the other part that’s completely separate and gets interested in the business side, or the logic of running the details of things, just to facilitate what I want to do creatively. I want to make records, I want to tour. And when that wasn’t happening I was asking “why isn’t this happening?” This is my life and if I can’t do that, what’s the point? So part of taking the reins in the business aspect are for the end result of getting back to what I want to do creatively. So in that way it’s intriguing to me and I have peers that I certainly trust and I’ve asked questions and learned more about the business as I’ve gone. And then I’ve got a team around me that have been working the record, whether it’s press, radio, or distribution. So I’m always up for learning how the entire system works. In some respects, because I think what has been done seems to be sort of a failing business model in the music industry. You either keep down that path that hasn’t been working for artists or you figure out a way to create your own path and keep at it. I mean, at the end of the day, I would rather fail big by my own hand verses me sitting around wondering why something didn’t work again, or why after so many years am I still not on the road or making records. In some ways it’s survival.

What are you looking forward to for 2012?

I think just touring as much as possible and releasing music frequently. I’m working on an EP of songs that we didn’t get to do in the studio or songs that I wanted to record. So we’ve got a couple of those down and I think they would make a really nice separate collection of five or six songs. But literally to just stay on the road and keep writing music and kind of thrive in that part of it, and just get back out there. I’ve been off the road for a number of years so I have a lot of energy to keep staying out there and do live shows.

//21

Last January, Jake Johnson played Ashton Kutcher’s best friend in the comedy film No Strings Attached. Now, Johnson is starring in one of the most popular new TV shows of the season, New Girl on Fox. With a stellar cast led by Zooey Deschanel and a top-notch crew headed by creator Liz Meriwether (who also wrote No Strings Attached), not only has the show enjoyed a tremendous amount of buzz, but it has helped Fox become the number one network for only the second time in 10 years. For Johnson, that’s a pretty big deal.

“It’s nice to have a steady job,” says Johnson. “I’ve been a grind work actor for such a long time. When I moved out to L.A., I was working all kinds of day jobs for the first two years. Then I started doing the commercial gigs. It’s a neverending hustle for your next job. This is the first time where I’ve actually had a job—and one where I like going to work with people who are truly fun to work with.”

One of the people he gets to work with is actually a big reason he took the job in the first place.

“Liz Meriwether is a clear talent,” he explains. “I think a lot of times on TV you don’t have a singular voice who truly cares about every single episode, and that’s always been something less interesting to me about TV. It just feels like a formula they’re putting together. With most films you have someone—the writer, the director, someone—who really cares about the project. So what I like about New Girl is that we have that in Meriwether. That’s not to say we all don’t care about the project, but she’s in sweatpants everyday because she slept in her office rewriting over and over. That’s huge.”

Of course, he gets to work with a lot of other great people as well—namely his co-star Zooey Deschanel.

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“Zooey is really cool,” says Johnson.

“But more importantly, she really cares about acting and trying to be good at what she does. We all actually rehearse our lines together. If our character is supposed to say a certain thing or feel a certain way, we talk about it. A lot of people don’t do that stuff, so it’s great to have someone like that as a scene partner.”

Since the first episode, fans have wondered about the connection between Nick and Jess—played by Johnson and Deschanel, respectively. So what does Johnson think?

“There were definitely signs in the beginning,” he recalls. “But I’m not sure anymore. And I’m not just saying that. I thought there was something between the two characters but I think [Meriwether] likes that she can play these two characters together and then keep them apart.

Nick actually has a girlfriend for several episodes coming up and the dynamic between Nick and Jess is definitely put on hold. I don’t know that they want this to be a relationship show, but I’m hoping it goes the route of Rachel and Ross [from Friends] and the story keeps going for a long time.”

Looking ahead, Johnson reveals a few things fans can look forward to when the show returns this month from hiatus.

“A new landlord comes in,” he says.

“And things get weird between the landlord, Nick, and Jess. That was a really fun episode to shoot. There’s also an episode called ‘Injured,’ where there’s a cancer scare. So you kind of see how this group reacts when one of them could legitimately be sick. It’s kind of a serious episode but I also think it’s really funny.”

“I love two things: my wife and my job. And although I love my job, I’m a happier person because I have my wife.”

While Johnson enjoys the success from the show, he admits it’s not everything for him.

“I love to act,” he affirms. “But I didn’t get into the business to be a huge celebrity. Of course, I’ll be out to eat with friends and a woman might come up to the table and have nice things to say. It’s cool, but I didn’t get into acting for that.

And I’m married. I know that’s tricky in Hollywood but I’m not going to give up my wife so I can have more of what someone perceives as success. I love two things: my wife and my job. And although I love my job, I’m a happier person because I have my wife.”

Johnson may not be in it for fame, but make no mistake, it’s on its way. His new film, Safety Not Guaranteed, with Aubrey Plaza (Parks and Recreation) and Matt Duplass (The League) premieres later this month at the Sundance Film Festival. He also makes an appearance in the upcoming film, 21 Jump Street, starring Jonah Hill and Channing Tatum. And, of course, New Girl returns on Tuesday, January 17, at 9 p.m. ET on Fox. For more information on Jake Johnson, follow him on Twitter at http://twitter. com/markjakejohnson.

Jake Johnson TALKS ABOUT WORKING ON FOX’S NEW GIRL AND HIS LIFE OUTSIDE OF THE APARTMENT written by Jonathan Robles

//23

FREE YOUR SOUNDS

AND YOUR FRIENDS WILL FOLLOW SOUNDCLOUD.COM

rooklyn bred trio SUPERCUTE! is perhaps one of the most intriguing groups in the indie pop scene today.

Members include Rachel Trachtenburg (18), Julia Cumming (15), and Olivia Ferrer (12). The band packs a punch behind the layers of sugar and fluff with their quirky lyrics and charming attributes. These young ladies are becoming the ticking time bomb of both their genre and their generation.

Everything about the group embraces a fun, girly feel with a hint of hardcore influences. From keyboards to ukuleles, the group has created a natural and colorful illustration of themselves in their music. The girls assure us that the music is a direct representation of who they are.

“SUPERCUTE! is a project that has grown with us, and the sound is who we are and what we’ve created,” Trachtenburg says. “The band will grow and explore all different styles.” Songs from their 2010 EP, Supercute!, are airy, sweet, and sometimes dark with lyrics like “Clouds made of sugar daddies, rain caramel drops / This Candy City never stops / Except when you become awake / Awaiting your lovely lunch break / You’re just an average human being / Not doing anything to benefit humanity / La la la la la la la la…”

The hula-hooping, candy-loving, boyhating trio has plans to release their new LP soon. “Our new album has 13 original

tracks, [was] recorded in London Fields and was produced by Kate Nash,” Trachtenburg reports. “We added drums, bass, and electric guitar to more than half the songs and the album is definitely more hardcore than one would expect from us. It should be released early 2012, [but] we are still figuring out whether or not we want to release it on a label.”

It was obvious why they chose to collaborate with Nash for the new album after stating, “We toured with Kate a few times and have deep respect for her and her art. She is a huge inspiration in our lives and what we do. It was an easy decision and an amazing opportunity that we were able to record with her. It pushed us to a different level and we worked well together creatively.”

Becoming a popular all-girl teen band can be a struggle, and for most, nearly impossible. But Trachtenburg explains, “We are more affected by ageism than sexism. It is hard enough to be taken seriously as a young person pursuing music, and on top of that, to be a young woman. We keep on pushing through, though!”

Setting themselves up for the sweet taste of success, the posse claims, “Our love of art, our love of what we do, and the belief that SUPERCUTE! is going to change the world,” is what keeps them driven. Whether it’s their unconventional appeal or their bizarre live performance, these pop dolls are not to be toyed with. //by Rachel Faylene

supercute!

& Q:

If you were to find SUPERCUTE!, in the dictionary, how would you want it to be defined?

Sweet clever indie bubblegum!

A:

Q:

Alot of your lyrics are candy driven. How much candy do you actually consume in a week?

A:

It would be impossible to say.

Our diet consists of dumplings, popcorn, candy bars, bubblegum, cheese sandwhiches, and lots of sugar daddy's.

Q: A:

What are some of your favorite bands to listen to currently?

We are all huge fans of the Moldy Peaches, Harry Nilsson, Jeff Lewis, Black Sabbath, and Syd Barrett just to name a few!

Q:

What do you hope the future of SUPERCUTE! will look like five years from now?

A:

Diabetes!

sugar, spice, & everything rock

showstopper

MEGAN HILTY Cross-over actress and Broadway superstar Megan Hilty spills about her opera roots that led her to the Broadway stage and now into your televisions via NBC’s new musical drama, “Smash.” written by emily hulseberg

In

the musical theatre world, Megan Hilty is a household name. Known for lead roles in major Broadway plays, Hilty is now embarking onto the screen and is sure to become a household name everywhere. With an unforgettable face and voice, Hilty snatches listener’s attention and keeps them wanting more.

Starting this February, Hilty will be playing the part of Ivy Lynn, a Broadway veteran that “eats, sleeps and breathes theatre” and hungers to be the leading lady, only to once again be put in the ensemble when new girl Karen Cartwright (Katharine McPhee) makes her appearance at auditions to play the part of Marilyn Monroe.

When Hilty read the script for the show, she knew she wanted to audition. “It’s obviously a script that stood out to me, because it’s my world; its musical theatre,” says Hilty.

Landing the part of Ivy wasn’t something Hilty thought she could do when she read that the breakdown for Ivy’s character included an extensive background in dancing.

“This immediately set off red flags.”

She did a videotaped audition in Los Angeles and when she finished she thought, “well that’s the end of that.” But that was clearly not the case for the Broadway veteran.

“They liked my tape and the rest is sort of history,” says Hilty.

Not only does Hilty have the stage presence to play any role from stage to screen, but her personality is contagious. It’s no surprise she has played major parts that were once played by Kristin Chenoweth and Dolly Parton.

