Luke Burbank is the host of the Podcast (or “imaginary radio show” as he would say) Too Beautiful To Live better known by fans as TBTL. I originally met Luke on an assignment to shoot him about TBTL for a local monthly Seattle magazine. I had never heard his podcast at the time but had seen his viral “fail” vid on youtube interviewing Sigur Ros for NPR. I know the shoot would be a fun one when he chose to be photographed at a divey Chinese Restaurant/Bar where he enjoys doing karaoke.

Since then I have become one of the Podcast’s loyal fans better known as the “ten’s” which was Luke poking fun at the literal ten’s of listeners they had. In reality though the amount of listeners has greatly increased and the podcast is getting more and more downloads every day. The show revolves around Luke and his co-host/producer Jenn “Flash” Andrews with occasional appearances from their friend/engineer Sean DeTore. It would be impossible for me to pin down exactly what the podcast is about. For a show they say is about “nothing”, Id actually point out its more fittingly about everything. Their hilarious outlook on current events and random slice of life topics paired with great musical guests, comedy and Luke’s amazingly well curated audio drop’s make for an hour of great listening. Podcast’s have been a life-saver for hours of editing photos. Streaming archived TBTL episodes has become my soundtrack for many an afternoon.

Outside TBTL, Luke has also been a guest on Wait Wait Dont Tell Me, Radiolab, and NPR. I’m really excited to see where the show takes them next. They have already done live TBTL’s in NYC and will be broadcasting in Chicago May 6th & 7th. I’m sure the “tens” of listeners will be growing to a whole new level in 2011 as the show appeals to like minded folks all over the world. TBTL/Luke Burbank are yet another great example of the talent we have based in the Northwest which is finally starting to get the attention it deserves.

Writer Andrew Matson asked Luke the following 3 questions as part of the Portraits of Seattle Project:

1. TBTL broadcasts in the Mount Baker area, near Columbia City. Both places have recently-built light rail stops. Do you ever ride the light rail? Has it changed your life?

I tried to bring a beer on there the other day going to an M’s game, and this 17 year-old black kid security guard almost arrested me. I wasn’t sure if he even worked for the light rail, but he had some official-looking Gargoyles sunglasses on so it was clear he meant business. I tossed the beer in the garbage and he let me slide.

2. Are you doing TBTL standing up these days, or sitting down? Why or why not?

I sit down, because I have a strict policy of always sitting if there’s a chair available. That’s why I hated fast food jobs as a teenager, I hated standing for hours. Having said that, the show is way better, with better energy when I’m standing up. That shows how little I care about the show being way better and having better energy.

3. Can you talk about the entertainment-based talk-radio convention of the “drop”? (When the host/producer triggers canned audio sound bytes, to punctuate monologue/dialog. (Something I first encountered as a high school “Loveline” listener.) Do you know the origin of this? I’m specifically curious about the current, comedic sometimes-non sequitur form that you use.

It’s a really bizarre thing that I don’t even really understand. I know that I’ve always loved it on shows when used correctly (Loveline is a great example, as were Don and Mike out of WJFK in DC), but I can’t really explain why it cracks me up so much. Oddly, there is almost nothing worse than the morning zoo sound effect of a fart noise, but somehow there’s this very slight difference that makes one hilarious and the other soul-crushing. I guess it’s almost like the drops represent the unspoken thoughts of the show as an organism. If someone is saying something tedious, and we play a drop that says ‘you’re boring me to death, and I’m already dead, you’re boring me back to death’ it’s just sort of a funny, sly comment on what’s happening on the show. It’s funnier than me just saying it, because there’s this great sense of synchronicity that the drop, something from a totally different context, applies to the things happening on the air. That answer will literally bore your readers back to death, so while not funny or interesting, it’s at least fairly meta.

Michael Hall aka SPECS ONE/SPECS WIZARD is among the most important people in Seattle’s Hip Hop scene. He has been an active and important member of this community since back in 1979.  I was extremely excited to include Specs in my series. I feel many of the younger generations here don’t realize the sheer volume of quality music Specs has made since they were still youngsters. I have been tripping off his nearly endless supply of expertly crafted production and lyrics for years. In addition to the music itself, he is a graffiti writer/comic book artist and has shown his visual art in some of Seattles best galleries.

When by SpecsWizard
You Herd by GLS2011

I originally met Specs back in 2004 through my friend Phil Petrocelli who said he may have some good beats for me to use in a documentary film I was making during college. At this time, I had just been getting heavy into J Dilla/Madlib production and had heard nothing comparable up to that point in my own town. The disc of beats Specs got me was unbelievable. This production was right up there with any I had heard and the CD was just a fraction of what he had at home. The cassette tapes and CD’s specs has put out over the years feature production that is gritty yet still melodic and soulful. They feature a rough aesthetic that compliments his laid back flow perfectly. Back in 1996 SPECS contributed to the 14 Fathoms compilation. This Seattle classic was put out on Loose Groove records.

