- June 2nd, 2015
- Write comment
Being an artist of any variety is similar to being a black hole. No one knows whats on the other side, everything around it inevitably gets dragged by it’s gravitational vortex, sometimes people emerge from the experience as if they have lived through hell, and sometimes they emerge in a state of omnipotence. I have been responsible for both.
I owe this metaphor in it’s simplest form to one Nicole Kimberling. She first told it to me at at bar in reference to both of our lives. For the past three months we have worked on three projects together, one of which is currently released the others completed but not yet presented. At this point I am not sure of who pulled who into the others black hole or if we both fell into each others, but of the ending options, I’m willing to bet we will emerge in a universe more beautiful then anything we could imagine when we pass that event horizon.
The past few months have been a beautiful blur of art, connection and communication. It seems like every single day, me and Nicole have taken giant stripes in ambitious projects, an audio book, a book trailer for her company Blind Eye Books, and a music video for my band Urban Fantasy. Two of three of these projects are the work of her brother in law James Kimberling, a gifted Director.
What we have compiled for you here, is a relatively open discussion focusing on our collaborations. We’re going to start with a description of my experience working on the “Cherries worth getting” a novella in a shared world anthology called “The Irregulars” published by Blind Eye Books.
I hope this conversation will give you some insight and some background for the projects you have seen already and the ones you will see in the future. Working with Nicole as a peer has been an honor and I have learned much of being a business man, and artist, and a friend.
Tommy: Narrating an audio book was in some ways a dream come true. As early as I can remember, and long before I could read, I checked out audio books from the Bayliss Library in Sault Ste. Marie Michigan. This was back when cassette tapes were the norm and I would sit in the library while my parents did whatever it is that adults do in libraries (still haven’t figured that one out) and pop that tape in the in-house tape player and rock out on side a. A booming, well-spoken voice cut through some sketchy old headphones, spinning tales of Dragon Riders and Star Wars. On the ride home we would listen to narrative audio books of Louis L’amour, which is where I learned the majority of my colloquialisms.
Originally when Nicole approached me about the audio book, I had already done a demo of the voice narration for her book trailer, which we’ll talk about more later.
I had put on my best Film Noir, hard boiled detective voice, and tried my best to leave my gorgeous midwest accent behind. Although I may have failed at times to truly hide my unruly midwest nature, I believe that both the final audio, recorded by Sleng Teng Recording, and the Irregulars book trailer turned out stunning. This really set the bar for the audio book, and now I had an audible mythology to live up.
I hit the studio, and by studio-I mean a storage closet covered in high density foam and every blanket I own and every one I could borrow-and began the process.
As I plummeted into the world of the Irregulars, Special Agent Keith Curry started to gain a depth and softness that he had not really had before. It wasn’t as if I had embodied his spirit in some bizarre invocation of fictional characters, but it was damn close. Things that hurt him hurt me, and things that brought him cynical joy also brought me joy.
I believe throughout the audio book, as the character develops and unfolds, the characterization audibly does the same. Everyone in my life morphed into a character from the Irregulars. It seemed as though some of the folks in my life really were sexy transmogrified goblins, creatures of the fae, and of course we all know everybody has vampires in their life already, it just made them more apparent.
Nicole: You know, one of the reasons I approached you about this project at all is that in real life you sound and more or less like I imagine the character speaking. (Plus you have those amazing tattoos that looked great in the book trailer.)
Commissioning the narration for my Irregulars novella so that I could make an audio book was a first for me too. I certainly didn’t expect the process to be a long or complicated as it turned out to be. Thinking about it though, reading an audio book is really more like performing a three-to-six hour spoken word piece, isn’t it?
Tommy: I will admit that it took my longer then I anticipated but I feel as though this is fairly normal the first time you do anything. I would love to pursue reading more audio books, and I hope that with some hard work, and a decent reception of my first performance that will be possible.
Most of all I’m thankful for you seeing something in me, and letting my participate collaboratively in a project with her. As a full time worker, musician and artist, I rarely meet people whose work ethic and commitment to excellence put mine to shame, but hers can. The last 3 months have been a whirlwind of art with Nicole and I can’t possibly express how much I’ve learned.
Nicole: You really are a charmer, aren’t you?