During her teen years, Hilty trained her voice in opera, even going to opera camps during her summer breaks. She studied at Carnegie Mellon School of Drama and graduated from there in 2004.

“Thank God for Glee.

They make it socially acceptable and

cool to love singing.”

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she’s

a smash hit

While she was still in school, she auditioned for the Glenda replacement role in the musical, Wicked. “It was terrifying,” Hilty says. “It was for Wicked just seven months after they opened.”

Playing the role at the time was Oklahoma native and Broadway superstar Kristin Chenoweth.

Having only seen the musical the night before her audition, Hilty says, “I just kind of sat in my hotel room that night and panicked about what I was going to do in the audition the next day.”

Her plan of attack was to just make the casting directors laugh once and then she could go home.

“I knew I could never be as amazing as Kristin… but I didn’t want anybody to think I was wasting their time,” she said. “I just thought, ‘well I can’t be funny in the same spots as her, but maybe I can make this funny, or another line funny.’”

She did make them laugh and she also landed the stand-by role, meaning every night she would be ready to go onstage if need be. When Hilty made her Broadway debut as Glenda in Wicked she says, “It ended up being just a magical night.”

“I got to go on with Idina Mentzel (currently playing Shelby Corcoran in Glee) and I remember…sitting in the dressing room, getting ready and trying not to panic…I was terrified…she was so lovely…she was like, ‘You know what, lets just go out there and make it our own.’”

Hilty took over the lead role of Glenda in 2005, and starred as Doralee Rhodes in 9 to 5: The Musical in 2009.

Hilty says, “It was always Broadway; that was the goal.” But once she got her foot into on-screen acting, an entirely different world opened up for her. “I like how wonderful and challenging it was to step out of my comfort zone and try something new like that.”

Having done guest spots on several television shows and voiceover work for characters on TV, Hilty wasn’t an amateur when she landed the spot as Ivy Lynn. “The longer that I’ve been around I’ve realized the key to longevity is keeping myself versatile and doing as many things as possible,” says Hilty.

Lynn is a character Hilty says everyone can relate to. “Once people see you as one thing, it’s hard to see that you can do something else. You can relate to feeling stuck in your job.”

But Lynn isn’t the only relatable character. “Every single character is written in a way that you love them for the wonderful things they do, despite the terrible thing they do. They all have their ups and downs, and Ivy is no exception.”

Speculations as to whether Ivy is the true antihero to co-star Katherine McPhee’s character are still a mystery even to Hilty. “I don’t know if she is a villain…yet,” she says.

With shows out like Glee, which features a high school music and theater group, Hilty is just thankful for what they have done to give musical theater a voice. “Thank God for Glee. They make it socially acceptable and cool to love singing.”

//27

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2011

was an incredible year for Mayer Hawthorne, to say the least. His third studio album, How Do You Do, released in October and spent 12 weeks on the Billboard charts. That same album—his first with Universal Republic Records—has drawn acclaim from music critics, various media, and his peers.

Hawthorne’s unique sound has been called everything from retro soul to hiphop to jazz. Listening to any one of his tracks, it’s no wonder the music world can’t figure this guy out.

“I really don’t care about the labels,” says Hawthorne. “To be honest, you could call me whatever you want. You can say my music sounds like Mary Poppins—as long as you’re talking about it. I understand the genre thing but genres don’t bother me.

People want music that is fun, and I think I make music that’s fun. That’s what matters to me.”

Hawthorne is in a good place. After spending much of the last decade working tirelessly on his own, he inked a deal with Universal Republic last May and has been going nonstop ever since. For the Ann Arbor, Mich., native who started as a hip-hop DJ, his success is reflective of choices he’s made.

“At one point every major label was calling us up,” he recalls. “When we released the first album, offers were already coming in. They were all trying to sign me but I declined. That was kind of hard, saying ‘no.’ But none of it felt right. For a long time, I just turned everything down until Universal Republic came in. It was the only place where I felt comfortable and they weren’t trying to turn me into something else. So I had my shot and I felt comfortable and I went for it!”

Of the decisions he’s made, the soul singer believes moving to Los Angeles has been one of the most rewarding.

“If I wanted things to move I had to move myself,” he explains. “I spent close to 20 years making music in Michigan and then I moved to L.A. and did more in that first year than I did in all the other years combined. If you want to be in the business, you have to go where things are happening. Really, you have to be willing to go to the right place instead of waiting for everything to come to you.”

As throwback sounds—and even vinyl records—creep back into mainstream music, it might seem that the timing is just right for Hawthorne’s Motown-influenced style. But he offers a different

perspective.

“I definitely feel very fortunate to do what I do,” he says. “I mean, this is—I wake up every morning and pinch myself.

I’m very thankful for it. And if it all goes away tomorrow, I will still feel so blessed.

That’s the truth. But I certainly don’t feel like this is my ‘moment.’ I don’t feel like that because my goal as an artist is to have a career in music, not just a fling. For me, updating my style and my sound is very important. I want to help move music forward, not take it back to the ‘good old days.’”

He’s certainly on track to do so. Following a successful year, Hawthorne begins his worldwide tour in February—along with U.S. dates next to another 2011 phenomenon, Foster the People.

For more information on Mayer Hawthorne or to buy his album, How Do You Do, go to mayerhawthorne.com

MAY ER_ HAW THO RNE walks The Walk by jonathan robles

//29

sounds you need to hear in 2012

Every issue we highlight artists and bands who perhaps haven’t made a big splash in mainstream music--yet!--but have caught our attention. The talent is without question and the sounds are unique.

This issue, we’re highlighting some standout artists in a collection you need to know about--and hear--in this new year. From dubstep to folk to hip-hop, these are sounds you can expect to hear more of in 2012.

future }} sounds

by weston shepherd

JASON CASSIDY

For Jason Cassidy, the road to today’s success has been an interesting path, indeed.

Growing up with dreams of rock ‘n roll stardom, his love of country music wasn’t realized until later in life, when a stranger heard his karaoke version of an old George Strait song. Now with his rich, classic country music voice leading the way, he looks poised to become a household name.

Cassidy’s debut album, My Redemption, was received well by fans and critics, even calling some comparisons to country music legends Strait and Garth Brooks. His unique and honest writing style, coupled with catchy melodies and an extremely talented band, reminds listeners of how country music should be played.

The album’s first single, “Sounds Like an Angel to Me,” cracked the Top-20 on Texas country music charts. And the second single, “Honkytonk Heaven,” pays homage to the country music greats that came before him. With a deep understanding and appreciation for country music’s past, it’s no surprise to see his music being compared to those who inspired him.

Be on the lookout for Cassidy’s music, as it is sure to be coming to radio stations nationwide, and the album, My Redemption, is available everywhere music is sold.

For more information, visit: jasoncassidyonline.com.

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For New Orleans based indie rock duo, Generationals, 2012 looks to be a breakout year. After their second album, Actor-Caster, was released in March of 2011, the group looks ready to make their presence known in the world of indie rock.

Like many groups, Generationals got their start under odd circumstances. The duo, Ted Joyner and Grant Widmer, were originally members of the band, The Eames Era, which found moderate success and was even featured on Grey’s Anatomy. However, when the band split in 2008, Joyner and Widmer decided to start their own project much to the satisfaction of fans.

The duo’s first album, Con Law, was released in 2009 to mostly positive reviews. The single, “When they Fight, they Fight,” was the driving force behind the album, as it was featured in commercials for Bloomingdales, and more recently in the 2011 film, Hall Pass. The catchy, light-hearted spirit of the music keeps listeners entertained and moving, much of the reason they have found such success.

In late 2011, the group released their second EP, Medium Rarities, and again shows much of the creativity that got them to where they are. The overall sound of the music and quality of writing continues to only get better with each release, making 2012 that much brighter for this up-and-coming duo.

GENERATIONALS

For more information on Generationals, or to download the latest EP for free, visit: generationals.com.

For Oklahoma City based rapper, Jabee, the task of creating good music in a region not known for its hip-hop is a great responsibility. With the general public viewing Oklahoma as a flat, barren place that thrives on country music, Jabee looks ready to prove that hip-hop is alive and well in the Midwest.

Whenever Jabee is mentioned in conversation, the average music fan may not recognize the name. However, any fan of hip-hop is familiar with Chuck D, member of the legendary group, Public Enemy. In a recent spot on his radio show, Chuck gave public support to Jabee, even going as far as to say his music could “change the world.”

With support coming from the highest ranks of hip-hop, it’s no surprise that Jabee looks ready to take his talents nationwide in 2012, and will surely win over many fans in the process. Releasing mix-tape after mix-tape, his creativity is in full swing and the constant flow of new music is an attribute that fans everywhere will love.

For more information on Jabee, or to check out his music, visit: www.iamjabee. bandcamp.com, and be on the lookout for this up-and-coming artist’s tracks on your radio in 2012.

JABEE

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G-EAZY

For New Orleans based rapper, Gerald Gilium, aka G-Eazy, the future appears to be growing brighter every day. Gaining momentum with his remake of the 1960s classic, “Runaround Sue,” this self-made musician looks to grow his fame to new levels in 2012.

Born-and-raised in Oakland, G-Eazy made his name working with artists like Lil B and The Cataracs. This experience, coupled with his never-dying desire for success, has made him a hit on the underground levels. Releasing several mixtapes, most recently 2011’s The Endless Summer, his fan base remains active, devoted and excited about what their artist has in store for the future.

His willingness to share his music with fans, often times for free, makes him accessible and goes to show that his passion remains with the music—not the money.

Although he dreams of making millions and seems poised to realize that dream, there is a sense of believability and honesty in every track.

Learn more about G-Eazy, or to download tracks for free, visit: www.g-eazy.com.

In the meantime, be on the lookout for his name and don’t be surprised when you hear it.

future sou As the dubstep train continues to make its way mainstream, more artists are looking to become household names in 2012. With the overnight success of artists such as Skrillex, fans looking for new music to satisfy their thirst for bass will find much joy in the music of Porter Robinson.

