April 2013

B r a n d i n g w i t h o u t B u r n i n g:B r a n d i n g w i t h o u t B u r n i n g:Rose Riot explains finding her business model in her photography style

Likefest: If You Don’t Care ...How I Got into The Allman BrothersOut of the literary closet: poetryQueensrÿche interview & liveMixing Photography & ArtLowbrow Tarot: artistic innovationAlbum Reviews / Live Reviews On celebrity and being famous

ii April 2013

/ index /Ellen EldridgeRussell EldridgeVictor SchwartzmanRyan MeriwetherDavid Feltman Eliza Jones

Editor in Chief Music Editor

Poetry EditorGraphic Designer

Editor, staff writerCopy Editor

/contributers/

Want to contribute or advertise? email ellen@targetaudiencemagazine.com

Dan del Ben, Danielle Boise, Marlene Burns, Ron Currens, Ellen Eldridge, Russell Eldridge, David Feltman, G.L. Giles, Cyan Jenkins, Jerel Johnson, Miceal Kearney, Michelle Meow, Rose Riot, Ed Selby, Tillman Smoot, Brad Stier

Likefest: social media advice......................................page 3

Communication: comic by Cyan Jenkins................page 3

How I got into THAT band: Allman Brothers..........page 4

Steven Murray: Out of the Literary Closet...............page 5

Mixing mediums: Art of Marlene Burns...................page 7

Lowbrow Tarot book and cards review....................page 9

Queensrÿche live at Wildhorse Saloon.................page 11

Queensrÿche interview.............................................page 12

Branding without Burning: photography............page 16

Trivia: answer true crime question to win............page 19

David Bowie: The Next Day review.......................page 20

Shooter Jennings: The Other Life review.............page 20

Anthrax: Anthems review........................................page 21

Killswitch Engage: Disarm the Decents review..page 21

On Celebrity and becoming famous......................page 22

Coheed and Cambria at Tabernacle Atlanta.......page 23

/staff/

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Social media benefits businesses from its inherent nature as a conversation. When we exchange “likes” we are acknowledging each other and showing a measure of support, but when we flippantly “like” a page we have no desire to ever engage with just to receive a coveted “like” back, what do we gain?

Some will jump on me saying that every like extends reach and that by having more people in a veritable au-dience is better, but you and I know that Facebook works through engagement. Those who are not engaged, and who don’t regularly click like on posts or share content, will not see content posted by pages as often.

I’m guilty of it just like you are: I have and will continue to click “like” on a Page when one of my friends asks me to. I will do it because I do want to show “support,” but the cold hard truth is that I will likely not visit or interact with the page if it doesn’t directly affect my interests or life. I also run the risk of running off friends when I click “like” on a wide variety of services, products and even bands.

“What?! She likes THEM?” - Yeah, it’s quite probably that I don’t literally like every Page I click like on. So why do I do it? I do it to avoid hostile feelings. It’s just easier to click like in support than to decide whether or not I will

be interested in buying a product or attending an event by the friend’s Page.

What you should do really is up to you, but I suggest that Page owners stay organic in their attempts to grow their artistic businesses. If authors and artists engage in like-fests, liking 100 other writer or artist pages just for the 100 return likes, they risk preaching to an uninterested audience. Targeting the fans who will genuinely appreci-ate your content is always the best approach.

Make calculated choices on who you ask to like your page. It really won’t hurt anything to have your personal page filled with news from friends’ businesses or even from competitor’s Pages, but you do want to address an audience from your Page that will genuinely care about the products you’re selling and the events (shows) you’re hosting.

As the comic below suggests, communication is the key in the conversation started by social media. If your busi-ness or brand pumps nothing but ads or begs for atten-tion it’s more likely people will unlike, unfriend or simply ignore your content. If you build a vision based on a mission statement and a true passion then others will find you and, hopefully, support you through a purchase or attending a show.

Likefest: If You Don’t Care, They Don’t CareBy Ellen Eldridge

4 April 2013

How I got into THAT band...!

I was a student at Georgia Tech in 1969 and Piedmont Park was easy walking distance for a college kid. Free music on Sundays in the park had become a fixture of the hippie community and I had already enjoyed Atlanta favorites the Hampton Grease Band and others. In April, the local underground paper, The Great Speck-led Bird, published a front-page photo taken in the park of a skinny guitar player wearing an STP T-shirt. It was the first time a musician had ever been on the cover and I was intrigued -- it was Duane Allman from the Allman Brothers Band. I wondered if they were like the Righteous Brothers or the Everly Brothers, and made plans to see them first chance I could. Final exams and summer break kept me from the park until that fall, when I noticed the Allmans were opening for Sweetwater at a Georgia State concert. I got tickets from a friend, sat up close, and that was the moment my life changed. As much as I loved music, I had never felt anything like it before. It seemed that Duane’s gui-tar reached out and touched me right in my heart, mak-ing me laugh and cry at the same time. Berry Oakley’s long legs vibrated in front of his stack of speakers and Dickey Betts’s guitar wound around Duane’s leads like four hands on one player. Gregg’s gruff voice and B3 fills opened my eyes to a new way to listen to the blues, and I had no idea two drummers could play together like that. It was so totally new and so incredibly intense that I had to completely redefine what music meant to me person-ally. I resolved to see this band as often as I could, and I saw them play twelve times over the next two years, each time better than the last. The last time I saw Duane Allman play was July 17, 1971 at the Atlanta Municipal

Auditorium for matinee and evening shows. I had the same fifth row seats, directly in front of Duane, for both shows. Can you point to the highest moment of your life? I can. It was this day.