Tommy: I have my moments. In my mind part of me really is Keith Curry, so while I have Nicole around, I’d like to whip out my N.I.A.D. shield and say
“Nicole Kimblering, I’d like to ask you a few questions.”
Nicole: I didn’t do nothing, Agent Curry! I swear!
Tommy: What was it like to work on what I assume was your first indie rap video?
Nicole: How did you know it was my first? LOL
Well, the words that immediately come to mind are: fun, agonizing, thrilling, tedious… Making films of any sort is a combination of the intense and vivid alternating with the extreme boredom of constant repetition. This video shoot was, by far, the most complicated one I’ve ever been a part of—managing the logistics of three musicians, seven extras, six locations, several manufactured props and one totally exhausted cameraman.
And, of course, because we are all insane we decided to do a narrative video instead of something that was—you know—easy.
In a narrative video the music aspect changes the whole game. Not only because most of the people in the video will be musicians (rather than actors) but that the whole story of the film has to be largely pantomimed. It also must fit into these specific increments of time. Like if a performer is lip synching the chorus at one minute ten seconds and again when the chorus comes around at two minutes ten seconds those become fixed points that all other story elements must wrap around.
But that’s okay because that’s the point—you have this awesome song that you want to get out into the world and so everything is ultimately secondary to the music, which is as it should be.
A composer friend of mine once told me that musicians are the masters of time. I think I finally understand what he meant by that now.
But I’m only able to be philosophical now that the whole project is complete. While surfing the chaos of the 48 hour shoot I was thinking, “Dear God, if anything goes really wrong I think I’m going to have a stroke.”
Tommy: I feel as though all I did was provide comforting words of reassurance and I did some translations for all the artist involved . We were working with musicians, a videographer, an author/publishing house, a photographer, several local restaurant owners, and a cast of extras, so as you can imagine everyone’s lingo and shop talk differed from medium to medium. Danielle Rose, and Connor Sloan both came down with a pretty wicked cold during the process, so I tried to keep them hydrated, day quilled and happy. It seemed to work, they both had an awesome time despite the sickness and performed very well.
I spent part of the first day with Dawn corralling the children who were on set. They make an adorable cameo in the music video. Believe it or not, I have done this exact same process in even less time, and possibly less well planned, so it wasn’t my first rodeo, but using rodeos as a metaphor, it was pretty much everybody else’s first so I just tried to set a good example by never letting that bull actually buck me off.
Nicole: One of the coolest things about making the Holy Sh!t, Mom video was I actually got to act, which was really fun. I play two parts: a Crazy Fan and an Evil Boss. I thought I did pretty well at both, though the Evil Boss came more naturally to me.
One of the things that impressed me most during this entire shoot—apart from finding out how fast you can text—was when it came time to film you lip synching the rap. We were at the dead-bitter end of the last scene of the last day and you brought the same level of energy and emotion as you had the first minute of the project. And you didn’t make a single mistake. Seriously, how was that possible?
Tommy: Thanks for the compliment, Nicole. Live performance has always been the place I feel most in my element. I love recording, and the process of building an album with themes and sometimes even a concept, but when you put me on stage, or in this case in front of a camera with a crew of artsy rogues all staring directly at me…I guess something magic happens.
Performance is your chance to truly express what you want to say, not just with your words, but with your body language, your facial expressions, grace and countenance, or lack there of. Wether it’s a crowd of forty people of just one guy, they’re there to see what you can do, and I aim to give them something to remember.
Nicole: I think it was really good that we warmed up for the Urban Fantasy Holy Sh!t, Mom, video by making the Irregulars book trailer first.
And speaking of the Irregulars book trailer—how bad did that hotel room where we shot smell, anyway? And how sticky was that bedspread? Gah! I thought I was gonna get ebola.
Tommy: I was truly amazed with the location of the Irregulars trailer. As James said, you can’t create a set like that. It was a stunning dive of a hotel room. Including some blood stain on an electrical socket, a door that had obviously been kicked in, and a bathroom that’s door didn’t close. It was fucking perfect. I don’t think anything could of set the tone for a Noir piece, the way that room did. For a while me and James where left there during a camera/coffee run, and we did start the conversation that led to the music video, but we also had to stand outside for a while, I’m not sure if it was the smell in the room or just the general gloom cast by what I can only assume was years of sad drug induced memories left by previous occupants.