First producing music at the age of 13, Robinson is in some sense a prodigy in his field. Under the wing of the aforementioned Skrillex, he wows crowds with his deep understanding of layers, new sounds, and the most important part of any dubstep song: the drop.

Just 19 years old, Robinson released his first EP in 2011, Spitfire. The collection of songs puts his array of talents on full display, gaining the attention of fans nationwide. Even more impressive than his songs on record is his live show, often sharing the stage with dubstep’s heavyweights. Unafraid of his lofty company, his name looks to soon be mentioned when discussing the electronic genre as a whole.

PORTER ROBINSON

For more information on Porter Robinson, and to hear his groundbreaking music first hand, visit: www.soundcloud.com/porter-robinson.

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For New England native, Merrill Garbus, the typical music of today’s industry is nothing more than an afterthought. Not interested with creating sounds that remind listeners of any other artist, she sets out to stand out, and with Tune-Yards, she has done just that.

Starting out with just a handheld recorder and an idea, Garbus recorded her first album on nothing more than recycled cassette tapes. Fast-forward to today, Tune-Yards impresses listeners with an array of instruments and sounds that are unseen anywhere else. The music has been featured in everything from Blackberry commercials to the television show Weeds, and only looks to grow in 2012.

The April 2011 release of Tune-Yard’s second album, w h o k i l l, cemented TuneYard’s place among the future of music, with fans and critics alike agreeing the music provides an edge that the industry has been starving for. Complete with a live show that now includes a saxophone section, the group also rests in the hallowed category of music that sounds just as good live as it does on record.

TUNE-YARDS

For more information on Tune-Yards, visit: www.tune-yards.com, and be sure to keep your eyes and ears open for a group that promises to reveal a new side to music in 2012.

unds future }} sounds

sounds you need to hear in 2012 For Irish born folk singer, James Vincent McMorrow, the lofty praise for his first album sets him up perfectly for a major push in 2012. Drawing comparisons to Bon Iver, Sufjan Stevens, and other fan favorites, his thoughtful lyrics and beautiful tones make him a person to look out for in the future.

His first album, Early in the Morning, was met by much satisfaction among fans and critics alike. With a unique ability to tell stories through his songs, he embodies all that folk music was intended to be and has left listeners thirsting for more of his one-ofa-kind sounds.

Fans in the United States may be waiting to see him live, as he is currently touring Europe, but as he gains momentum, they can expect to begin hearing more of his name and voice. He continues to sell out shows wherever he travels overseas, and 2012 looks to be the year he officially makes his presence felt in the States.

For more information on James Vincent McMorrow, or to listen to tracks from his debut album, visit: www.facebook.com/jamesvincentmcmorrow.

JAMES VINCENT McMORROW

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michaelson

ING RID

d o n e wit h “ditt i e s”

C

Written by Amanda Morad

been two years since Ingrid Michaelson’s last release, Everybody, and apparently this indie-pop jingler has done some growing up. Variance chatted with Ingrid about her (literally) commercial rise to fame and her January 24 release, Human Again.

When Michaelson’s father first heard the upcoming album, he asked where all the diddies were— daddy’s little girl isn’t so little anymore. Human Again is a markedly darker piece than Girls and Boys, Be OK or Everybody, but when you’re comparing to the sunshiny offerings this singer-songwriter has released in the past, everything looks shadowed.

“I had about eight songs I wanted to record with [producer David Kahne] in January, but we ended up using only one of the songs I had originally come to him with,” Ingrid explains. “He was really encouraging in terms of using my voice and singing out. I was writing in a way I had never written before because I was thinking [about] really singing out and not being timid in my vocals.”

This album introduces Ingrid as a more formidable sensation and places her among the ranks of fellow indie-pop queens Sara, Florence, and Regina.

IT’S

“I feel like I’ve experienced some sh** and the fact that I’m using my voice the way I sing live makes Human Again feel more mature,” she says. “When I sing live, I sing out, and I think allowing yourself to physically open up allows you to emotionally open up too.”

Emotionally open indeed, the new album covers a full spectrum of emotion lyrically and musically, effectively marring her image as the love-jingle songstress. In her place stands a feisty, broody woman who’s no longer afraid of her power as a vocalist and writer.

But are her fans ready to see a new version of the ukuleleplaying girl-next-door they fell in love with? “I’m sure there’s going to be a bunch of people who don’t like it and they want me to stay the way I always have been…But I can’t keep doing

“I’m sure there’s

and Old Navy—have added Ingrid’s wistful ditties to the soundtrack of all our lives.

“I lot of my songs have been in commercials because they’re kind of jingly by nature,” says Ingrid. “But I’m trying to get away from the jingle thing on this record. I never really wrote songs with the intention of them being great for commercials.”

This time in the studio, Ingrid made a point to go a different route. “I think it kind of bothers me sometimes. I think, hey my songs make it to the background, does that make me like wallpaper?”

But to know Ingrid is to know she is no wallflower. In fact, she’s pretty ballsy, ambitious, and a bit of a self-professed control freak. In 2007, Billboard called her the “face of the new music industry” after she released Girls and Boys on her own label.

“I think the idea that the major label is the be all and end all of the musician’s career is changing,” she says.

“You can build a very successful career on your own.

The past four years with iTunes and YouTube and the

going to be a bunch of people

who don’t like it and they want me to stay

the way I always have been…But I can’t keep doing things the same way just because people don’t like change.” things the same way just because people don’t like change.”

Though fans may perceive big changes in her music, Ingrid considers this new project the most “logical step forward” in the evolution of her career. “When I sing live, I definitely go for it. There was sort of this release that was happening,” she says of her new, stronger vocality. “There’s also a bit of dread that goes along with it because now I have to sing these songs live over and over again and it’s going to be really demanding.

But I don’t know what’s going to happen unless I try.”

In the time between touring for Everybody and recording Human Again, Ingrid has kept busy with other ventures. “I do a lot of things, but I don’t know how well I do them,” she laughs.

The “things” she refers to include co-writing—and then starring in—a television pilot with her best friend from high school.

With a hefty background in theater, Ingrid welcomed the opportunity to get back to acting, if only for a while. “My primary focus is music and unless something really perfect comes along, I don’t know how I feel about dramatic stuff…But if something funny came along that was absolutely perfect and it made sense for me and my life, I would probably say yes. Who knows?”

The pilot is being shopped around to several major networks, but Ingrid not-so-secretly hopes to land the comedy on HBO. “I want to be able to curse,” she says. “I know it’s crass, but it’s really funny!”

Ingrid’s show shouldn’t have a problem finding a home on whatever network makes the best offer—the world of television has always been especially kind to her. The Brooklyn-ite’s big break came in 2006 when her single “Breakable” was featured in an episode of Grey’s Anatomy. Since then, One Tree Hill, Parenthood, American Idol, So You Think You Can Dance—plus myriad commercial spots for companies like Google Chrome

internet—there are ways to connect to fans instantly and to gratify them instantly with music. It’s just a great place for musicians to be right now.”

The decision to go it alone was almost accidental, she says.

As her music was featured in more and more commercials, labels began circling like vultures. Her manager asked her why she’d want to give up creative control to a label when she was already handling licensing, marketing, touring, and basically every function of her music career herself. Ingrid took it to heart and decided to venture out with her own imprint, Cabin 24 Records.

“It’s intense to have as much control over things as I do,” she confesses. “Sometimes I just don’t want to answer any emails and I don’t want to see any more approvals, but in the long run I think it’s worth it.”

The New York native recently fulfilled a childhood fantasy by singing Blood Brothers, a track from Human Again, in the Macy’s Thanksgiving Day Parade through Manhattan.

“I’ve been watching it since I was a kid,” she recalls. “The whole lip syncing thing is weird and is never something I thought I would have to do and it made me so nervous, but once I got on the float, it was just amazing…and just to be part of the tradition was incredible.”

A true New Yorker, Ingrid doesn’t foresee a change of scenery anytime soon. “When I’m not in New York, I miss it like I would miss a person….I just love it. We did a show the other day in Virginia and came back really late at night and I just looked out the window over Brooklyn and thought, ‘there’s no place like this anywhere else in the world’….It’s just my home.”

Watch the music video for Ghost, the premiere single from Human Again, here: http://www.youtube.com/ watch?v=SwwLohz2Uq8.

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SPOTLIGHTT

TANYA KACH Co-author of the New York Times Best Seller Memoir of a Milk Carton Kid

Shortly after the release of Memoir of a Milk Carton Kid, America was enthralled with the story of Tanya Kach—a girl held captive as a sex slave for 10 years by the custodian at her middle school. The book catapulted onto the New York Times Best Sellers list, was the center of a two-part series on Dr. Phil, and became the subject of water cooler chats across the country.

“The reaction from the public has been incredible,” says Kach. “Sure, there have been some hateful things said, but I’ve really pulled on the positive words people have said. It’s actually very inspiring to me.”

Kach herself has been an inspiration to others. But the road to where she is now has been anything but easy.

“I felt like I had to tell my story,” she recalls. “As painful as it was mentally and emotionally to sit down and relive those memories, I knew I had to share what I went through so that maybe someone else might not have to. Or maybe someone else might feel empowered enough to come forward and tell their own story. I had no idea, however, just how therapeutic and empowering it would be for myself. I actually feel stronger now.”

For the moment, Kach is taking everything one day at a time, but her hope is that, if anything, her story helps others.

“I’m very fortunate,” she says. “I’m lucky that I got out when I did and that I lived to tell about it. I’ve been doing a few speaking engagements and sessions at different high schools. It’s not just about the book. It’s about overcoming the silence.”

Memoir of a Milk Carton Kid is available through the publisher at tatepublishing.com, as well as Amazon.com, Barnes & Noble, and other booksellers.

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fun. fun. fun.