In recent years, Specs has been as busy as ever. He collaborated with the group Foscil on two albums as well as helping to curate art shows and still make his comic books. The vivid brush and ink drawings that make up Mux Adaptor are especially fresh. I’m looking forward to hearing more new material from Mr. Hall as well as hoping he makes some of the OG mix tapes and recordings more readily available for listening online.

Writer Andrew Matson asked Specs the following 3 questions as part of the Portraits of Seattle Project:

1. When/where in Seattle did you first start rapping? Was there anything about your environment that influenced you to use a particular style?

I started rapping and making beats in 1979. In the High Point projects in SW Seattle. At the time I was mainly influenced by the music I was listening to. Which was 70’s funk, soul, disco and early rap music. I just wanted to make my own music. The pre-crack era environment was very positive for me, though. I feel lucky to have experienced that. I was able to focus on art and music.

2. ”14 Fathoms” is considered a classic in Seattle hip-hop now. When you made a song for the compilation in 1996, and designed the cover art, how did you feel it compared to other Seattle rap around that time and before?

It was just another phase in the maturing of the NW rap scene. I always tried to do something different with each project. Years later, I feel like I would have done a few things differently. There were two versions of the song [“A New Day”] we did. The first beat was a lot simpler. I had fun with that, though. I put a Metro bus ride in the background. You can hear us talking about tagging it up. I think there was a good deal of independence among artists then. We had a detectable sound. It seems like now, most groups are trying to equate themselves with what is popular on the radio.

3. I know you used to walk the city a lot in the early morning time. Are you still a big walker? What’s Seattle like for walking? A good place?

I don’t walk as much as I used to. I enjoy biking a bit more. It is good to walk the back-streets though. It’s a good place to think of new ideas. I’m also a big fan of hiking in the woods and mountains. In this crazy world, we have to seek out those moments of clarity. Silence is good for the soul. Sometimes the most peaceful time of the day is between 4-6 AM.

Hayley Young is one of the hardest working photographers in this town. She has used her un-deniable talent to both make a living from her photography and still find time for her passion projects including her recent entry into the world of motion. The two videos she directed this past year (Hey Marselles-Rio & Lock Lemond-Elephants & Little Girls) both showcase a knack for letting a story unfold in front of you. The One Take projects showcase a well planned and carefully executed concept.

Day to day Hayley works for one our City Magazines as the all in one machine aka Photo Editor/Staff Photographer. This job finds her shooting everything from Politicians and Feature stories to burgers and decadent breakfasts. Her love for musician portraiture is what first got my attention though. She has shot some of my favorite acts in a way that showcases a strong techinical knowledge and never a shortage of ideas. The Wild Orchid Children portrait is a great example of the high level of production she has pulled off. Featuring live Buffalo and a Couger; animals that arnt exactly easy to round up for a shoot.

For our shoot in her studio, I wanted to showcase her lovely freckles and make a point to show the amount of gear she is used to hauling around all by her lonesome for day to day photo gigs. I’m looking forward to more video projects as well as the many portraits she will shoot in 2011. It feels great living in a town where the busiest photographers get a long so well and work together to help eachother on larger projects or ideas.

Writer Andrew Matson asked Hayley the following 3 questions as part of the Portraits of Seattle Project:

1. How do you bring your own style to workaday photography? Like, is it a challenge photographing macaroni and cheese for the City Magazine? 

Much of what I do is behind the scenes of the images I take. Beyond the concept and style, my position as Photo Editor and Staff Photographer requires strict attention to the management of  logistics, communications and schedules. When it comes time to actually shoot/compose the images, the style that (generally) comes through is the result of my attempts at deductive vs. strategic story telling through design, space, lighting and/or lack thereof. These elements are implemented on every shot I take, be it while shooting a human in their environment or a stack of pancakes in the studio. In either case, if I am to hope for a successful image to be pulled from the process, I am paying extra mind to the elements of pre-production. Balancing these elements throughout the cycle of production and execution is a constant exercise, regardless of the subject matter. I am thrilled to have the opportunity to get my ass handed to me on a daily basis. I don’t exercise, so I consider my work with the magazines and my own pursuits to qualify as a fair supplement for physical training. 

2. Where did you get the idea for the Hey Marseilles “Rio” video? I thought making a stage look like a boat, with a video screen simulating movement through water, was visually effective.