Overall though the room did make me a little concerned about what N.I.A.D. is paying their special agents. Also it made me think that maybe Special Agent Keith Curry could look at hotels without kitchenettes, and just order grilled cheese from a delivery service. But then again, I think he’s probably a little to paranoid to be doing that, and it would always put a delivery guy at the risk of getting hole chewed through him with a mage pistol.
Nicole: We also have to give a huge shout out to the guy who made this whole thing possible James Kimberling. He directed, shot and edited both film projects. He takes gorgeous shots, is innovative and is above all an amazing editor. He’s also lightning-fast.
Tommy: Yeah, really, James Kimberling really did a stellar job with both videos. His sense of humor, and passion kept everything going and fresh. I feel at least on my end of the spectrum, that we proved that ancient war between the tribes of musicians and directors can finally reach some sort of a peace. No more have to die, I say. No more! Seriously though, we had a blast, I’d work with James again in a heart beat, and my whole team feels the same way. So thank you, James Kimberling, from Urban Fantasy, Shepherd Boy Records, Blind Eyes Books, and all of our known cohorts and affiliates.
Neil Gaiman and Amanda Palmer “Heartbreak Hotel” Review
By Raven Terrapin
The magic and historical Tampa Theater is a show in and of itself. It’s winding and immense and features much majestic decor that one is instantly transported away from the normal world. The stage was set for one of this generations most inspiring and quirky couples, Neil Gaiman and Amanda Palmer.
They held the audience in rapt attention for nearly four hours including an intermission that had fans lined up liked shambling cattle trying to grab some swag.
Palmer had played the Tampa Theater with Dresden Dolls and seemed to be in prime form throughout the night performing on an open topped grand piano. Percussive hand strikes, a sense of timing that would make drummers envious.
Gaiman would regale us with chosen poems and stories of loss throughout the evening in his darkly smoky English accent.
From the opening “Making Whoopie,” the couple acted a bit like a Gothic Sunny and Cher, leaving the sold out audience in guffaws. It should also be noted that Palmer has the kind of fierce fans that sing every line of her songs and choke back sobs directly behind my seat.
Gaiman is quite the contrast to the much more animated Palmer, bringing a much needed gravity to an event that lasted about the same time as a typical Springsteen show at just under four hours. Sitting in the old seats in the balcony I am reminded of an early era, when people would travel and pack theaters like this one to hear someone speak. No flashing lights, no drums, no movie screens or special effects. The power of words. The power of the spoken word. Gaiman read poems about heartache and loss, stories about Jinn, tales of statues coming to life and the world coming to an end while you stare at your cell phone.
It was a glorious celebration of broke hearts turned glad through the power of laughter. Palmer broke into giggles trying to read a poem from Sylvia Plath. Gaiman sang us songs about Google. The faeries and sprites and ghosts crowded all the spaces which weren’t occupied by adoring fans.
Props must also be given to set design team, making it look like the performers were in a living rooms decorated by “Oddities”. “Two lava lamps,” Gaiman quipped. Palmer played covers by Robyn Hitchcock, solo material and ended her section of the evening with a encore rousing “Coin Operated Boy,” complete with the robotic-puppet breakdown hook.
Palmer’s lifetime of street performing and theater work helped to anchor the show. Both performers would whisper into each others ears and help to guide the next segment of the evening.
They also shared stories of past Valentine’s disasters.
In the end, it was a magic evening, made of the best kind of magic. The crazy ramshackle not quite planned out balancing on that edge kind, the kind of evening that makes your toes tingle and you suddenly and once again remember that words have the power of worlds. That Gaiman and Palmer are both storytellers of the highest order. They shape the ether of ideas and dreams, tears and monsters, ghostly statues that just may or may not be looking at you. Or not. Or, yes, they are looking at you. The ghosts stand alongside us the audience as we rise from our seats, minds brimming with stories and the hallowed halls of dreaming. The Sandman is waiting.
Love is ramshackle. If it is honest, then real love brings both joy and sorrow. In this age we seek to redefine the context of marriage. All around us is changing so rapidly. Our society flexes and we must also leave room in our own spirit for growth of our definitions of love itself. “Heartbreak Hotel” brought all of this home. One can only hope that Gaiman and Palmer return next Valentine’s day to Tampa for another run at a most unconventional evening. We love them.