In a world filled with unbelievable talent, and in an age that allows for the instant uploading of new music via YouTube or blogs, fans are constantly given free reign to pick and choose their next favorite artist in real time. The struggle for musicians lie in creating a sound that stands out among the rest and inspires the listener to go buy their product. The question is: If you’ve established yourself before, could you possibly do it again?

For New York City indie-pop group, fun., the road traveled to where they are today is a bit unique in nature. Starting out with The Format, a popular band in the early 2000s with a cult-like following, front man Nate Ruess is no stranger to the business. Factor in guitarist Jack

Antonoff, of the group Steel Train, and do-it-all musician Andrew Dost, formerly of Anathallo, and you’ve got a group that has seen its fair share of stages and tour dates. “Starting over is never easy, regardless of the circumstances, but the band is beginning to prove that sometimes things go smoother the second time around.”

As Ruess tells the story, it becomes clear that he dreamt of bigger things, even during his time with his former band. “I think I had always wanted to do something else aside from the Format,” he recalls. “It just kind of ended and allowed me to take over the thing that I wanted to do and make it a full time thing.

“I always kept tabs on them [Anton off and Dost,] and Jack was such a close

friend anyway. As soon as I knew The Format wasn’t going to be happening anymore, I called them up right away. I asked the two of them specifically if they wanted to do it, and I think by the end of the week we started working on new songs.”

With this newfound sense of direction, the group began writing and recording, releasing the first full-length album, Aim and Ignite, in 2009. But Ruess admits that the transition between old and new bands was not an immediate success. “There was one song that I was really adamant about doing called, ‘Jumping the Chart.’ We started working on that first, and it was a little weird… but then we started working on a different song and things started feel-

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“I don’t think it’s something that I need, but there are times when I love to sing with it and I love what it does to my voice.

I see auto-tune as so much more of a really cool instrument, sort of like a paint brush.”

INTERVIEW BY EMILY HULSEBERG

WRITTEN BY WESTON SHEPHERD

ing really easy.”

They continue to make it look easy, as they quickly approach the February 21 release of their second studio album, Some Nights. The same group will be featured on each track, but Ruess reveals the sound may be a bit different than what listeners found on the group’s first project.

“There’s more emphasis on the songs.

When we first started making Aim and Ignite, I was so worried about how it was going to be portrayed coming out of The Format, and how people were going to react. I think I felt a little bit of a need to cater to people and cater to their expectations. After the early success, and the surprises of Aim and Ignite, I really just wanted to try something new from a mu-

sical direction.”

But what does that mean exactly? Ruess explains, “A lot of emphasis on keyboards; a hip-hop type of vibe. I think as a songwriter, I always tend to write kind of similar songs lyrically, and I always want to try and grow a little bit, but it’s not a race.

“I think there was a lot of more emphasis on trying to take a song, something that has more of a classical feel and trying to be a lot less tricky in the things we did. I really just wanted to write what I thought was a good song no matter how it was produced afterward.”

One of the biggest developments in the new music is the aforementioned “hiphop vibe.” The genre, which Ruess admits he has “been obsessing over for a while

Preorder SOME NIGHTS today! Go to ournameisfun.com/somenights/ or scan the QR code.

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& more fun. now,” ushers in a brand new facet to the group, and seeks to take them to new levels. Among the changing sounds, the use of auto-tune on certain tracks is something that fans should also be ready for.

“I was just such a fan of 808s and Heartbreaks [album by Kanye West] and all the Drake stuff,” he says of auto-tune. “I don’t think it’s something that I need, but there are times when I love to sing with it and I love what it does to my voice. I see auto-tune as so much more of a really cool instrument, sort of like a paint brush.”

Whatever Ruess and the men of fun. are doing appears to be working in their favor. The first single from the group’s upcoming album, “We are Young,” featuring Janelle Monae, is already garnering attention and establishing itself as one of the hottest new singles out.

Speaking of Monae, Ruess says, “We knew we wanted a female singer on the song, so we figured there’s probably no one better than Janelle Monae, in our opinion. She liked the song, and the next thing we knew, we had a version of her singing on it, which was pretty surreal.”

Apparently, Monae isn’t the only fan of “We Are Young.”

In a recent episode of Fox’s hit television show, Glee, the single made an appearance in grand fashion. Capping an emotional episode in which the New Directions win sectionals, the song was featured as a victory performance celebrating youth, vitality, and the truth that growing up really can wait when you’re 16. The cast version of the song quickly shot to the number one spot on iTunes.

“It was really exciting,” Ruess says of the song’s inclusion on Glee. “We were giddy at that point, and after it aired, a lot of cool stuff started happening. The next day was a whirlwind.”

Ruess even admits that the episode, despite being known as a television show that appeals to a much younger fan base, left an impression on him and the band.

“I was really, really moved by it.”

With 2012 shaping up to become the year of fun., Ruess says he’s already looking forward to the upcoming tour.

“I’m so excited about it,” he says. “Al-

ready started thinking about a set list! We want to make it bigger and better than anything we’ve done and we’re very hard on ourselves, so hopefully it is going to be fantastic from a stage show perspective.”

In the meantime, Ruess and the boys will continue to do what they do best: enjoy the music they make and the second chance they’ve created together.

“I love those guys as individuals, but I really love how we are just together as a whole. I don’t think I’d be as happy if I wasn’t able to laugh with those guys every day.”

Be sure to check out more on fun. and preorder their upcoming album, Some Nights, at: http://www.ournameisfun.com

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outasight Richard Andrew, better known by his stage name Outasight, has been making music since he was 10. But until recently, he wasn’t sure what would become of his career.

“I’ve been going at this for a long time,” says Outasight. “I really enjoy making music. I stayed at it and I worked with some really great people who kept me inspired and made me better.

Honestly, there were times where I wasn’t sure where I was going, but I worked with the right people who kept me motivated.”

His previously unreleased track “Tonight is the Night” was recently picked up by Pepsi to be used in promotions running during The X Factor on Fox. And according to the 28-year-old singer from Yonkers, N.Y., the timing could not have been better.

“We kind of had to move fast,” he says. “My management called me up and was like, ‘They want to use your song for a Pepsi ad.’ Of course, I was all for it. But the Pepsi commercial was going to premiere in less than a week so we had to decide quickly. It premiered and from there it was airing on X Factor all the time. And so they asked me to perform on the show. I was happy to have the opportunity to do it.”

“Tonight is the Night” has become an overnight hit. From television screens, to radio plays, to YouTube views, Outasight is certainly on America’s mind. And the buzz is having a positive effect on his plans to finally release an album—nearly three years after signing to Warner Bros. Records.

“It definitely changes a lot of things,” he acknowledges. “I already have a lot of material, so the process has been ongoing.

But when you have a single that starts moving like this one, there’s certainly a different timeline that applies. I’m learning as I go but it definitely puts my album to the forefront and the plan is to release it probably in the spring. It’s interesting because a couple of months ago I really had no idea when my album was going to come out. It’s exciting.”

The young hip-hop artist, who’s known for being influenced by soulful melodies and recently toured with the rap group Gym Class Heroes, promises his debut album will be nothing short of an aural melting pot.

“It has a little bit of everything,” he reveals. “There’s definitely some genre-blending—some really good songs and a lot of me. And that’s what I’m most excited about. I feel like I’m putting together an album that really represents who I am as an artist.”

Having taken a lengthy road to get to where he is now, Outa -sight relates to artists who are trying to work their way up in the industry. And he offers his best advice.

“You’ve got to enjoy the process,” he suggests. “For as long as it may take. For me, it’s all about getting better—improving, performing whenever I could. You have to create opportunities for yourself. The more and more you work, the more people will start to take notice and hopefully appreciate what you’re doing. The big thing is that you have to keep working.”

For more on Outasight, you can follow him on Twitter at twitter.com/outasight and check out his website, iamoutasight. com, for the latest updates. His debut album is slated for an early 2012 release.

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LIFE AFTER DENIM

-by Jonathan Robles

if they can, you can

A new series spotlighting young creatives, entrepreneurs, and organizations who are doing great things despite the odds.

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I

n 2009, more than a million jobs had been eliminated from the U.S. market—for a two-year estimated total of 7.2 million positions cut since the recession started in 2007.

Entire industries were failing, consumers were losing confidence, and entrepreneurs were growing leery as America experienced its worst economic downturn since World War II. “It was an interesting time,” recalls Alexis Frey, co-founder of life/after/denim, a men’s clothing company based in Los Angeles. “There was so much going on at the time and we kind of had to step back and consider everything—especially during a recession. You’re a new company and there are so many brands already out there. We had to think about that.” aunching amidst a flooded clothing market, life/after/denim’s co-founders Frey and Michael Choi stepped into the game with the unique concept of building their garments around your favorite pair of jeans.

“There are plenty of denim brands,” says Frey. “We didn’t want to just be ‘another.’ The idea is for you to recycle your jeans. Our brand encourages that. We wanted to create clothing that is timeless and, honestly, we like to think our clothes could last forever.”

Forever is a long time, especially for a young brand facing new challenges and a shaky U.S. dollar.

“Things just kept getting worse and worse,” Frey remembers. “The price of raw materials (cotton) started to skyrocket—literally right as we’re launching. So here we are trying to create these clothes at a value—at the right, fair price—and now the raw material is basically twice the price, almost overnight. So everyone in America is facing the same economic situation and we get it—that’s part of the idea behind our clothes.

But we have no choice, and the price had to increase.”

L

“I really believe in creating your future, but also in creating your present.”

Despite financial challenges and bumps in the road, life/after/denim is quickly building a reputation for quality and originality in a crowded field of competitors. And many are taking notice: Channing Tatum, Zac Efron, Liam Hemsworth, Ben Affleck, and Ashton Kutcher all frequently wear the brand. o how does life/after/ denim stand out and grab the attention of Hollywood in such a short span of time?

According to Frey, it’s about more than just clothes.

“I think it’s our overall aesthetic,” she says. “Our artwork, our plaids, our color combinations. We don’t just put out a muted palette. We spend a lot of time on that. And of course, I’d like to think we stand out because of our price point as well.