“Rio” was my first independent attempt at storytelling through motion. Taking care not to step outside of my skill set, I knew right away that the camera would not move. Much of my photography work involves a lot of production (albeit underfunded and motivated by beer and favors most of the time). The evolution of my production experience through the past couple years is what originally inspired the concept. Humans are amazing creatures and when they come together for a common goal, especially when it’s a creative one, it is fucking brilliant. Hey Marseilles and its members bring this type of communal feeling out of their fans, especially during their live shows. The unspoken power to tie people of varied backgrounds and interests together from their musical stylings and stage presence was definitely a motivating factor as well. Having the narrative of the video powered by humans seemed perfect for the song and the face of the band. As for the visuals presented by the projected imagery in the background, that is where my photographic nerd got to run rampant. Creating the different stages through the projected backgrounds was a strategic solution first, then a creative exploration second. Looking to the same deductive reasoning applied in my still imagery, I was able to bounce my overly optimistic concepts around until the two got along. It was like playing cupid with the two sides of my brain.

3. Do you often photoshop your images? Sometimes it’s obvious, like with the dangerously nearby buffaloes and seemingly-trained birds in your portraits. I imagine you digitaly doctor photos in other, less noticeable ways, too?

I have to say, when I read this question the first time, I was a bit frustrated (not your fault!). The reason I was/am frustrated is because the “buffaloes and seemingly-trained birds” where not a result of photoshop, but rather the result of A LOT of phone calls, favors and thank yous to get Wild Orchid Children sitting on that mound of hay, braving the herd of female bison for the sake of getting the shot. Also, the birds were there because of the bread we were throwing into the field to tempt the bison into their positions. While I’m at it, for those who have seen the image of the band with the young cougar, that too is real. Just ask Kyle whose poor ass had the thing jump on top of his shoulders during the 30 minutes we all waited for her to take a seat.

So! Now that I got to clear that up, onto the gist of your question… Photoshop is a tool. Depending on the concept, it could be a member of the team if the logistics of the shot call for it. Regardless, I usually know before I arrive at the shoot if I’ll be using it to get the shot. For example, I did a shoot with Dave Bazan in which I wanted a flock of doves to occupy that space I would design for him to exist in. However, having only 24 hours to develop and execute the concept, I was only (which I say VERY lightly, as it was still incredible I was able to find him) able to attain a lone dove, Mr. Macoo. Therefore, to get the idea of the flock, I took multiple shots of the dove in the space while Bazan stood still within the frame. After I got the film back, I was able to layer the different locations of Mr. Macoo into the image to get the intended image. I would say that the majority of my photos incorporate minimal photo shop skills, mostly because I feel the aesthetic of shooting the real thing, in camera, offers a much more powerful image. It keeps it honest and whether the viewer knows it or not, it upholds a greater standard for the story I’m hoping to tell.

Andy Bothwell better known as Astronautalis is one of Seattle’s most talented musical masterminds. I originally discovered his music via Pandora while working at a coffee shop. I ran over to my laptop to see what the tune was. “Oceanwalk” got me listening and I haven’t stopped since. After discovering he lived in my own town I reached out to him doing some photos. Our schedules always seemed to conflict but we stayed in touch and I always caught his live shows when I could. A little over two years later we finally linked up for my Portraits Of Seattle series & I couldnt be happier with the results. He’s an interesting and funny dude to chat with who made the shoot really fun. Plus he really appreciates those of us still using film.

Originally starting out as a battle MC in Florida, he eventually started making his own tunes. Andy’s first 3 albums have progressed in an interesting way. His style is hard to pin down and the “genre defying” artist usually just chooses to pass when asked to define it or place it into any one specific genre. I think this mix of styles is what really makes me enjoy it. As a kid who grew up loving HipHop and eventually getting really into singer/songwriter stuff, folk, etc.. I’ve loved hearing someone blending these worlds in a unique, really fresh way. He views music as something that should always be challenging and refuses to make the “same album twice”.  He has toured/collaborated with some amazing talents from both these worlds including Teegan & Sarah, P.O.S, Doomtree & members of Midlake.

Andy recently dropped his new single Mid-Day Moon which takes you on quite the ride. I love the progression of the tune and the production is in my opinion another successful jump in a new direction. You can hear the tune via his bandcamp or see him play it live on his current nationwide tour. The spring tour offers yet another new addition to his music that I for one am really excited about. The addition of a talented live backing band will create a Hip Hop/Indi Rock/Comedy Performance thats hard to top.

Writer Andrew Matson asked Astronautalis the following 3 questions as part of the Portraits of Seattle Project:

1. What is your relationship like with Barfly, belligerent former-Seattle-dweller and part-time rap genius? He’s the first one who told me to check out your stuff.