Later my devotion to this band inspired me to start an Allman Brothers related magazine called Hittin’ the Note (http://www.hittinthenote.com/current_issue.asp)that is still being published after 20 years. Today the Allman Brothers still are the best live improvisational band in the world. Where I mourned Duane Allman inconsolably for so many years, Derek Trucks has stepped up as the best slide player in music. It is no longer possible to deny the existence of God once you have witnessed a true miracle. To this day, the overwhelming power of music -- eliciting passionate response like simultaneous laughing and crying -- is the ultimate expression of connection and creativity. I never thought I would feel now what I felt forty years ago. I am truly blessed.

If you want to share your story of how you discovered the band or artist that influenced you and helped you define yourself during your formative years or after--email 500 words to

ellen@targetaudiencemagazine.com

art by Nick http://soljwf98.deviantart.com/

A l l m a n B r o t h e r s B a n d

By Ron Currens

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The Wallpaper, The Wallpaper, The Wallpaper

I was just out of the literary closet at my second ever poetry read-ing. I listened to two po-ets read, well I pretended to as I looked around, wondering “who are these people” and “how important are they?”

Do I belong there? Then

the third poet was intro-duced, Stephen Murray. Up until then, the only poetry I knew was what we had done in school. I mean, c’mon, we were teenagers and it was 1997. So Steve spoke and took poetry, for me, into the next dimension with The Ballad of the Invisible People. If mem-ory serves me correct, it was about the unforgiv-ing tide of grow-

ing up in London, fall-ing through the cracks and love. I was instantly taken with the vivid picture he was painting before my ears. The tone, the language, the flow. He had it memorised as well so his performance of it was memorable eight years later. I was on a bus from Dublin one day and I was reading William

Blake. After I read

“The Chimney Sweeper,” the first thing I thought was, “That’s something Steve would do.” Since then, I have gotten to know Steve quite well, and every time I’ve heard him it’s always the same. Regardless of the poem, be it about love, child-hood, pagan Ireland, Ce-line Dion or auld bucks in a Barna Pub, Steve creates a whirlwind with his words and sets it off through the audience. It politely taps you on your

out of the literary closet, into poetry: steven murray

By Miceal Kearney

6 April 2013

shoulder and, as you turn around, it grabs your other arm, taking you up into the whirlwind. Around and around with words and rhythm, the entire poem al-most said in one breath.

A hypnotic beat the spins you faster, then leaves you back in your seat again, wanting more of lines like: “Being early for work only deprives me of sleep,” “I’ll show you where the lightning seeds are sown” “The wallpaper, the wallpaper, the wallpaper.”

We have a pretty vibrant poetry scene where I live, in the West of Ireland, county Galway. So I met Steve again and again at the various open mics and slam. In those early days, I was very intimated by Steve and the power of his poems. Actually, I was delighted when he was unable to attend because I never stood a chance at the slams when he was there. But that’s where poetry starts, locally. The others in the pool with you, trying to keep their heads above water. There’s also the level of chlorine to contend with, but you’ll get that — part of the trade. Part of the circuit. First you learn to swim then you develop your stroke. But eventually, year after year after slam after open mic I learnt a valuable lesson. My jealously taught me: it’s not about having the better poem or even winning, it’s about having a poem and being able to stand over it.

watch at: www.youtube.com/watch?v=esgw8jYuKnQ

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the photography and fine art of Marlene Burnsmixing mediums:

Target Audience Magazine had the pleasure of featuring Marlene Burns for the summer 2009 issue and we recently caught up to see what she’s been doing and how she’s been growing her business over the last few years.

“In the past year, I’ve picked up a camera when there is no brush in my hand,” Burns said. “What I’ve discovered is that an artist’s eye is an artist’s eye, regardless of what is in his hand!”

She actually literally took her camera to capture the perspective of the streets below her.

“I have been looking DOWN on the streets of several cities, chronicling the outrageous abstracts I am seeing, Burns said.” She expressed relief as she joked about her guardian angel working overtime to keep her from being run over by the cars while she views the world artistically.

As a fine artist, Burns wanted to add to her photographs. She described a process of blending her paintings with her photographs to create hybrid images when she said, “I have a huge collection of photographs that I have taken, looking down at the streets in Tucson ( and a few others). I shoot playgrounds, construction sites, mundane street markings, roads, but I do not paint over these images.”Burns plans on selling them and compiling them into posters and books for sale.