Our clothing can stand up next to quality and you look at the tag and it’s not even near the other brands.

That’s really important to us.”

For now, the life/after/denim brand is carried by 100-plus different retailers, including Urban Outfitters, Nordstrom, and international stores in Australia, Costa Rica, Indonesia, Japan, and Russia. But Frey (who officially serves as the company’s creative director) is already thinking about the future—and the bigger picture.

“We’d love, love, love to have a retail store,” she exclaims. “I know it’s crazy and I’m not sure how realistic that is in the near future, but in the next couple of years, maybe. We just have to see how things go but it would allow us to further brand ourselves and create a special environment for the customer—without changing the core values of who we are. And of course, we’d love to do a women’s line. But one thing at a time!”

That’s been the philosophy behind the brand’s success since it started: taking risks, but carefully. And taking

S

risks they certainly have!

“We started this company because there’s a need for it,” says Frey. “That’s what propelled us. Yes, there was this huge recession, but we had to determine that our idea was greater. And recession or no recession, we saw this need in the market.

Especially in this economy, you have a lot of retailers doing really well but there aren’t many wholesale lines doing that. We saw the opening for something that is still premium but with prices that are easier to swallow.

That’s what inspired us.” rey also has advice for other young creatives and entrepreneurs who need that extra motivation to move forward.

“Go for it,” she says.

“Keep moving. There’s nothing wrong with taking a risk. Be smart about it, but keep going. We need people who step out with great ideas to create new jobs and push forward no matter what the markets are doing. I really believe in creating your future, but also in creating your present. I believe that people should follow their passion and create a life that they love.”

For more information on life/after/ denim or to find a store, go to lifeafterdenim.com and check out the latest collection. -V

F

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GREYSON CHANCE

A new breed of stars is dominating YouTube, conquering the blogosphere, and racking up “likes” on Facebook.

In this ongoing new series, we spotlight the best of the Internet

For Greyson Chance, life has resembled something like a roller coaster for the past year-and-a-half. After his now famous YouTube cover of Lady Gaga’s “Paparazzi,” went viral, Chance’s name seemingly became known in every household across the country overnight. Now 14-years-old, and with his debut album under his belt, he looks to secure his stardom and remind us that he’s here to stay.

At 14-years-old, life is usually a fairly simple endeavor. Kids go to school, play with action figures and struggle to understand basic math equations. In all honesty, 14 is an age when dreaming of being great is something that is done almost daily. Being great, on the other hand, is something that typically comes with age. Typically.

For Chance, life is a far cry from what it was when his 2010 performance of Lady Gaga’s “Paparazzi,” was recorded and uploaded to the Internet. With increased views came more notice, leading to an appearance on the Ellen show and a whirlwind of press and publicity to follow.

When asked how his life has changed since then, Chance says, “To be completely honest...life has completely changed.

I’m constantly traveling, and have been everywhere in the world!”

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WEB WON DERS

BY WESTON SHEPHERD

Never to seem ungrateful, he continues, “I’m so lucky for what I get to do. So lucky for my fans. I just love what I do!”

With the constant traveling for appearances and time spent in the studio, you can imagine how his life may differ from that of your average 14-year-old. However, he’s not too concerned with struggling to have a career while remaining a kid.

“It’s not too hard. I take online school so I can do schoolwork wherever I go, whenever I go. I’m still a kid through my music—I’m having fun with it!”

While his childhood may be far from average, saying he’s “having fun with it” would be a sore understatement. The most striking part of speaking with him is the sincerity in his voice, especially when discussing his fans.

“It’s one of the best feelings in the world. I’m so lucky and blessed! They inspire me and make it all worthwhile.”

During a recent show in Indonesia, he was reminded just how far his fan base stretches.

“My album came out a week before I went. During the show, they knew all of the words already! The album isn’t even in their language and they were singing so loud! I just love my fans with all my

heart.”

Part of the reason Chance resonates so well with his fans is his ability to give a voice to a group that often goes without representation. His critics say he is too young to understand the lyrics he writes, but he offers up an explanation for anyone who may feel that way.

“I really just write what I feel, you know?

I think sometimes people underestimate teenagers. All I know is that I write what I feel, and if I’m heartbroken, I’m going to write about it. I write as much as I can.”

The future indeed looks bright for Chance, as his debut album, Hold On ‘til the Night, reached #29 on the Billboard Hot 200 and he recently released his third single from the album. In addition to the music, he looks to reprise his role on Fox’s Raising Hope in the upcoming spring season.

In the meantime, he will just continue being a kid and enjoying what he does best. When asked what fans can expect in the future, Chance says, “Really big, worldly music that is really close to my heart.”

Fans have come to expect nothing less.

MIKE TOMPKINS

BY AMANDA MORAD We caught up with Mike Tompkins to talk about his YouTube success since posting his first cover two years ago last month. For those who haven’t experienced Tompkins’ magic, his virtual home is YouTube channel, pbpproductions, and on it, he dazzles the world with skillful a capella remixes to pop songs by artists ranging from Coldplay to Katy Perry.

Every sound is made from his voice and mouth and is mixed without effect.

Tompkins arranges the music, shoots the video, and edits it all together himself.

“The process takes about three weeks,” he reports.

But how does he pick the right song?

“Every song I hear I’m like, ‘I could do that, I could make that sound this way.’

Usually when I’m picking a song and I think it sounds cool and it’s a popular song, I start thinking how I would do each individual part and then just start doing it.”

Tompkins adopts a Nike-esque outlook toward his work. “I just set up a camera and go, doing it piece by piece until it’s done,” he says. “There’s very little organization involved. More like, ‘let’s just do it!’”

So far, it’s working for him. Tompkins

has done every video completely on his own, save two: “Firefly,” by Owl City, and “Only Girl in the World,” by Rihanna.

Those he produced with friends.

Most videos feature Tompkins, or rather, many of him, showcasing how each part of the song is built. From kick drum to high hat, bass to synth, Tompkins beatboxes every part like a one-man-band.

Born in Edmonton, Alberta, Canada during the summer tornado of 1987, Tompkins’ style stems from a lifetime of beatboxing and a keen ear for production—proven by his work on the Juno award winning album, The Old Prince, from fellow Canadian artist Shad K (Junos are the Canadian equivalent to Grammys).

Tompkins studied audio engineering at the industry-renowned Ontario Institute of Audio Recording Technology. Since graduation, he’s added to his repertoire a collaboration as producer and writer with Timbaland for the American artist’s Shock Value III album (release date TBD).

“I wouldn’t be where I am without my fans,” Tompkins says. “When I’m having a tough day or I get discouraged with what I’m doing, I’ll get a message from a fan saying how much they love my music or how much whatever I’m doing affects

them in positive ways. It’s a huge pick-meup.”

What fans can expect in 2012, however, could potentially test their loyalty. He will debut a full length original album this year with the first YouTube single releasing this spring.

“The stuff I’m doing is like nothing I’ve ever heard before,” Tompkins says of his new music. The pressure’s on to meet fan expectations. “I think when people hear my cover songs they’re like ‘oh I’ve heard this song before but this is a unique way of doing it,’ whereas my songs have to be really good,” he says. “I think they are—I know they are.”

Of course they are. It’s Mike Tompkins.

And with vouchers from Timbaland, Perez Hilton and Ellen DeGeneres, the odds are on his side for a stellar debut. But the attention hasn’t gotten to his head. “Success for me would just be creating music that inspires people,” he says.

And to all you other Youbies out there, “Just keep doing what you’re doing,” says Tompkins, passing his Just-Do-It campaign on to aspiring Internet sensations.

“If you think you have something that’s creative and that has the potential to catch on, then by all means, keep going!”

//46

TIFFANY ALVORD Most 19-year-old girls are thinking about which courses to take next semester or where they’ll be spending spring break with their friends. They’re probably not thinking about how to raise money to fund their music careers or which marketing route will best distinguish them as an artist.

Tiffany Alvord posted her first song to YouTube when she was 15. She has since acquired more than 650,000 subscribers and her videos have attracted 120 million views—making her the 25th most subscribed musician on the video site.

YouTube covers are nothing new in the social media world, but Alvord’s unique way of connecting with fans and promoting herself using social networks is in a league of its own.

One glance at her Twitter feed reveals a young girl who understands what it takes in today’s socially-driven music market, and she’s got the voice to back it up.

“I’ve been following Tiffany for years,” reveals one of her fans online. “I think part of the reason so many people connect with her is because we’re pulling for her and we feel like she’s one of us.”

Alvord still has a ways to go in her career, but she’s proving that she has the determination and skills to make it happen.

She was recently signed by Tate Music Group and her debut album, My Dream, released to much fanfare. It peaked on iTunes at No. 2 in the Singer/Songwriter category, passing established names like Gillian Welch and Amos Lee—and proving she is definitely a Web Wonder.

Tiffany Alvord’s debut album, My Dream, is now available digitally. To download the album or learn more about her, go to www.tiffanyalvord.com.

Know of a YouTube sensation we have yet to feature in Variance? Is there someone whose beats or blurbs on Soundcloud are drawing a lot of attention? Or perhaps there’s a blog that has everyone buzzing? Let us know by submitting a suggestion for “Web Wonders” at variancemagazine.com. Note: This feature is not limited to musicians.

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//45

afterthoughts ((( what’s on our playlist )))

Amy Winehouse Lioness: Hidden Treasures First of all, it’s Amy Winehouse. There really needs to be no explanation as to why she is on this list. et’s take a moment of silence, and then have a listen to the soulful, unreleased tracks on Lioness: Hidden L Treasures.

The Asteroids Galaxy Tour Out of Frequency Releases January 31st Welcome to Out of Frequency, where the horn section reigns and the 60s are alive and well. Television and commercials around the world have been friendly to The Asteroids Galaxy Tour, with songs being connected to department stores, Apple products, Gossip Girl, Mad Men, and much more. Sharing the stage with artists like Amy Winehouse and Katy Perry doesn’t hurt, either.