I met Barfly in Tucson, Arizona almost 7 years ago.  I was standing on a bowling ball that was buried in the sand, when a 1988 bright orange Lincoln Continental stretch limo pulled up and out fell Barfly in a tidal wave of crown royal bottles.  We have been fast friends ever since.

2. Is it annoying to be lumped in with so much “alternative” hiphop, just because you mix styles? I have the idea that your music comes from inside you, not a desire to blend genres.

I don’t really get lumped in with other rappers too often…in fact…i think people have such a hard time lumping me in with anything…they just give up.  i really like seeing what people come up with to describe my “genre”. right now, i am really into: historical-fiction-hip-hop. makes me sound like a stuffy old british lady who grew up in Brooklyn.

3. Compare living in Seattle to living in Florida, as far as what feeds your creativity more.

Florida crushes Seattle in the weather based inspiration department.  I need commitment from my weather, hurricanes not drizzles, you know?  i get more from oppressive humidity than i do from 70ºF, clear, and breezy.  However, what Seattle lacks as a meteorological muse…it makes up for in many other ways.  you could make an entire career by writing songs about people on the 14 and the 8 buses…and there is no greater creative fuel than caffeine and whiskey.  Two items that are never in short supply in that fair city.

Marcus Lalario is always working on something fresh and exciting for Seattle. You can tell upon meeting him, this business savvy young dude loves this city and has no plans of leaving anytime soon. I first became aware of his presence back in my early 20’s when he ran local event promotion company/recording company Stuck Under The Needle (He began working in the promotion game at age 14!). The company’s legendary weekly parties like Yo Son! & DNB Tuesdays were always a blast. Lalario also managed some great Seattle bands (Band Of Horses/Old Dominion/Boom Bap Projects,etc…)  Eventually Marcus geared up to open his own night club in Capitol Hill.

The War Room opened in 2005 and had a legacy few clubs can boast. The gorgeous venu raised the bar at that time. Both aesthetically and musically the place was damn near perfect. Inside you found commissioned custom artwork from Shepard Fairey as well as a roof top and two bars. The lineup included a great variety of music from celebrated Hip Hop/Drum & Bass DJ’s to Rock and Dance music or even BBOY events & live shows.

Eventually Marcus converted The War Room to the swankier Hunter Gatherer Lounge and opened another bar; one of my favorite local watering hole’s (that also boasts some damn good pub food) Captain Blacks. For this shoot Marcus and I sipped some Jameson at blacks and talked about his latest ventures. His obvious love of nightlife brought him into yet another related line of work. When Washington State Law adopted Small Craft Legislation in July 26th 2009 the concept for Lalario’s Batch 206 LLC was born. His local northwest Batch206 Vodka/Counter Gin have been getting a lot of attention and are quickly gaining popularity at bars. 

PLC x Captain Blacks New Years Eve from CHOICES on Vimeo.

Whats next for Marcus? Keeping within the food/drink/nightlife realm he is planning to open something i feel is much needed for our beloved capitol hill. A new burger joint! I can’t say much yet but I can personally vogue it will fill the gap we have on capitol hill for a quality quick burger/shake to compete with Dicks.

Writer Andrew Matson asked Marcus the following 3 questions as part of the Portraits of Seattle Project:

1. Why do you insist on having your dog photographed with you? What is your relationship like with him?

I never insist on having Cassius in my photos. If you know me at all you know Cassius is with me all the time. So, when I go to get anything done he is on my heels and loves to get his picture taken. So, the photographers are always like, “Lets do some with your dog,” and since he is so much more handsome than me, that’s the ones they usually use.

2. The War Room: it happened, it arced, it ended. How many years did it take off your life? I know it stressed you out.

The War Room was great. Looking back on it I am very proud of what we did with that club, the messaging behind the club and the impact we had through events, fundraisers and the way we crossed genres. I wouldn’t say the club took years off my life. I would say that Jameson took years off my life. The only stress was dealing with the city and how difficult they make it to run and make a profit off a live venue, especially a night club. 90 percent of the stress came from that.

3. Long range, what do you think your effect has been on the Capitol Hill neighborhood? What has its effect been on you?

Long range? I am still here and don’t plan on leaving anytime soon. I really care about this city, sometimes I feel too much. I try to fill whatever void I think the city needs or Cap Hill needs. I moved to the hill when I was 18, so in a way my whole adult life has been spent running these streets. So, I feel I got a good understanding of whats happening out here. I have owned businesses in other parts of the city, but my hub has been the Hill.

Dan Carrillo’s Wet Plate collodion ambrotype portraits are spreading all over Seattle. Seeing them instantly brings you to another time and knowing the process (Developed in 1851) behind them adds that much more respect the artist and his dedication to his craft. Dan has been working on a series of Seattle Artist portraits. Shooting each one on his 1930 Deardorff 11x14 View Camera. The monster camera itself has been modified to shoot the 8x10 wet glass plate collodion portraits he does. Earlier last year, I began to notice several friends facebook profile photos changing to these incredible images. I was intrigued and found myself practically stalking Dan’s flickr page for more uploads.

dan carrillo: wet plates from Patrick Richardson Wright on Vimeo.