8 April 2013

“Taking the photographs (and I consider myself a FAUXtographer!) was fun, but it’s what I am doing with them now that is so exciting....The first step was to make compilations: diptychs, triptychs and posters. I love the challenge of putting them together perfectly.That process morphed into blending a few photos together so that the lines were blurred. This process is very similar to my painting process.My partner noted that one of my photos looked a lot like a painting...so I started to pair them up and came up with these hybrids that I am calling pHOTography,” Burns said.

www.art-marleneburns.com

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Lowbrow Tarot review – By G.L. Giles Mainly for appreciation of underground sensibilities depicting subcultural visual art in frequently amazing ways, any aficionado of the Lowbrow Art Movement will want to get her or his hands on a copy of both the hardbound book and the tarot cards edited and organized by author Russell J. Moon and illustrated by Aunia Kahn.

In fact, they are some of the best cards one may come across both for stunning visual displays and for unique interpretations of cards dedicated to divination, self-exploration and aesthetics.

Celebrated tarot artist Aunia Kahn skillfully presents 23 Lowbrow Tarot Artists who offer not only unique artwork for each card but also the thought process used in creating the cards.

These creative geniuses together took on the 22 Major Arcana [plus the card back] to create 23 original pieces of art, including Carrie Ann Baade’s depiction of “The Fool,” (right) which is amazingly moving and beautiful!

As described on p. 13, “The Fool carries only a bag upon her back and in her hand a leash to lead her dog.

The leash subtly makes the sign of the infinity symbol as our intrepid traveler takes a step that will lead her off of the rational path and into the unknown. Fearless, she embarks on this experience, the sun radiates at her back; she does not fear or acknowledge the grinning skull that lights her way. It is suggestive of her ‘crazy wisdom’ that she need not acknowledge fate.”

Equally impressive is Cate Rangel’s depiction of “The Empress,” who “is the giver of life and abundance, but in anger, she can also withhold” (p. 29).

Kris Kuksi’s interpretation of “The Emperor” is a nodto the historical emperors who were bold enough “…to keep a country or empire together” (p. 33).

Additionally, the strikingly gorgeous depiction of “Strength” by Brian M. Viveros shows the card as a female who is determined, powerful and “…the fo-cused smoking soldier that has walked through the battlefields of life” (p. 63).

Plus, Claudia Drake’s “The Hermit” wonderfully de-picts colorless isolation. Truly, each and every poi-gnant card in this tarot deck is replete with beauty and depth of understanding. Highly recommended!

www.lowbrowtarot.com

10 April 2013

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Queensrÿche – Wildhorse Saloon, 3/12/2013

Return to History World Tour

“I remember now… I remember how it started…”By Tillman Smoot

Queensrÿche has been performing in front of crowds of all sizes from small clubs to sold-out arenas for 30 years. They have earned international acclaim and a diehard core group of fans that has never left them, even with their recent separation from long time lead singer Geoff Tate.

Queensrÿche performed at The Wildhorse Saloon in Nashville, Tennessee, on March 12 with band veter-ans Michael Wilton, Scott Rockenfield, Eddie Jackson, Parker Lundgren and new lead singer Todd LaTorre (formerly of Crimson Glory). Though they have a new album to be released in June, the “Return to History” tour only features songs from their first five albums, up to and including 1990’s breakthrough release, Empire.

Choosing Queen of the Reich from their debut EP to begin the show, Queensrÿche quickly set the pace with Todd La Torre hitting the sustained opening high note with amazing precision. While the four veteran members seemed totally at ease playing this thirty-year-old song, the true test for many of us

fans was La Torre’s ability to make the vocals his own. Among the fans I talked to before the show, the common consensus was one of ‘fingers crossed.’

While later in the show he complained about being a bit sick, La Torre’s ability to sing the classic catalog couldn’t be questioned. His upper range on early Queensrÿche songs like “En Force,” “Walk in the Shad-ows,” “Whisper” and “Roads to Madness” was impres-sive; as was his ability to embrace the lower range on songs like “Silent Lucidity” and “Empire.”

The one downside was that the show ran a bit short at about an hour and twenty-three minutes. I caught a glimpse of the set list and saw that they had cut three songs: “Prophecy,” “Take Hold of the Flame” and “Jet City Woman.” I assumed that the state of La Torre’s voice or, perhaps, the size of the crowd on the floor led to that decision. The audience was a decent one, but not nearly as loud or rowdy as I have seen at past Queensrÿche shows. That said, even with the smaller than usual crowd and cropped set, the Wildhorse Saloon show was one of the most excit-ing Queensrÿche concerts that I have been to since 1991.

Queensrÿche: Thirty Years of Music and Technology

Since its inception in 1981, Queensrÿche has released over a dozen studio and live albums. In three decades of recording history, the band has proven time and time again its members are unafraid of change, they embrace it. In the past year, the band welcomed a new lead singer, signed to a new recording label, recorded its latest studio album and embarked on the current Return to History world tour. The Seattle-based band will release its next album June 11, which features the debut of the current lineup, with Todd La Torre (Vocals), Michael Wilton (Guitars), Parker Lundgren (Guitars), Eddie Jackson (Bass) and Scott Rockenfield (Drums).

Queensrÿche has always tried to embrace the latest technologies as a part of its creative process, and Wilton discussed how the latest technology used to be ADATs, but the band even-tually recorded on Sony 48-track digital machines.