This Danish pop group is constantly full throttle with their sound, and the new album doesn’t take a break. When you find yourself asking, “Where have I heard this before?” the answer is, “Everywhere.”

The Asteroids Galaxy Tour is a name that may not be recognizable at first, but their songs have reached ears both near and far.

Out of Frequency maintains high energy and keeps you on your toes, literally. It’s that hair whipping, tap dancing, feel good kind of music that starts the New Year off right. Don’t be embarrassed if some of the songs bring back memories of those high school pep rallies—this time, the band is the coolest group in the room. No matter what section you’re sitting in, Out of Frequency is here to get you pepped. Besides, if Donald Draper approves, we all approve.

compiled by rachel faylene Childish Gambino Camp If Kanye West is responsible for introducing ironic, thick-rimmed glasses to the masses, then rapper Childish Gambino, otherwise known as actor Donald Glover, is taking nerdy to a whole new level. In fact, he might have made it so popular that it’s not even cool to flaunt the dork inside anymore. Who knows for sure? All we do know is that Camp is a clever record, so pay attention.

Listening to the album, you’re constantly swinging the pendulum between feeling sympathetic and feeling a little bit terrified. No doubt though; from beginning to end, you’ll feel impressed. Camp seems like it was made simply to prove that Childish Gambino is not just a hobby, and sniffling through the depressing lyrics and growling through the angry ones makes for a bitter, yet empowering album.

But don’t worry, there are still those catchy songs about girls and how great they are. While Glover raps about not being accepted in different social groups because of his style and interests, he seems to be creating a community of his own. Population: Hipsters.

Gary Go Now Was Once the Future You can expect to see a lot from Gary Go this year with his new album, NWOTF. After all, he has toured with and is supported by the Queen of Pop herself, Lady Gaga. An influential artist in the world of music, Gary Go already has an impressive track record of performances and collaborations that make him a candidate to be “the next big thing.”

Now Was Once the Future covers the basics, from slow instrumentation to high volume vocals. It’s a consistent album that doesn’t seem to miss a beat on the musical or cultural fronts and is relatable to all types of people. Gary manages to dip this record into a gene pool of diverse sounds and come out with a well-rounded and promising project. You’ll also get a chance to check out the less dubbed-out version of “Cinema” that Skrillex made so popular.

The Internet Purple Naked Ladies OFWGKTA (Odd Future) members Syd Tha Kid and Matt Martians have created an album that plays it cool and calm, despite the collective reputation. While the lyrics aren’t necessarily playable on a Breakfast at Tiffany’s soundtrack, the tone of the record is surprisingly entrancing and classy.

An old school feel and status-update-worthy lyrics make listeners feel dazed, but most certainly not confused about how good the album is. Purple Naked Ladies lands at the intersection of everything we love about musical melting pots: two hip-hop collective members making soul, jazz, R&B, and psychpop tunes. Yes, there is a harp hidden amongst plenty of guest spots to keep things fresh, and to hear something so elegant is a nice change of pace for this crowd. It can make the most sober individuals sink into a state of mind that’s sure to cause relapse, and you’ll be replaying this album over-and-over.

Bring on the addiction.

The Roots Undun Even after all this time, The Roots manage to not only keep the respect of their first fans, but continue earning it from new listeners with each project. Being the 13th album released, Undun reminds us that The Roots are deep, both historically and lyrically.

A serious album with a serious story will live on to tell the tale of a dead man. Whether it’s a warning to the young or the blueprint to a life of crime, the lyrics dive into real life, exploring the options given to those forced to choose between light and dark, good and evil, or life and death. The vocals flow smoothly and naturally, making the storyline even more mentally visible. The instrumentation is worth noting, considering who we’re dealing with. The piano piece near the end of the record is too easy to listen to multiple times.

It’s a well thought-out project over all, and let’s face it: The Roots could have put out the worst album in history and still be one of the most respected hip-hop groups of today. Lucky for us, they’re still brilliant.

what’s the word?

BOOK REVIEWS

I DIDN’T ASK TO BE BORN (BUT I’M GLAD I WAS) Billy Cosby

EVE Anna Carey

Have you ever just wanted to sit down with your grandfather and listen to him tell stories about how things were “back in his day?” Well, now you can experience a taste of what that’s like in Bill Cosby’s newest book, I Didn’t Ask To Be Born (But I’m Glad I Was). He may not be your grandfather but he sure does know how to tell a story. Whether he’s talking about how fine Bernadette was when he was 15 years old or how he grew up in the projects of Philadelphia playing softball “around back,” Cosby shows readers what original comedy is all about.

“Where do you go when nowhere is safe?” This simple, yet multifaceted question is an accurate preface for Anna Carey’s newest novel, Eve. The east coast native is not a new voice on the young adult fiction scene, having previously released another series, The Sloane Sisters.

In addition to his personal childhood stories, Cosby includes humorous but real memories of his children; like his conversation about men with his single daughter or his seven-year-old son sticking up his middle finger, asking if it was a bad word. But in the middle of the storytelling, Cosby also provides his audience with an entertaining perspective of the story of Adam and Eve and what he believes must be missing pages.

This book is an easy read, good for traveling or great living room conversation, and it’s definitely amusing. Full of stories, observations, and rambles, Cosby manages to keep you wanting more of his endearing witticisms. A classic and seasoned comedian, some might wonder whether Cosby is still as funny as he was when he was younger. This book answers with a resounding “yes!” Cosby’s humor is as good as it’s ever been.

Carey’s latest book is the first in a trilogy of novels surrounding the main character, Eve, who is thrust into a perilous world unknown to her. Set in the near mid-2100’s, the story follows the tale of a young woman living in a postvirus plagued world that has killed much of the population.

Orphans are separated by gender and placed into guarded schools, where they are promised a certain life in the “New America.”

When she escapes the confines of the only place she’s ever really known, Eve begins a truth-seeking journey to find freedom, discovering new people, dangers, and even love along the way.

Although the title arrives during a time when doomsday scenarios and vampire hype-filled books are the hit, Carey dares to take a new route by not succumbing to the supernatural. The book is an easy read, moving quickly between scenes while not rushing the general plot. Though it does feel somewhat like an introductory title, that is exactly its purpose, and we expect to see a lot more in Carey’s forthcoming installments.

// BOOK REVIEWS

TATE PUBLISHING PRESENTS...

IS EVERYONE HANGING OUT WITHOUT ME? (AND OTHER CONCERNS) Mindy Kaling

“Hilarious” seems to be the only word to accurately describe Mindy Kaling’s new book, Is Everyone Hanging Out Without Me? (And Other Concerns). From the introduction to the goodbye, Kaling will have you chuckling and laughing as she takes you on a journey behind the scenes of her life, from her childhood as a chubby girl to her “railroad-style apartment” in Brooklyn and the off-Broadway play about Matt Damon and Ben Affleck that helped kick off her career. She also shares details and stories of how she got started at The Office, and how “Steve Carrell is nice but it is scary.” But this is definitely not a book that’s all about Mindy’s life. Interjected between the stories, Kaling shares her opinions on what makes a good best friend, her observations on women in romantic comedies, why being a guy is so easy, and much more.

a new young-adult fiction series by krissi dallas

After picking up this book, you might wonder if you’re reading an autobiography or a series of short observational essays. It seems as though she managed to intertwine the two. Either way, it’s too humorous to put down and it’s definitely a book you should buy because the truth is, everyone needs a little Mindy in their lives… and on their shelves. available at www. krissidallas.tateauthor.com

priscilla the singer/song-writer takes a moment to speal about her past, present, and future

by emily hulseberg

ahn

F

rom a young age, Priscilla Ahn loved to write. From journaling to blogging, she spent considerable amounts of time expressing herself through the written word. With ambitions to become an English teacher, Ahn had no idea what picking up the guitar would mean for her— and her future.

“Songwriting came maybe when I was around 16. I always wrote, so when I picked up the guitar when I was a teenager, I started learning cords and teaching myself how to play,” Ahn recalls. “In order to learn cord changes, I sort of made little songs for me to learn.”

After playing small shows in coffee houses, clubs and bars, Ahn still just saw it as something she did during her free time. She says, “I never really thought of it as a career for me. I think I just wanted to master it, and get good at it, and it was really fun.”

Still focusing on college and her future career in the teaching world, it wasn’t until Ahn went to an audition at a local state school in Pennsylvania that her plans did a 180. After her audition with one of the music professors, he encouraged her to pursue music and go to school if music didn’t work out.

“When he said it, it totally made sense to me all of a sudden,” says Ahn. Having grown up with a traditional Korean mother, the choice for Ahn to not attend college was a tough one, Ahn remembers, but with encouragement from her dad, who also never went to college, Ahn’s decision was made.

Ahn started to play shows in Philadelphia and New York, traveling back and forth.

During this time, she met singer-songwriter Amos Lee, who was on Blue Note records. Thus, her relationship with the record label began. The next step for Ahn was moving to Los Angeles.

“I really wanted to travel—I read a lot of Jack Kerouac—and all the hustle and bustle of the city didn’t really scare me. It excited me in a way, so when I first visited Los Angeles I just liked how mellow it seemed to me,” says Ahn. Now, eight years since the move from Pennsylvania to Los Angeles, and with full support from her family, Ahn has released two albums; the latter released in May 2011. When You Grow Up comes from a different place and almost a different person than her debut album.

“In the first album, my songs were about finding my place…sort of always searching for something. [For the second album] it was hard for me to tap into what I normally tapped into, which was usually a place of sadness.” Ahn says, “I was having a difficult time, because I’ve been in a really good place.”

Newly married and loving life in sunny Los Angeles, Ahn decided to look into collaborations for this album. At first, she was writing with people she didn’t know personally and said it was difficult to be vulnerable and write a song with someone you don’t know on a personal level. Ahn says, “[I] decided to write with my friends whose music I really admire.”