Eventually, I was lucky enough to get to sit with him myself for my own portraits. Seeing the process first hand really helped to understand what kind of work goes into these. As with all photography lighting is important but it is all the added factors which can affect this process that are overwhelming. The collodion mix must be made by hand and requires mixing of various chemicals. The glass plates themselves are hand cut. Once finally taking the photo, the subject must remain still for upwards of 9 seconds at times due to the longer exposure times needed. After this the positive plate is soaked/rinsed and eventually placed on a hot plate to dry.

The finished product speaks for itself but Dan is not limiting his primitive photography methods to this one process. He has been commissioning portraits to afford the class given on Photography’s first publicized method; Daguerreotypes. I would highly recommend anyone whose interested pay for one of these portraits and help Dan reach his goal; bringing a whole new amazing series of art to us all. Word has definitely been spreading around town as he was recently also featured in this The Seattle Times article. I wish Dan the best and am anxiously awaiting the book he will make with the Seattle Artists series.

Writer Andrew Matson asked Dan the following 3 questions as part of the Portraits of Seattle Project:

1. Why use anachronistic photography techniques?

Because I end up with a unique and beautiful photo object. In the next year I plan on making daguerreotypes, which are the first type of photography and in my opinion, the most beautiful.

2. What is it like when a photographer (you) gets his photo taken by another photographer (Kyle)? Is there a part of you that wants to tell him how to do his job?

No, I just let the man do his job and trust he knows what he doing.

3. I notice in some of your portraits using the Deardorff (ancient camera), your subjects wore old-timey clothes. When they showed up to the shoot, did you think, “Oh no! Now there’s not going to be a disconnect between my modern subject and this billion-years-ago camera!” Or did that not bother you?

I don’t over think any of my shoots and I like to keep things simple. Most of the time the subject picks what they are wearing. No matter what the subject is wearing the photos always look as if they were taken 100 years ago.

Charles Krafft creates artwork that evokes strong feelings. The subject matter is almost always rooted in events or people some would rather forget but displayed in a classic medium not usually paired with such touchy subject matter. Using traditional slip cast porcelain techniques & delft ceramic painting he creates delicate, beautiful pieces that dive into some of the most horrific world events and gritty details of life. Although some may draw quick conclusions about Krafft’s personal beliefs he is not making the work to condone hatred or evil beliefs but to approach them from a darker humorous standpoint that gets attention.

Although he has lived in Seattle most of his life, he remained largely in the shadows until his Disasterware Plates Series/Porcelain guns quickly made his work largely known on a more international level than local. My first experience with Krafft’s work was seeing one of his full scale Porcelain gun’s (AK47, UZI, Etc..) in Juxtapoz magazine. Although I was impressed by the initial magazine photograph, seeing the gun’s in Seattle’s Far4 store really showed me how detailed and impressive each replica gun was. This reality comes from originally basing the molds on actual guns. He used a friend to acquire Albanian Berettas while in Slovenia. Eventually he switched to using full scale toy guns due to cost. This method also proved a bit less stressful than dealing with Albanian arms dealers.

I eventually met Charlie at a Far4 event and inquired about shooting his portrait. I ended up doing some trade-work for him documenting his latest series of Porcelain tea pots and mugs. Fittingly titled “Pitchfork-Pals”, the series is a collaboration with Mike Leavitt. The two turned some of the worlds most evil people into decorative tea pots. Kim Jong Ill/Amy Winehouse/Adolf Hitler & Allister Crowley are a few of the featured personalities in this series which was shown in 2010 at Londons Stolen Space Gallery.

Most recently, Krafft has worked with Far4 again to produce a full sized Porcelain Skateboard. An truly impressive piece that is bound to be both desired and hated on. For these portraits I photographed Charlie in the basement of his home where he does the molding and firing of his pieces. I’m looking forward to seeing whats to come from this prolific NW Artist. It is bound to not please everyone but I applaud people doing work that isn’t always “safe” or praised by the masses.

Writer Andrew Matson asked Charlie the following 3 questions as part of the Portraits of Seattle Project:

1. The porcelain skateboard: your most street-oriented piece?

It’s the most iconic certainly. “Street Art/Urban Art” seems to have morphed out of “Low Brow/Pop Surrealist Art.”  Would an academic still life painting that included a skateboard be called ”Street Art” or ”Post Impressionist Art” ? Art categories can be confusing.   