“Thirty years ago, we were recording on little four tracks: cassettes,” Wilton said, “and, that was the high tech thing to do. I mean, that’s how we started out recording. As a band, you kind of gradually update your equipment.“

Rockenfield recalled that the tools of the past allowed the band to do more and, over the years, the band stayed at the forefront of new technology. “We’ve always been a band that sits and writes and works and does our chemistry together,” Rockenfield said.

Recording technology has changed numerous times since the 1980s, which has made it easier for bands to be able to work on music both separately and together.

The ability to work with people anywhere in the world through recording platforms and email has allowed the band to work together without always being together.

13

“I didn’t work back then when they were using all thetape and had to ship actual reels with tape, but Queensrÿche is a global thing,” LaTorre said. “So, when recording, if our engineer or label needs something, even if it’s a sound effect, it can be done all through an email.“

Lundgren added that 23 years ago a band couldn’t send files back and forth between its members working from different studios and even states.

“There was a point on the new album where we were using three different studios,” Lundgren said. “Todd was doing vocals in Florida. Mike and I were with Jimbo Barton, who was going back and forth with Ed in another studio. There’s no way that you could do that 23 years ago; to be able to just send files back and forth like that.” That’s not to say that the new album was created with-out any collaboration as a group. While the ability to create separately from each other stays an option, aiming for the best way to create a song stays the band’s primary goal. “Once we have an idea of something that we want to work on, we sit and we map it out together, and we work on it.” Rockenfield said. “We’re kind a hybrid of everything. I think that’s one thing that keeps us going and keeps us fresh.”

The band embraced portable electronics technl-ogy as well. While they recorded their latest album in a studio, they do admit to using tablets, phones and laptops to help with the creative process.

“One great thing about using the phones, is that you’re always carrying one,” Wilton said. “I have an app and a microphone device made by Blue that snaps right in.”

Wilton admitted the convenience factor associated with instantly recording a song, guitar riff or melody, combined with the ease of accessing it from a phone, works perfectly for forgetful people.

“It’s good because, you know, sometimes, as we get older, we get a little forgetful,” Wilton said.

“You do a killer riff and you’re like, ‘wow, what did I just do? Oh my God, I forgot it!’

So, sometimes technology can really help in organizing the brain to remember things.”

Portable electronic applications are not just limited to microphones, according to LaTorre. “[Line 6] makes a cool thing called Mobile Pod that’s like an amp simula-tor. There are so many great things out there that create the sound you want. The portability and everything is so small and convenient and travel-worthy, you know?”

Rockenfield agreed that these kind of technolo-gies should be considered an essential part of a musician’s toolbox, “I personally think it would be almost ridiculous for anybody in the modern age, whether it’s a newcomer to the music scene or a professional that’s been around for decades, (I guess like maybe we call ourselves), to not be in tune to a lot of things that are available, because they just open up more opportunities for you. “To kind of just stay old school, I don’t think it opens up the doors for you as quickly as keeping in tune.”

In fact, Rockenfield has not only embraced these new technologies as a recording musician but also he has incorporated them in his life as a source of revenue. “I get paid every month by Apple, because I supply content to the iPad that people buy and use when they’re writing their own songs,” he said.Companies that allow users to use apps to create multi-track recordings on the iPad drew Rockenfield to the point where he got to know the guys behind the apps.

“Well, I got into that, got to know these guys, and now I’m a content supplier for their thing, which opens up plan B

14 April 2013

as a business for me,” Rockenfield said. “So, if I didn’t keep in tune with technology, I would never have found these people and done it. So, the music busi-ness is a business, and I think longevity is all about ex-panding, and knowing, more than just sitting in there and playing guitar together.”

While the evolution of technology has made the creative process easier for bands both new and old, there can be an ugly flipside to it. Queensrÿche has been a working band long enough to be released on virtually every music format that has been made commercially available. When asked about the impact of the Internet and MP3s on their ca-reers, they have a unique perspective.

“Well, things are definitely not the same as they were 20 years ago in terms of income streams for bands like us,” Rockenfield said. “I think the one thing for us that has created survival, and has had us last is, we try and stay on top of [the changes in the music industry] and we try to rethink what we can do and how it can benefit us.”

Rockenfield understands that time change and that as a band, the guys need to formulate plans and feed the fans in different ways.

“We’re fortunate that we do have a touring background, which keeps us going,” he said. “I think we’re lucky because a lot of our fans still buy the music when we put it out, so I think we have that benefit going for us as well.”

Due to its longevity and worldwide popularity, Queensrÿche is fortunate enough to have some of the rarest kinds of music fan.

“We realize that album sales are not what they were,” LaTorre said, “but there are still the diehards in many parts of the world outside of the U.S.,

throughout South America, all over Europe. Those people... they’re diehard. They still like vinyl. They still like the special box sets. That’s very important to them. Collectors. I think that where the band is today, we’re actually able to capitalize on that.”

The downside to this unique position, according to LaTorre, is that “If you’re a brand new band now, you don’t have the history that’s going to reach back 30 years, where people remember vinyl and actually playing records. So, I think it’s an advantage to have the legendary status that Queensrÿche has, to be able to tap into that.”