The album is filled with infectious, quirky tunes. Although there is still sadness in some tracks, fans get an array of music filled with genuine emotion. “The second track is a total downer,” she says. “[It’s] one of my favorites because it spoke most honestly and bluntly.”

Ahn also got to experience recording an album out of her comfort zone as well as writing out of it. When You Grow Up was recorded with producer Ethan Johns in Bath and London, England, a country Ahn says is not her favorite because of the cold and gloominess.

Being “bummed” about the situation at first, Ahn says, “it ended up being the best experience.” With no distractions or plane ticket home before the recording began, Ahn’s total focus was on her music.

“I didn’t have ‘home’ to go to…so basically it was just all about recording and it really made me focus,” Ahn recalls.

So what’s next for Ahn? She has in the works a duet EP that she hopes to put out this year and is also in the writing process for her next album. Ahn says she is expanding her song style a little bit for the next project and has been getting inspiration from bands she’s currently listening to, like Little Dragon.

They

make music in a barn in upstate New York, and they’re all over iPods and playlists across the country right now. Before their newest EP Nightlife dropped in November, Phantogram—comprised of Josh Carter and Sarah Barthel—already had the blogosphere and social media world buzzing.

Carter recalls that “as soon as ‘Don’t Move’ (the first single from the EP) came out we were number one on a lot of the social media networks and that was exciting.”

It certainly is an exciting time for the synth-pop duo—of which Carter plays the role of songwriter, producer, vocalist, and musician. They’ve toured and performed with well-known acts such as Metric, Ra Ra Riot, and Minus the Bear. They’ve played the Coachella and Lollapalooza festivals. And they’ve been featured on Late Night with Jimmy Fallon and Jimmy Kimmel Live.

“It’s ridiculous,” says Carter, with a chuckle. “If you had told me when we first started making music together in a barn that we’d be doing any of this, I’d be like, ‘You’re kidding me!’ I don’t think we really had any expectations when we first started. We were just exploring our own creativity.”

All that exploration has led to sold-out shows and tours across the country—which is something Carter confesses has been a learning experience.

by jonathan robles

“We’ve been touring for basically two years straight,” He explains. “It’s difficult to keep your life in order—staying healthy and maintaining friendships. You lose touch because you’re on the road so much. I get home from tour and—Sarah and I have talked about this—it takes us a solid week to feel like you’re really home.”

When they are home in Saratoga Springs, N.Y., they’re usually working on music. “I try to work on music everyday,” says Carter. “I have stacks and stacks of tapes—all these half ideas that are written and recorded. Sarah and I have samples and 30-second snippets we’ve never released. Occasionally we’ll come across an old idea that makes it into a Phantogram song.”

Beyond the airy vocals and swirling electronic beats, Phantogram—appropriately named after the optical illusion created when a pair of two-dimensional images appear to be three-dimensional when viewed together—has more depth to them than can immediately be heard in a beat or a lyric. In fact, Carter admits he’s not that crazy about some of the things many other young bands love about an increasing profile.

“Playing live—I could take it or leave it,” he says.

“It’s something you’ve definitely got to do as a band, but I personally enjoy writing music and recording music more than actually playing live shows. In order to have longevity, though, you sort of have to tour. It’s part of being in a band. I like playing live, I do. But that’s not why I’m a musician. I’m not in it because I’m trying to make a spectacle of myself or become some kind of celebrity. I just truly love music. I love creating sonic textures, playing guitar, and writing. It’s not like I got in this to get laid.”

Regardless of their intentions, Phantogram’s profile is rising. Their music is getting airplay in various markets and there is growing interest in their latest EP—which Carter says alludes to the future.

“I believe it shows the direction we’re going, sonically. [Nightlife] is definitely emotional and dark, which I like. The songwriting process was different and I think it’s more mature than our past stuff. I’m pretty excited about what comes next.”

What does come next? The band is currently working on their new full-length (their first since their debut album in 2009), which they intend to produce themselves without much input from any executives or labels—much like they’ve previously done.

“We live in a time where people can do whatever the hell they want to,” says Carter. “And not everyone is going to like it. Sarah and I are lucky that we get to do all these shows and that we have music that people seem to like. But you don’t need to spend a ton of money on a producer or anything like that anymore. Just put out quality stuff. I record all our music. Granted, I’ve had years of practice and I own recording equipment, but anyone can record. It’s a different time, but it’s a good thing. What’s important is that you put out good music and love what you do. And we definitely love what we do. We simply breathe music.”

phantogram

“We simply breathe music.”

lessons

fr om a

pro

e d a e M y b l e h S / Q&A w

f ounder of Fresh

& C lean Media

P R f ir m

Upon joining the publicity ranks in New York City, Shelby Meade worked with Moby, Foo Fighters, Beastie Boys, Luscious Jackson and Radiohead. In 2001, Meade took her skills to sunny Los Angeles and started her own PR company, Fresh and Clean Media--now a wellknown and well-respected publicity and marketing firm specializing in music, action sports, fashion, film, festivals and other related fields.

Some of their clients include Cold War Kids, Jack Johnson, Matthew Mayfield, Bassnectar, Lollapalooza and the Austin City Limts Music Festival. Meade recently sat down with Variance to discuss public relations and the music industry.

A lot of PR firms tend to specialize in something. Diversity has been important to you since you started your company.

Why is that?

MEADE: I think I got that mindset from one of my early bosses. I started in the music business working in a branch office firm—learning how everything works, from retail to radio and all that good groovy stuff before getting moved to a national office, which is where more of the marketing and publicity took place. Kind of the second tier of things, but I grew up around music and sports. So I would be reading Creem Magazine, surfing magazines, and skate magazines. To me it made sense in my mind that everything tied together. Your hangout spots are about music and culture and lifestyle. Then I moved to New York and I was working mainly with hip-hop music. That was an exciting time for me, being up at the Apollo with Busta Rhymes and doing photo shoots with those guys. So after working at MCA Records and getting my job at Elektra [Records], my boss

56\\

at the time said, “you can’t just work hip-hop music. We don’t break down bands according to genre. You work everything.”

At first I was like, “but I just want to do hip-hop.” And she told me, “you’re not going to do much if that’s the case.” That’s how it’s been for me ever since. For my team now, the surf and skate world works with the Ben Harpers. It’s great.

You’ve kind of evolved with the industry. Where do you see things going?

MEADE: To me, public relations has never been just about what’s in the magazine. It’s about what you’re creating around it.

It’s building a lifestyle. You can’t just go to a magazine or media outlet and say, “write about my band or feature my athlete.” You have to read the magazine and know their culture and know how your client fits into it. Not a lot of publicists do that anymore.

It’s not fair to the client. Press is getting on the phone with an editor, having conversations, emailing them to discuss their edit calendars and seeing what makes sense for everyone. You can’t just jam things through. I don’t believe in doing things that way.

It’s not good business. Artists and entertainers have to realize that good public relations is about the long-term.

What happens when a client wants the short-term fix?

MEADE: I don’t work with them if they do…When I chose to leave Elektra, I opted to work independently and I’ve held that standard since then. Sometimes it’s not a lot of fun when the clients aren’t coming in but you kind of have to hold your ground and know that good things are going to come if you just do the right thing. We actually have a client base that gets along. They all like each other and they work together. So I think it pays off.

Where do you see the music industry going?

MEADE: I think there are still some vital moments remaining.

I’m personally not a big pop radio person. There will always be pop stars but that’s not the world I play in. The indie world is still putting out great records, but you have to be realistic about what you’re doing. Unfortunately, the marketing folks at the majors don’t have the experience. What works is what I call the “brick and mortar concept.” You’ve got to be prepared to roll up your sleeves and do work!

What do you think is the key (or keys) to succeeding in music?

MEADE: Patience. Touring. Working your local markets. It’s not easy, I assure you. You have to do the work, and labels just aren’t willing to do that. The bands have gotten too entitled; they expect that everything is going to be handed to them. No! You have to put your own time, money, and investment into your own band—touring and working all the time. It’s honestly not reinventing the wheel. It’s the same business model that’s been around.

As a woman in your position within your field, what is your view of the increasing role of females in the industry?

MEADE: Women artists have always been there—even dating back to Motown. There have always been strong women behind the scenes. We don’t always have the vice president titles, but we really don’t care. Our role is usually about the nurturing

“Sometimes it’s not a lot of fun when the clients aren’t coming in but you kind of have to hold your ground and know that good things are going to come if you just do the right thing.” and development of artists and that’s the biggest focus. It’s not about the glory. We’re not wired that way. I feel like women are stepping up to the plate more lately, though, and that’s a good thing. When it comes to female artists, it depends on the demographics buying music. Female artists can usually do well in pop music, because females and the younger demographics will buy.

Look at country music, though, that is a market that has thrived and continues to thrive. Why? Because they get on the road and they work their butts off. They sign every autograph and they really take care of their fans, so the fans stay with them—for years.

Look at how many records Kid Rock has sold. And he’s not on iTunes. You can break the formula; he’s proven that. There’s not just one way to sell records.

What is the role of PR firms in the future?

MEADE: I think it’s one piece of the pie but I truly believe it’s the piece that so many folks undervalue. You have no idea how many albums you’re going to sell but getting an editorial or a feature will still put your band’s name out there. Labels spend an enormous amount of money on radio promo—even today— and there’s so little of a guarantee. I think it’s wise to consider how you allot your funds and to spend money for the long-term.

You’ve obviously dealt with many false perceptions in your experience. What do you think is the most common misconception of publicity by entertainers?

MEADE: That you can just show up. You have to put time into what you’re doing. Period.

Thanks to Shelby Meade for sharing her insight and opinion on the music and PR world. For more on her or her company, Fresh and Clean Media, go to freshcleanmedia.com.