2. Somebody walks into a shop, picks up one of your ceramic grenades, and calls it a tchotchke. Is this a diss?

Not at all. I’ve always been drawn to souvenirs and populist art forms as well as serious painting and sculpture.  I had a Cy Twombly epiphany in Houston recently. “Tchotchke” is a Yiddish word. I think “kitsch” means the same thing in German. There’s  no difference between high art and “kitsch” anymore although people who study it can still tell you which is which and why.  

3. Is the idea of “collecting a group of Seattle culture influencers” disgusting to you? I have an idea that you are anti- all establishments. Especially arty ones. Am I off base?

I’ve spent my most of my career engaged in Seattle culture as an artist, an arts columnist, an exhibition organizer and a hors d’oeuvres hoover hog. I’m not anti-establishment, I’m just getting old. They turned the tables on us in the ’80s when they started giving 30-year-olds museum retrospectives. It goes “promising young artist,” “mid-career artist” and “dead artist.” “Old master” is practically the same as “dead” so “promising” and “dead” are better than “mid-career,” which is what artists who makes it to 40 and beyond are. It’s a “make way for the ducklings” kind of world now. If you’re not in diapers you’re probably not doing anything innovative anymore. 

Josh Wright & Matt Sullivan & are co-owners of Seattle’s Light in the Attic Records. The label is no longer a town secret. The unique project has done an impeccable job of re-issuing quality music (The Monks, Jane Birkin, Rodriguez, Betty Davis, Serge Gainsbourg, Etc..) that has been lost/forgotten/or is just plain hard to find. They have also put out current artist’s on the brink and shed light on our town’s forgotten soul scene of the 1960s via an amazing documentary film. I first became aware of what Light in the Attic was doing when I heard Rodriguez’s Cold Fact record played on DJ Greg Vandy’s local KEXP radio show; The Roadhouse. I was blown away by this record and am so thankful that LITA re-issued it. It has given a musician the chance to go out on tour and gain the following he deserved when the music was first recorded back in 1970.  I eventually got to shoot Rodriguez’s first Seattle performance later that year as LITA/KEXP brought him to The Triple Door for a special mid-day performance I will never forget.

The film I mentioned earlier was Wheedles Groove. Sullivan’s wife Jennifer Maas directed the film but LITA played an important role in the project as well.  Seattle had an incredible Soul/Funk scene in the 1960s/early 70s. As the film points out, “There was a minimum of twenty live-music clubs specializing in funk and soul, and all those joints jammed.”. LITA have put out a Wheedles Groove compilation re-uniting some of these bands and making some of these incredible songs accessible after only still existing on a few hard to find 45’s.

Wheedle’s Groove Official Trailer from Jennifer Maas on Vimeo.

In 2010 Matt & Josh released another groundbreaking special edition vinyl. The Kris Kristofferson Please Don’t Tell Me How The Story Ends: The Publishing Demos 1968-72 is a rare look at the early recordings of the very influential musician. The limited edition artwork and detail in the packaging/design did not go un-noticed by me. Its rare to see a label put so much into a vinyl release these days. These little details make all the difference though.

Their annual record store day Zines are done in this same unique fashion with design by one of my favorite local designers/friends Strath Shepard of Pacific-Standard. The most recent edition contained a great interview with iconic Seattle 60’s rock Photographer Jini Dellacio given by iconic grunge photographer Charles Peterson. I’m looking forward to seeing their annual record store day Zine in 2011 & whatever other projects them and their team put out in the new year. The portraits we took were mid-way through their move into a new space so forgive the boxes/records everywhere. I do think though, that it shows what these guys really do surround themselves with day in and day out; MUSIC!

Writer Andrew Matson asked Matt the following 3 questions as part of the Portraits of Seattle Project:

1. Your record label Light in the Attic did the Seattle retro soul “Wheedle’s Groove” rerelease project, then your wife Jennifer Maas made a documentary about the same topic, with the same name, with you in it. Do you see the music and film as one project? 

In the beginning there was just the comp.  Jennifer started working on the film, and for the first few years, I wasn’t involved past introductions and an interview.  As it progressed though, I was asked to be more involved and now as we’re releasing the DVD I’ve certainly started to see it as one big project.  

2. How do you feel about the “power couple” dynamic in general? Do you self-identify?

We’re lucky as there’s a great deal of crossover in our interests and our careers, so we can really work together on some of these projects.  I think my big hair is better than her big hair, but it really depends on the day. 

3. Light in the Attic is concerned with old music, and bringing it to light again. What’s next in that arena, locally? Like, what music from the Seattle area is most ripe to be re-appreciated? I vote ’90s hiphop. What do you think?