The flipside to that, Wilton added, “is that any-thing that’s tangible can be downloaded for free.”Downloading hurts the business for bands aspiring to get some money for songs. These bands “look up to us and they want to start their own thing, but it’s tough,” Wilton said. “They get Garage Band and they sell their CDs at their shows, but it’s not the days when you had record companies and A&R people helping to build you up. It’s kind of survival of the fittest now.”

Rockenfield said the band’s choice was a simple one when the time came to record the new album and decide on whether to self publish or sign with a new record label.

“We’re always thinking about different things to do, to be honest, but I think we’re fortunate that we have [a record company] like Century Media, a really powerful record company around the globe, that is hugely enthusiastic about signing us. That’s fortunate for us, so once we got those phone calls and we start-ed discussing all that stuff, it was kind of a no-brainer for us to do that.”

While talking about recording their upcoming album, Wilton addressed the unique guitar sound that Queensrÿche thrives on.

“When you hear the new album, you’re going to hear a lot of double solos and parts that are just reminis-cent of the way things were done in the past, but also just a fresher approach,” Wilton said.

Expanding on that, Lundgren added that the setlist the band has been playing includes a “ton of

“So, the music business is

a business, and I think longevity is all about

expanding”

15

harmonized guitar stuff” from the first five albums.

“It’s a lot of fun to play live,” he said, “and I think it kind of helped influence us on the new record with writing duel guitar parts and harmonized solos.”

Lundgren appreciated recording with Jim Barton, who worked on Operation Mindcrime, Empire and Promised Land. “He was really good at helping us recreate those guitar tones from those records, which was really cool,” he said.

LaTorre gets excited when it comes to the sound of the upcoming album. He said, “I think, maybe it’s me, but I think [the guitars] sound crunchier. I think they’re a little heavier. They’re crunchier than any Queensrÿche guitar sound. I mean the bass sound is sick.”

Wilton laughed and explained that “We incorporated a baritone guitar, and it’s filthy… filthy nasty.”

Whatever technological changes lay ahead for the music industry as a whole, one thing is for sure, Queensrÿche will definitely not be afraid to embrace them.

Aries by Arrison Kirby El Deth Records Noise pop Release date – 4.2.2013 Breakout tracks:

Michael in the War

Scrappy Explosions in the Sky

Aries is the fourth full-length solo release from Knoxville producer, Arrison Kirby. It is the second release to be mass distributed, and the first of a twelve-disc collection, conceptualized around the zodiac. In addition to being written with Aries-based themes in mind, it also features a roster of guest musicians, writers and artists, born strictly within the confines of the Aries time period (March 21st – April 20th). Included among these talents is Bernie Worrell of Parliament, Zach Fallon of Senryu, and New York poet, Matthew Zingg. Aside from the guests, Aries was written, performed, produced, recorded, mixed and mastered entirely by Kirby. Though more aggressive than previous ventures, it reflects a sound comparable to Wilco, The Flaming Lips, of Montreal or Beck, depending on the track. It also includes a sole cover song by the Aries fronted British rock group, Blur. This is the eighteenth release from Knoxville’s El Deth recording label. It will be digitally available through all major online distributors on April 2nd, 2013.

arrison@eldeth.com www.eldeth.com

SpotlightArrison Kirby will release Aries April 2, and Target Audience Magazine feels this release deserves spotlight attention because of its creative association with the zodiac.

In business, and especially creative arts, an angle is always important to get your band, book or project noticed by the media. While we at TAM are reviewing less music in the monthly issues, we do want to take special notice when a band makes the most of its marketing like Kirby has done with a cycle of songs conceptualized around the zodiac.

16 April 2013

During the last four years I have been attempting the daring feat of working as a full-time freelance photographer. The phrase rolls right off the tongue, but saying something is easier than being it.

In an open attempt to teach tips on branding, I’m about to share some humbling private truths about me, my photography and stumbling my way through to a successful business model.

I must first address how I went from Brook Hewitt

to Rose Riot. It's very simple, sorta. My sister and I decided Rose Riot sounded like it should be a hair metal band from the ‘80s.

We had a whole comic routine about how funny (at least to us) we thought this would be. Fast forward a few years, I became a "jeerleader" for the Atlanta Roller Derby, where it was suggested that I christen myself with a derby name. Rose Riot was the first and only thing that popped into my mind, so that's who I became.

Shortly after my debut as Rose Riot, I decided to start a photography business. It seemed that most of the business names taken by colleagues and competi-

Branding without burning

by Rose Riot

17

tors alike simply added the word images, studio or photography to their names. But, at that time, if I had chosen the name Brook Hewitt Photography very few people would have associated the business with the person they knew as Rose.Now, I get asked all the time what I prefer. The answer is either; I am both.Though I had a natural eye and photography experi-

ence as a model, assistant, student and admirer, I was way out of my league technically and in business. I held on to the idea that all I had to do was take amazing photo-graphs, show them to my friends and get published in a few maga-zines and I would have customers linin’ up at the door.

