Photographer: Elena Vardon

SELF-MADE: Entrepreneurial Photography in the Indie Music Scene

By BD Marie Hughes

Originally submitted to TAMBOURINE Magazine www.TambourineMagazine.ca – February 10.2008

In December of 2007 I met a young, aspiring photographer named Elena Vardon at a photo shoot for Canadian indie rock band Downfall of Romeo. After seeing some of her work, and, curious about her entrepreneurial spirit, I wanted to interview her for Tambourine magazine. Recently, we sat down at The Java House on Queen West at Spadina in downtown Toronto to talk about her craft.

BD/Tambourine Magazine: How did you and DoR get together?

Elena: I actually knew Richard first (Downfall of Romeo’s bassist). We used to work together and kept in touch over time. Then I found out that he’s in a band. So I went out to see some of his shows, and you know, just supporting him. I think their band has a really good energy. I thought the photo shoot was a great opportunity, would be a lot of fun, and would help them out. So I said, “Sure!”

BD/T: What aspects of that collaboration did you enjoy the most?

Elena: It was a lot of fun! The guys were so into it and were so excited about the whole thing. It’s really fun to work with people who are aspiring in their own craft. It was great to see them getting excited about it and listening to their ideas. Where we shot was a really great location. There were a lot of opportunities to set up interesting shots.

BD/T: Would you consider working with those guys again? (laughs)

Elena: For sure! (laughs) They were really nice and easy to work with – a lot of fun! So I don’t see why not! (still laughing)

BD/T: What got you interested in photography?

Elena: As far back as I remember, I have always found photography to be one of the most striking and affecting art forms because it’s real. I have also always been obsessed with documenting life. I could never let a pretty sunset go by without trying to capture it. Some people might say that’s unhealthy but I just always saw it as an immutable part of my personality. I looked for ways to satiate my desire to record the wonderful moments in life. I was lucky that my mom was interested in photography, too, and I could learn from her when I was really young.

BD/T: How did you earn your “ed cred” (educational credentials)?

Elena: Well, I took photography classes in high school because I was curious about the technical aspect of the pursuit. To me, it was a hobby and an art form but I felt limited by my knowledge of camera functions. Eventually, I ended up studying film production at Humber College. There are a lot of similarities in what you learn, so I can apply my learned knowledge to photography.

Actually, I feel that I learned as much out of school as I did in school. Don’t get me wrong. It was very valuable to learn about F-stops and depth of field and so on, but I find that what was most important to me was finally just telling myself not be afraid and going out there on my own and just taking pictures. I was too afraid when I was in college to really use the film cameras and I regret this. But I think having made that mistake made me stronger in the end. Now I don’t let fear get the best of me.

BD: Are you strictly shooting with digital? Any other media?

Elena: I would love to shoot with film again. Right now I’m sticking with digital because my good camera is digital and I’ve gotten so used to it. I haven’t worked with film in years. Working in a dark room, though, is really magical. Also, I love grainy film images and you can’t get those with digital because digital grain is just not the same. Film is so expensive and so finicky. There is something to be said for being able to see your photos playback immediately. So, maybe some day, I’ll use film again. For now I’m sticking to digital.

BD/T: How are you going about drumming up new business? Word of mouth? Referrals? Cyberspace? The dreaded cold calling?? (laughs)

Elena: (laughs) Right now I’d say the internet is a big help because I always know it’s there for me and I can advertise on various websites. The business I’m getting now is mostly through word of mouth. It’s just because I know some people who wanted head shots. I know some people who do music and who are involved in the music industry to kind of practice and have fun with it.

BD/T: What have been some of the challenges as a young, female entrepreneur in this line of work? Does the fact that you’re young, quote unquote, seem to be a barrier? How about the fact that you’re female in a male dominated field?

Elena: As far as age goes, I think it’s true sometimes people don’t take you as seriously when you’re younger. It does sort of help when you’re doing music shoots and you’re sort of in the zone with other young people. Bands trust you and what you’re doing because you’re in the same demographic. It can help you or hurt you – it just depends on what you’re doing.

It’s the same with film. I had a lot of issues with this when I was in school. I found many men didn’t trust the women in the class to do a good job. The women faced a lot more scrutiny than the guys did. It made me more timid than I otherwise would have been. I really do feel that I have to work hard to prove myself especially being a young woman. However, I’m not going to let interfere with my plans. (smiles) I think that the best way to gain respect is through perseverance. I think a lot of women in the photography industry have done just that. I’m really inspired by female photographers like Annie Leibovitz and Diane Arbus. Arbus is fascinating because her husband was a photographer and she learned through him, undiscouraged, even though, in those times, it truly was a man’s profession. Clearly, things are way better now. I can only hope we continue to move toward equality.