Seattle music history is so rich.   Seattle ’70s punk and older gospel are two things that we’re looking into right now, but maybe a reissue of ’90s hip-hop comp 14 Fathoms?!  Supreme keeps uncovering more and more 45s.  We’re now working on Wheedle’s Groove Vol. II, which will continue from where the original comp left off in the mid-70s and head into the early ’80s modern soul/boogie scene.  

Ishmael “Butterfly” Butler aka Palaceer Lazaro is making some of Seattle’s most exciting music right now. After the news that they recently signed to Sub Pop Records, myself and many others are anxiously awaiting the full length release from his group Shabazz Palaces. Shabazz were surrounded with mystery during 2010. Originally they stayed out of the spotlight and granted limited interviews and no photos revealing their identities. The press buzz grew and grew leading up to their first big performance at NEUMOS. Ishmael had already come from a historic Hip Hop past. I don’t need to dwell on it but his former 1990’s group Digable Planets will always have a special place with me and remind me of the first Hip Hop I got into. Ishmael joined forces with Tendai Maraire to form Shabazz Palaces. The two create a really unique mix of live drums and heavy MPC beats that when paired with Butlers delivery is unmatched.

Ishmael has utilized Seattle’s creative community in so many ways with the Shabazz Palaces project. First off, by using local designers Dumb Eyes for their unmistakable artwork/website/packaging which has really created a recognizable aesthetic for the band. The music itself has been produced in part by local producer Erik Blood (Better known in shoe gaze/indie rock circles). Their first official music video also has local roots. Although it was shot in Watts, CA the director Kahlil Joseph is a Seattle native making big moves in the film world. Lastly, the groups recent decision to sign with Sub Pop keep’s them tied close to the community that has really embraced them.

I wanted to also include a live video from this past year’s Stranger Genius Awards. Shabazz Palaces received the first ever Genius Award for Music granting them $5000 and a chance to close out the Moore Theater Ceremony. The performance was arguably their best yet, using some choreographed stage movements, wearing wild masks, and bringing out Seattle’s THEESatisfaction to join them on several tracks. I’m looking forward to see what 2011 brings for Ish & Shabazz. I recently spotted him in a VANS avant garde promo piece & in the alt music magazine The Wire. There really is no telling what he has up his sleeve next. (Portraits taken at Pacific-Standard)

Writer Andrew Matson asked Ishmael the following 3 questions as part of the Portraits of Seattle Project:

1. You’ve performed in Seattle and New York City with Seattle duo THEESatisfaction, which includes two women who are about 15 years younger than you. Is it challenging making art with younger people? Do you sense a generation gap in that particular collaboration?

Uniform time while useful for things like arranging meetings and paddle boat rentals is proudly of no use to us dynamic electromagnetic kindred beings who love. The generation gap is a public pool on a 100 degree day, I swim.

2. Have you ever played tennis, and if so would you consider yourself “a threat on the court”?

I’m nice with rackets. Shouts out to the Philadelphia tennis School in circa ‘83. I played tennis once or twice with Downtown Julie Brown, I smashed her. Hon. mention, Gael Monfils.

3. Coffee, tea, or neither? Any preferences?

Both bro. Slightly honey’d mint. Cappuccino brown sugar. And never exclude Chai again bro. That’s a threat..

Ben Verellen is a vital part of Seattle’s music scene. Although hes an incredibly talented musician (currently playing in Helms Alee) its his local business that brought me to feature him in this series. After graduating college, Ben used his knowledge of circuitry and electronics to eventually start his own business making tube amplifiers & more recently, guitar pedals.

This town has always had band’s that require quality gear that gets LOUD. Verellen Amp’s are quickly becoming some of the most desired in and outside of Seattle. Their website features a customer section with photos of them & their amps which boasts some impressive bands who rely on the signature Verellen sound (Minus the Bear, Akimbo, Botch, The Pharmacy, Against Me, Elder Mason, Etc..)

Aesthetically the amp’s are gorgeous. Using Northwest Wood and other distinct materials, Ben has created a signature look that greatly adds to the desirability and quality of these amp’s. While they do have their flagship products, I love that they are happy to do custom orders to fit the needs of whoever will be playing the amp. I originally met Ben to shoot his portrait for a story on his new business for The Stranger. It’s been great seeing his business taking off since then and Verellen Amplifiers expanding outside of his house to now being a full on shop/storefront in the Fremont Neighborhood of Seattle.

Ben and his company were featured on this past week’s Seattle Channel ART Zone television show. Check out  the video below at 3:00 in. I’m also attaching a live video of Ben and his band Helms Alee. I think hearing the Amp live is the best way to experience it but hopefully this will give you a peek at the sound these things are capable of.