The last few years have been a roller coaster of emotions about photography, with times where I thought I was super fantastic and many times where I thought I was wasting time. I never thought about quitting photography, but definitely considered calling it a day on my own business. Luckily, life had a way of working it out so that I was forced to persevere through my discour-agement.

Last fall, I decided I had to try some new techniques to attempt to be truly successful. I started doings In-ternet research like crazy. I read stuff, watched stuff, and asked questions. I kept hearing the terms “marketing” and “branding.” I really didn’t understand these words

at first, but slowly they started to make sense. When I thought about “branding myself,” I made a face equivalent to drinking orange juice after brushing your teeth. Branding seemed to me like going to a store and buying a personality, and I couldn’t seem to make that okay in my brain. That should never have been okay in my brain, or anyone else’s, because your “brand” is simply who you are. If you are a bach-

elor who likes to take pictures of flowers then that is who you are. I am a mom, and I like music, I like families, I like fashion, I like quirky things…these are all my brand.

I had worried in the past about how the public would perceive me. Would rockers think I was too suburban? Would conserva-tive people think I was too wild? Should I have two websites, one for each type of client I was at-tempting to appeal to? I finally made a very peaceful decision to “be myself.” Though it sounds trite to say, the “Be yourself” statement is jammed into your brain from the time you enter your first preschool class.

I went through the long and painful process of going through all of my work, looking for common bonds in my photographs. I saw all of my desperation; my attempts to “copy” other artists failed miserably. I had never been a “copy cat” in any area of my life before, but I had never wanted to be liked so badly either. I saw an evolution happening in the images though. I recognized the “me” that was in every single shot, good or bad. I saw a definite way that I shoot, and acknowledged ways I would never be able to shoot. I realized that I can’t and don’t want to be all things to all people. If someone hires me, it’s because they

like my work and not because they are really hoping that I will shoot like someone else.

I had this idea that once I had a camera and had completed a few classes at Showcase School of Photography, I would have a "presto!" business. It didn't quite work that way.

I had this idea that once I had a camera

18 April 2013

After these epiphanies, I felt evolved as a human and ready as an artist to take on the dreaded task for any technophobe, building a new website all by myself.

I did mental gymnastics for a month before finally getting www.RoseRiotPhotography.com up and running. I painstakingly chose each photo for the site with “me” in mind. What shots really represent who I am? I dumped many images that I thought were great but felt either too one way or the other.

I needed everything on the site to tell visitors, “This is who Rose Riot is,” including the colors and font. I chose the cover shot through a strange process that went like this:

“I like to take pictures of shoes. I like shoes. I have lots of shoes but I commonly wear the same 3 or 4

pair. I wear my cowboy boots most of the time. Everyone loves my cowboy boots. Oh my God, everyone loves my cowboy boots!”

My boots are the bridge that gaps me for people!

I remembered all the times when I’ve been in the grocery store, on vacation, backstage, or at a store and people from every race, age, and social group stopped me to tell me how much they like my boots. So my boots needed to represent my brand, they need to be the first visual message people get after they click on my link.

For the first time in four years, I feel confident about what I do. When you are confident, people feel it, and they feel at ease around you because there is no weird uncertainty floating around in the air. People gravitate toward this feeling of confidence and your network grows. It’s exactly like dating. When people hire me, they are hiring time with me. They are hanging out with Rose Riot. I treat every session like I’m spending time with a friend. There is no cookie cutter brand I could have embodied that can duplicate this. I have heard the saying that goes, “There is the you others see, the you you think you are, and then there is reality.”

I say find the reality, then be it; that is your brand.

photo by Michelle Meow

photo by Rose Riot

19

What happens when a

group of poets, short

story and Flash Fiction

writers mull over

serial killer themes? Win a Physical copy of James Ward Kirk's Serial Killers Iterum by answering the following trivia question: Which Indiana Serial Killer once worked for the Bureau of Motor Vehicles? (He urinated on his boss's desk and, of course, kept his job.)

Email your answer to ellen@targetaudiencemagazine.com winner will be randomly selected and notified by May 1, 2013

20 April 2013

Country music is a genre that embraces its off-spring and wel-comes the children of its alumni. Shooter Jennings is one of those artists; the son of Waylon Jennings, one of the pioneers of country music.

Shooter Jennings grew up literally surrounded by country music. I can imagine him being played with and passed around backstage by an enviable cast of leg-ends and stars. Young Shooter started playing a variety of instruments by the time he was five years old and by the teen years was starting his own bands. He released his first album, Put the “O” Back in Country, in 2005 and has since released five more albums. His most recent album is called The Other Life.

The Other Life is a proclamation of true country by Shooter Jennings, yet it shows us different interpreta-tions of the genre by incorporating a variety of styles and guest artists throughout the album. The first track “The Flying Saucer Song” has drama reminiscent of Pink Floyd. The second track, “A Hard Lesson To Learn,” reminds the listener that it is a good old-fashioned country album and by the third track, “The White Trash Song,” (featuring Scott H. Biram) the listener is reminded of Shooter Jennings’ honky tonk heritage and the album earns sold country street cred. If, somehow, you aren’t convinced this far into the album that Shooter has earned his way on a country stage, Jennings gives a list of reasons that not all country is created equal or worthy of the classification with track five, “Outlaw You.”