BD: What advice would you give to other young women entrepreneurs trying to break into the music scene with their photography?

Elena: I would say that if you hate living a typical life and you dream about succeeding in doing something you know you’re good at, being your own “boss,” so to speak, you can do it. I have always been creative, but when I was younger, I was so unmotivated and easily scared off. Now, I’ve realized that I only live once and I don’t want to waste what I am good at or what I love doing. So, I just started doing what I wanted to do and now I feel freer than ever before.

REFS/Sources:

www.ElenaVardon.com

Downfall of Romeo

ROCKED: Downfall of Romeo

By BD Marie Hughes

Originally submitted to TAMBOURINE Magazine www.TambourineMagazine.ca – 2008

January 11.2008

At the end of January, I met with the gifted Downfall of Romeo at Sushi on Bloor for what turned out to be a more than entertaining interview.

Tambourine (“T”): Nice to see you again! (Dave – Vocals, Trip – Bass, Furl - Keys and Andre – Guitar). Happy New Year!

Furl: (drops his chop sticks) Yeah, for sure! Happy New Year to you, too!

Dave: Thanks for seeing us again!

T: So what’s up with you guys for 2008?

Trip: We’ve certainly been busy and getting really hyped about this year. We’re working on re-branding the band and getting a fresh start with some new music while we take the band to the next level.

Dave: It’s been a little tough for us, as it is with any other band, but we’re working hard behind the scenes to deliver a better “Downfall of Romeo” to our fans in 2008.

T: That’s awesome! When you say things like “re-branding” and “delivering a better DoR”, I have to ask if you see your music as a business or an art? Can your music still be an art if you sign to a major label? I mean, some would say your music becomes a business when you’re preparing business plans, press releases and so on. How do you view the record label scene? What do you do on your own terms? What do you describe as a “sell out”? Well, shiiit, if that’s not a loaded question! (everyone laughs) Hit me with it!

Furl: I think it’s important for any band to treat themselves like a business. No matter if you’re a garage band or a pro studio band – you need to take your craft seriously and include a lot of thought and hard work to be able to reap the benefits of it.

Trip: Running a band like a business doesn’t have to be a tiresome thing. It’s just a matter of making a plan for the band to follow from A to Z. It’s still just as fun playing gigs for your friends, but it feels even better when you manage to reel in new fans each time you play, extending your reach.

Dave: I think every band, whether they’re starting out in their parent’s basement or have been in the game a long time, playing great venues, dreams of hitting it big. Signing to a huge record label could definitely have it’s drawbacks but then again, they have their advantages, too. I think if an artist asks questions and understands what the music industry is all about then he’ll stay out of situations where he’ll lose his musical integrity.

Furl: Doing things on our own terms means having control of what we create. Right now we are bound by no one and no guidelines. We wear what we want, express our thoughts the way we want and drink when we want. (laughs) We have complete control right now so why not take advantage.

Andre: I think a “sell out” is someone who allows others to think for them and doesn’t possess a voice of their own. A “sell out” is someone that simply goes with the flow because it’s a lot easier than putting up a fight for what they believe in.

T: What is your view of music and the internet? Promotional tool? A tool to produce music? Retail? Catch 22? (laughs)

Dave: Music and the internet, wow, that’s a good one. I definitely think it’s a great tool to promote your music. The problem that arose early on was that there were tons of illegal downloads. I think right now people are getting sick of searching for a song that doesn’t cut out half way through it, or that has the DJ from the radio station in the middle of the song with a deep voice saying “Ro- Ro- Ro- Rock Radio 88.6 FM”. (laughs) Overall, I think that it’s a great tool and things are only going to get better. It’s given bands more creative ways to get noticed.

T: What about radio play?

Andre: Radio play has been good to Canadian artists over the last several years. They’re pushing more Canadian content on the airwaves and I think it’s awesome. It has become much easier for a band to make an impact. Even the term “radio play” has changed because it doesn’t just mean standard FM radio. There’s satellite and internet radio now, too, which are other avenues bands can use to reach an audience.