Seattle Channel Video can be played in Flash Player 9 and up

Writer Andrew Matson asked Ben the following 3 questions as part of the Portraits of Seattle Project:

1. Why tube amps? (Devil’s advocate: I can get every amp sound from software.)

Although there’s a lot of software out there that does a really good job of simulating all kind of amps, there’s something about a tube amp driving a real speaker into a microphone that I don’t believe will ever be captured properly with 1’s and 0’s. It’s the “failures” of vacuum tubes that give them a special character that is so familiar to our ears, and that’s what’s hard to wrap up in software code.

2. Are you often at concerts thinking, “This would sound a lot better if you were playing through one of my amps”?

Most of the time, I assume people are after a specific thing that they’ve charted out with whatever gear they’ve chosen, and there are definitely lots of sonic approaches that we haven’t delved into with our designs. So I’m happy to accept those for what they are, and a lot of the times, I like it. But the thought does sometimes cross my mind that, “man, that would be a lot cooler sounding through a meatsmoke”, or whatever.

3. Is Seattle an “amp town,” or do you do business mostly outside the city limits?

Completely a mixed bag. Lots of our customers are in or around Seattle, just because there’s more awareness here than elsewhere, but we sell amps all over the country, and we’ve shipped to as far as New Zealand, Finland, France, Czech Republic, and Vietnam. So word seems to be getting out there.

Shannon Perry is best known around Seattle as a musician. She has played with Katharine Hepburn’s Voice and more recently the infamous BUTTS duo. While I do enjoy both bands, it wasn’t her music that made me want to include her in this series but her newfound love of painting. It came at a transitional point for Shannon; as she says, she found herself going through a layoff/breakup/and “real job” freak out which led to trying something new in her life. She has been devoting many hours to this new watercolor painting passion and her own Seattle portrait series was the result.

The honest paintings depict the friends she loves in a very realistic way. These watercolor faces include some of Seattle’s most talented Illustrators, musicians, writers, film makers, dj’s and more. The portraits are based off of images Shannon takes during a one on one hang-out session with the subjects inside her apartment. I think its this intimate interaction that gives them their authentic feel.

After posting some of the series on face book, she has been receiving commissions and realizing this is the career path she wants to follow. I hope she continues the series as well as pushing herself to go further with art and try more new things. We decided to make our portrait session at her apartment a trade-off. After finishing my two portraits I hung out for awhile and had my own photos taken for her to base my portrait on. I have yet to see my finished piece but I’m anxiously looking forward it.

Writer Andrew Matson asked Shannon the following 3 questions as part of the Portraits of Seattle Project:

1. You suddenly discovered you’re able to paint photorealistic portraits. What did it feel like to receive this gift from God?

It totally feels like a godsend. I’m not a religious person, but I have an overwhelming desire to thank someone, or something. The timing was impeccable. Last Spring, I was laid off from my job, was going through a difficult break-up, was having an “I’m turning 30/Real Job/  and had no idea what I wanted to do with my life. Now I know. Life rules. I get to be an artist.

2. In your opinion, does the Seattle music scene take itself too seriously? Was that the impetus for your punk duo Butts?

I don’t think Seattle’s music scene takes itself too seriously, no. At least the folks I know. I’d assume that folks who take themselves pretty seriously would move to New York or L.A.. Not that success can’t be gained here, but that’s where the super-ambitious people who want to “make it” go, right?

Butts’ impetus (“impetus” meaning “driving force”; thank you, internet) is Rachel and I’s relationship combined with our mutual appreciation for humor and music. Our friendship seems implausible at times, and we don’t always get along, due to the opposite nature of our personalities, but we work hard on communicating because our differences are what attract us to each other as friends. Rachel and I are a great team, because what one of us lacks, the other usually excels at, and vice-versa (except for humor; we both rule at that). Recently I told Rachel that she’s Scully, and I’m Moulder. Or we’re Abbott & Costello. Either way, our relationship’s dynamic + our mutual sense of humor = Butts’ impetus.

3. What is your relationship like with Seattle’s Eastside suburbs?

I’ve lived in nearly every Eastside Suburb. There’s not much to say about my relationship with the Eastside. It’s the suburbs. I go there to see family or go thrift shopping (where it’s not so picked over). I’ve lived in Renton, Somerset, Mercer Island, Kirkland, Bothell, Bellevue, Woodinville, Redmond, Factoria and Duvall. I moved to Seattle when I was 16. My favorite Eastside city was either Redmond and Bothell. Redmond was cool because I was a goth teenager, and hanging out at The Old Firehouse played a large role in getting me more into music. I like Bothell because it’s small-ish, and I lived there the longest. Simply put, the Eastside is the suburbs. There are malls, big box stores, fast food, SUVs, housing developments, and there’s a little bit of cool stuff mixed in.