The Other Life crosses lines with blues, southern and psychedelic rock but in the end remains pure country. It is a working man’s album with anthem worthy songs.

http://www.shooterjennings.com/

David Bowie snarls back to raging life on his new album, The Next Day, produced by visionary Tony Visconti.

The opening title track sears with brutal honesty:

“Here I am, not quite dying/My body left to rot in a hollow tree/Its branches throwing shadows on the gallows for me/And the next day, and the next and another day.”

The music sound-tracking these painful lyrics is straight out of “Suffragette City,” and it rocks hard. Bowie’s voice is clipped and trembles with a ner-vous energy before exploding with rage during the chorus. It’s a brilliant 3 1/2 minutes that crackles and sparks.

“The Stars (Are Out Tonight)” shimmies across subtle synth and tambourine flourishes while the Heroes era guitars ring. The track continues to build, adding layers of strings, horns, and handclaps to its acid tale of our celebrity obsessed culture before melting into the the next track “Love is Lost,” a hypnotic whirlpool of angst and paranoia.

Another highlight is “You Feel So Lonely You Could Die,” a piece of gospel kissed rock that subtly, de-lightfully references both Space Oddity and the Ziggy Stardust and the Spiders from Mars track “Five Years.” “Dancing Out In Space,” the lightest moment here, is also the most fun track Bowie has released since some of his early ’80’s work. It rocks and swings with a bouncing beat that is nearly impossible to sit still through.

The Next Day is an hour-long masterclass in rock history; the most immediate and emotional modern rock album released in a long, long time.

David Bowie - The Next Day Shooter Jennings - The Other LifeReview by Bradley Stier Review by Rose Riot

21

One familiar with Anthrax might expect the thrash powerhouse to cover old metal tunes from Black Sabbath, Iron Maiden or Judas Priest. Always one to keep their fans on their toes, the guys in Anthrax decided to cover

bands Rush, Thin Lizzy, AC/DC, Boston and Journey.

Vocalist Joey Belladonna said, “These are all bands I grew up with and have listened to forever.”

Belladonna definitely has the vocal chops to do anything he wants, but I wasn’t sure if his vocal style would work when singing songs from Rush’s Geddy Lee or AC/DC’s Bon Scott. Once the vocals started in “Anthem,” I could hear some of the similarities be-tween Lee and Belladonna. It’s funny that I hadn’t noticed before.

“TNT” followed and here I figured there would be a clash in vocal tonality, but, once again, Belladonna adapted like a chameleon to Scott’s style, and he sounded very comfortable singing. As the tracks went by, I stopped wondering if Belladonna could pull it off and I starting expecting him to nail each song. I was never disappointed.

As neat as it was to hear Anthrax doing covers, the highlight was hearing a remix for the song “Crawl” from their last album, Worship Music. The “Crawl” remix seemed a little spookier, maybe a little Nine Inch Nail influenced. The verses have an apocalyptic sound and the dynamics stay much stronger in the remix.

The songs on Worship Music were all amazing, and I’m honestly unsure if the EP versions of “Crawl” top the original. With that said, it is nice to hear a different approach on an already amaz-ing song.

Killswitch Engage is often credited as the band that brought metalcore from the underground to the mainstream.The quintet’s seam-less blend of melodic vocals, ferocious breakdowns and introspective lyrics set it apart from its contemporaries. On

Disarm the Descent, Jesse Leach, the band’s original vocalist, returns after a decade-long absence. Leach’s return rejuvenates the group, as Disarm possesses the same energy as the band’s magnum opus Alive or Just Breathing.

The opening track, “The Hell in Me,” bounces like a wild flame over fierce blastbeats. The song forces its way into a nice groove as Leach ironically sings an angelic chorus. The Pantera-tinged “The New Awakening” features sharp, intricate riffing from guitarists Adam Dutkiewicz and Joel Stroetzel.

“A Tribute to the Fallen” is one of only two tracks over four minutes. The song stays epic, despite its brevity, as the lead solo and bombastic drums honor the dead in heavy fashion.

Killswitch wears its hardcore roots proudly on “Turning Point,” and with its infectious chorus, fans can almost see the kids two-stepping in the mosh pit. The galloping riffs on “You Don’t Bleed For Me” perfectly compliment the track’s dissonance.

The penultimate track, “Always,” is the most unique song on this record. Its droning riffs and majestic vocals offer a haunting but serene scene of an undying love. It is one of the band’s best tracks and shows the group’s diverse abilities.

Disarm The Descent is a great record that proves Kills-witch Engage is still relevant in the heavy music scene; Leach’s ferocious vocals are in top form as he leads the band to regain its vigor.

Anthrax - AnthemsReview by Russell Eldridge Review by Jerel Johnson

Killswitch Engage - Disarm the Descent

22 April 2013

Celebritize Yourself: The 3-Step Method to Increase Your Visibility and Explode Your Business

The irony that the chapter titled “First, Know Thyself” comes fourth, makes sense when we consider that many of us took up our passion to becomes musicians, writers, painters, photographers and entreprenuers out of some small desire to become famous. Marsha Friedman shows us this is possible when we start taking control of our celebrity. We knew first that we wanted success and the fame and fortune associated with it; we may not have realized right away that knowing ourselves plays a huge role in branding.