//57

THE

YOUNG

GIANT Feb 08 Feb 09 Feb 10 Feb 11 Feb 12 Feb 15 Feb 16 Feb 17 Feb 18 Feb 20 Feb 21 Feb 23 Feb 24 Feb 25 Feb 26 Feb 28 Mar 01 Mar 02 Mar 03 Mar 04 Mar 06

The Fillmore, San Francisco, CA The Fillmore, San Francisco, CA Soma, San Diego, CA The Wiltern, Los Angeles, CA The Wiltern, Los Angeles, CA Rialto Theatre, Tuscon, AZ Crescent Ballroom, Phoenix, AZ Crescent Ballroom, Phoenix, AZ The Ogden, Denver, CO First Avenue, Minneapolis, MN Rave II, Milwaukee, WI The Riviera, Chicago, IL Madison Theatre, Covington, KY Newport Music Hall, Columbus, OH Beachland Ballroom, Cleveland, OH Majestic Theatre, Detroit, MI Sound Academy, Toronto, ON The Bronson Centre, Ottawa, ON The Corona, Montreal, QC Le Cercle, Quebec City, QC Higher Ground, Burlington, VT

Mar 08 Mar 09 Mar 10 Mar 11 Mar 15 Mar 16 Mar 17 Mar 18 Mar 20 Mar 22 Mar 23 Mar 24 Mar 25 Mar 27 Mar 29 Mar 30 Mar 31 Apr 03 Apr 05 Apr 06 Apr 07

TOUR

2012 House of Blues, Boston, MA Terminal 5, New York, NY Electric Factory, Philadelphia, PA 9:30 Club, Washington, DC Center Stage, Atlanta, GA Freebird Live, Jacksonville, FL The Ritz Ybor, Tampa, FL Culture Room, Ft. Lauderdale, FL House of Blues, New Orleans, LA Warehouse Live, Houston, TX Prophet Bar, Dallas, TX Stubb’s BBQ, Austin, TX Stubb’s BBQ, Austin, TX Cain’s Ballroom, Tulsa, OK The Pageant, St. Louis, MO The Midland, Kansas City, MO People’s Court, Des Moines, IA In The Venue, Salt Lake City, UT Roseland Theater, Portland, OR Roseland Theater, Portland, OR The Moore Theater, Seattle, WA

The software Jay-Z & Kanye West, Paul McCartney, Kevin Smith, Trent Reznor and Arcade Fire use to grow their audience, connect with fans and make money online.

Are you a musician? Now you can use it too.

Visit TopspinMedia.com and enter the code “Variance� for a free 3 month membership.

the shameless life of

shanola hampton by jonathan robles

The 2011 breakout star talks about her role on the edgy Showtime series, Shameless, her faith, & her future.

While most mainstream media in 2011 obsessed over the Charlie Sheen drama, TV vampires, and singing competitions, Showtime was building their empire with the addition of another groundbreaking series in Shameless. Known for hits such as Dexter, Weeds, and Californication, the network saw its biggest premiere since 2003 with an ensemble cast that includes William H. Macy, Emmy Rossum, and Joan Cusack.

Gritty, raw, and humorous—all while maintaining a perfect level of heart—the series follows the dysfunctional family of Frank Gallagher (played by Macy), a single father of six children.

“It’s not like anything else on television,” explains Shanola Hampton, who plays the Gallaghers’ sassy neighbor, Veronica.

“The way that it’s written is very in-your-face. It doesn’t make any apologies for the risks that it takes. When I first read the script it was one of those moments where I thought, ‘I really want to be a part of this.’ It’s like a special piece of art—not just TV.” The show comes at a particularly great time in Hampton’s life. For the actress, who was working as a bartender in South Carolina prior to accepting the role of Veronica, this is where she has always wanted to be.

“I’ve always wanted to be an actress,” she recalls. “I’m a Southern girl through and through. I was raised in South Carolina, but I remember being a little girl in New York City and walking the streets aimlessly because I thought that’s where I was going to live when I grew up. I just felt so alive. I’ve had different guest spots and recurring roles on TV before, but I’ve never done anything of this magnitude before. I remember when I got the role, I was so grateful and excited that I shouted, ‘Hallelujah!’ I probably scared the neighbors.”

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Hampton, whose father is a pastor, grew up singing gospel songs in church. Everyone in her home community knows each other and family values are of utmost importance. The character she portrays, however, lives by a different set of rules and has been involved in various risqué scenes throughout the show’s first season.

“My family is actually very supportive of what I do,” she says. “They always have been.

My father is very clear if there’s ever any question—which, there have been some. There’s backlash for doing a show like Shameless when you’re the preacher’s daughter. Thankfully, everyone in the community has actually been very supportive but my father will make it clear to people who ask that this is just my job. Just like many others have things they do to earn a living, this is mine. But there’s my job and then there’s real life. The two are completely different.”

For Hampton, it’s all part of the story.

“I don’t think I would do it if it were just gratuitous,” she admits. “But with a show like ours it’s telling the story and it’s part of their lives. It’s just like many other human beings who are in relationships—they’re having sex.

So if we’re going to show something real, we have to show it in the real way.”

Viewers won’t have to wait much longer for that story to continue, as Shameless returns this month. But, according to Hampton, there are some changes in store.

“One of the major differences—and it’s something people will notice immediately— is that it’s the summertime, which poses very different scenarios from last season. The kids are out of school and that’s a huge factor.

Last season we were all scraping for money.

In the summertime we actually start to make some money. You’ll also see Fiona going through life without Steve, Frank is in financial trouble again, and you’ll see Kev and I figuring out what the next step is for us and the family unit. We really go more in-depth.

The first season laid a great foundation and this next season allows viewers to really get into the lives of these characters. I’m really looking forward to it.” eason two of Shameless premieres SunS day, January 8, at 9 p.m. ET on Showtime.

“So if we’re going to show something real, we have to show it in the real way.”

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four year strong

ALAN DAY Vocalist/Guitarist from Four Year Strong interview by john mouser

With the release of their latest album, In Some Way, Shape or Form, the former pop-punk outfit Four Year Strong decided to break out of their comfort zone, creating a record that they are truly proud of while satisfying fans at the same time. I briefly spoke with Four Year Strong’s Alan Day (Vocalist/Guitarist) regarding the recent release and some of the changes they focused on.

V: Your new album In Some Way, Shape or Form, dropped in early November. How has the reception been thus far?

D: Well, when we first released a couple of songs a while ago, the feedback was a little bit half-and-half. Some people liked them and some people didn’t. We did go through a pretty big change, and we took a number of risks. Now that the record has come

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something exciting, something out-ofthe-box for us. So we had all of these big ideas, then we narrowed it down from some of the crazy ideas. We just wanted to have some fun.

V: I’ve read a couple of interviews where you guys have listed specifically that you wanted to break the mold with this record. What is the mold? Why did you guys want to break it?

D: Well I guess the mold is really the way that we always sounded and things like that. Not because we didn’t like it anymore, or we’re not proud of what we’ve done the past. More than anything else we felt like we were stuck in a box creatively. There was really only so much we could do, because there’s only so much our fans knew. We just wanted to break out of the box, and do whatever we wanted in a way that our fans would get…in a way that still had that kind of energy and had that same kind of vibe that all of our music has always had. It’s basically that kind of energy, that aggression, the melodies, the harmonies, the tempo, all of those things that were always there. We just did it in a different way and showed this band in a different light, at a different angle that was always there but no one really ever got see.

V: What were some changes that you guys made in terms of writing?

Did you see any dramatic changes?

out, we’ve been noticing a lot more positive feedback for the record as a whole. I’ve read some reviews and it seems to be pretty good. We’ve been playing the songs live, and they’ve been going over great live. Overall, it’s going really well.

V: Going into the album, did you just kind of have a direction in mind before you actually started writing/recording?

D: Yeah, I definitely think so. We knew that we wanted to change it up. I guess we didn’t know exactly what the record was going to sound like but we wanted to do something new,

D: Yeah, there was a big change in the writing process. The way we used to write songs, we used to write all of the music and then write vocals on top of it. For example, on Enemy of the World, we had a couple of songs completely written, completely recorded and still didn’t have any vocals written to them. Then we sang on top of what was there, and tried a bunch of different things until it worked. With this record, we were writing melody, lyrics, and music all at the same time, so they really fit with each other and worked together as a song. We were concentrating a lot on the actual musicianship and the craft of writing this, as opposed to doing everything separate, impacting everything on top each other, one after the other. Instead, we concentrated on making each song from beginning to end, like a real song.

V: Listening to the record, it seems to have an overall heavier/darker

feel to it. Was that intended?

D: I think more it just kind of panned out that way. We definitely were looking to write some darker material, just because we haven’t really done much of that. That’s a side of Four Year Strong that has always been there, that no one has really seen or heard. Everything that we have written in the past has been more upbeat and I think that’s part of why people like our band, but like I said before we just can’t keep doing the same thing over and over again.

We would be selling the fans short, as well as ourselves if that’s what we did.

V: Did you guys ever feel tempted to change any of the songs to make them “poppier?”

D: No, not really. Everything about making this record felt so natural and right, we just had such a good time doing it I don’t think we’ll ever go back.

The thing is, someone could read that, and think, “oh no, Four Year Strong is never going to do something like their old stuff again!” I don’t think that is necessarily the case either. I just think the way that it was all done, we will never change. But like I said, the attitude of the band, the mindset that we have, and the place that we are creatively…physically we are still same band that we always were. We could very well write some happy, pop-punk type of song in the future. It’s not out of the cards, but it’s not where we’re at right now.

V: You mentioned this a little bit, but how would you respond to fans making comments like “I wish Four Year Strong would make an album like Enemy of the World again!”

D: Same old thing. We would be selling ourselves and the fans short if we did the same thing over and over again.

The reason we started playing music in the first place, because it’s what we love to do. We started the band playing music that we thought we would like, and in the beginning we did it all for ourselves. Obviously, we care about our fans tremendously and we wouldn’t be where we are now without them. But, at the end of the day that’s what music is all about, trying new things…expanding your horizon.

It’s about hearing new things, experimenting, and trying to be the best that we can be.

//63

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