Friedman takes readers through the process of branding yourself as some sort of expert; the purpose is to share experience and wisdom.Wanting to be a celebrity or desiring fame is perfectly reasonable, but as creative individuals we each need to take stock of what we want to achieve and why. Once we understand our motivations and aspirations moving to the next level is all about a concetrated effort.

No one learns to play an instrument thinking he or she sill only play in private. Even those who strum a few chords on the guitar for family may fantasize

about a campfire outing where the kids can sing along.

More driven individuals mirror examples like the one Marsha Friedman discusses in her book: Ben took his experience of con-quering debt to helping others with a book he wrote. When we have good ideas, talent or a pen-chant for entertaining the trick becomes about manifesting the talents into a plan for celebrity. This is what Friendman’s book encourages in her 3-step plan.

The most important aspect in Friedman’s book is that the idea of “celebritizing yourself” can boost the business of even those who aren’t in fields where one

would expect individuals to be fame-seeking. The local shop owner selling thrift items or even a res-taurant owner competing with national chains has something to benefit from taking control of press and publicity.

“Celebritizing” yourself can help establish you in whatever career you are in, whether or not you choose to work with a publicity representative.

http://www.celebritizeyourself.com/

23

On paper, the shared love of tech-nically minded progressive music might make Coheed and Cambria and Between the Buried and Me seem like a natural fit, but their approaches couldn’t be more different.

BTBAM’s abrasive mathcore clash-es with Coheed’s melodic hard rock Rush aesthetic. Watching the line start to wrap around the block an hour before The Tabernacle’s doors opened at 7 p.m., I couldn’t help but wonder how these bands’ respective fans would react.

One thing all three bands defi-nitely shared is a massive sound and, amplified by Tabernacle’s fantastic acoustics, even the cheap seats in the rafters could feel the bass drum hits. The post-metal trio, Russian Circles came out with low lights and a Spartan stage setup. The band’s all instru-mental set was perfect warm up music for the rest of the bill. Built around dramatic crescendos and atmospheric noise rock, the mu-sic fortified the already enthusias-tic crowd. BTBAM took the stage

with what can only be described as three giant Lite Brites positioned behind drummer Blake Rich-ardson. Equipment cases out-fitted with colored LED

lights were positioned to the left and right of the stage, lending an epileptic effect that compliment-ed the band’s musical violence.

BTBAM is known for jarring music that takes an unusual slant on theme and repetition.

The band strips key melo-dies of their metal context and reintroduce them in a new genre like Eastern Eu-ropean folk, smooth jazz or carnival carousel music. The set was full of such playful musical renovations includ-ing the 13 minute “Ants of the Sky,” complete with its

country western break down. The set kept focused on the band’s new Parallax material, with the exception of a few hits sprinkled throughout. Despite the aggres-sive music, the band was surpris-ingly tame on stage. Aside from some crowd work by singer/key-boardist Tommy Giles Rodgers, the band members stayed rooted to their spots. However, the music was kinetic enough for the crowd, which cheered for every unlike-ly musical corner the band ex-plored. Coheed’s stage looked like the spaceship that takes Riff Raff and Magenta back to Transsex-ual, Transylvania. The stage was bathed in white light and sport-ed two sets of mannequins that looked like props from a bond-age porno. At the back were two talking neon triangles forming

Coheed and Cambria Live Review

Photo: Ellen Eldridge

Photo: Ellen Eldridge

By David Feltman

24 April 2013

Coheed and Cambria live

Photo: Ellen Eldridge

an hourglass. This set piece was meant to represent some sort of spaceship AI that injected a narrative to the set. What that narrative was exactly was hard to decipher since the triangles’ GlaDOS voice was unin-telligible aside from the occasional “Warning,” “Dan-ger” or countdown.

The smell of weed became thick when the band started and the sound was deafening. You could fart like a foghorn and no one would be the wiser.

The whole show was surreal. Blinking, blinding white spotlights, the sort of lights that could kill gremlins, were shot into the crowd. Strange images were pro-jected onto a banner behind the stage, images like a couple holding hands over a KFC bucket filled with baby Cthullu popplers. Lead singer Claudio Sanchez sprinted and jumped around the stage like Bruce Dickinson or David Lee Roth. Every time the band

played a hit like “A Favor House Atlantic” or “In Keep-ing Secrets of Silent Earth: 3,” the audience would take over the vocals in a thunderous hundred strong chorus. Coheed earned their encore, leaving the audience screaming, chanting and stomping until the band returned. “You guys are kicking ass,” said Sanchez when the band came back. The encore went on for at least another 20 minutes and left their fans sated. Despite internal strife, lineup changes and moving from a major to an independent label, Coheed and Cambria is showing it hasn’t lost any of its steam.

Whether you prefer the loud and fast finesse of BTBAM or Coheed’s sprawling sci-fi themed post-hardcore, this tour is a lot of fun and shouldn’t be missed by progressive fans.