T: We’ve talked before, in other interviews, about how you go about writing your music. What’s key for me, as a fan of your music, is that you write about things that are relevant. Has your approach to songwriting changed or varied in any way as DoR has evolved? What makes DoR’s music so relevant? Do you feel you are able to say everything you want to say with your music?

Dave: Our method to songwriting remains the same. They key is not to cage what you’re trying to say. Let it out on paper and it will take it’s own form when you incorporate it with music or vise versa.

Furl: If there is one thing that’s changed it’s that the process of music writing for us is getting easier and more fluid. The better we get to know each other and the more we jam together, it helps stir the creativity and productivity. It’s important to have musicians that “click”.

T: Where in Downfall of Romeo do you feel you take chances?

Furl: The dynamics of our music is where I think we take the most chances. We’ll take a fast beat and break it down half time in a chorus or a bridge. New sounds could also break the mold. A certain sound on the keyboard, for example, may sound like crap by itself but, in the right song, it paints a picture. Wow, that sounds deep. (laughs)

Trip: Variety is another risk for us. We’re trying to make it in an industry that’s already loaded with lots of talented rock musicians. We’re doing our best to balance great rock licks with modern flare.

T: What personality characteristics do each of you contribute to DoR?

Dave: I have to admit that we share a lot of positivity together – which is key for staying together and moving forward as a band. Through our many hardships, and I mean many, there’s always been at least one of us who managed to keep our chins up.

Trip: (laughs) So many times Dave would call me late at night and start complaining about something that just wasn’t going our way. Then I’d figuratively slap him in the face and keep him looking towards the future. And, of course, vice-versa…

Dave: The difference is I kick him in the crotch. (laughs)

Furl: And a sense of humour is another characteristic.

T: You’ve had a few line up changes with your killer drummer, Matt, moving on to other career opportunities, and with Andre looking to phase out due to work and family commitments. How are you dealing with the changes?

Dave: It’s not easy that’s for sure. But like we said, we use each other to lean on. The one thing to remember is that every band out there deals with the bullshit of being in a band. You can’t escape it. Priorities change and people can grow out of being excited about playing music. Once you lose that, you lose everything. One thing we haven’t done is settle for less. We look for experienced musicians that have the same goals as us – someone who speaks the same language as us musically.

T: Toronto is a big city with a musician or band per city block (grins). What’s your take on the Toronto music scene?

Furl: I’m glad to see that there is such a huge diversity of music out there. You won’t get bored with the same old thing. You’ll hear new wave, rock, punk, ska, reggae. It’s great to have that in this city.

Trip: One thing I’ve noticed is that Toronto is a hub for musicians nationally. We’ve had people audition for the band who had recently moved from Ottawa or even as far as Calgary. It’s great to know that Toronto can be called “home” to music.

T: How do you define “success”? Do you need a major label deal to be successful – you know, that achieving quote unquote “fame” needs financial backing? Or can you be successful artists all on your own?

Trip: I think success can be seen as a matter of perspective. My personal definition of success is playing a live show and having everyone in the crowd dancing and singing along. When the crowd moves, I know I’ve done my job well.

Andre: Success is also more about your ongoing achievements. Each time you take your music a step up, you get one more fan into you, you play one more venue. That’s what success is all about.

Dave: Playing for as long as we have, we’ve realized that the dream of hitting it big is not always the meaning of success. Due to our struggles we’ve encountered, we understood that the meaning of success was just to be up there and play. At one time we definitely missed it. In the end, that’s all we want to do – Play.

Refs:

www.myspace.com/DownfallofRomeo

Photographer credit: Elena Vardon

Jen Militia

ROCKED: On The Road with JEN MILITIA
By BD Marie Hughes

Orginally submitted to TAMBOURINE Magazine www.TambourineMagazine.ca – APRIL 2008

JEN MILITIA
Mike Dainjah – Vocals, E-von – vocals (not on current tour)
Kyle Nova – bass, GP – noize & synth
Seamus Carling – guitar, Stevie OK – drums (out – not on the call),
Holla – vocals

The call – catch up with the band Jen Militia, touring western Canada, laid over in Edmonton, AB, for a kickass interview. Not one to turn down an intriguing adventure…..

Rock/soul/hip hop band Jen Militia calls Kitchener/Waterloo home although Mike Dainjah enthusiastically shouts out, “Berlin!” when asked. Together for 4 years, they’ve received major play on EDGE 102.1, 91.5 The Beat (Kitchener), Y108 – Hamilton, and Live 88.5 – Ottawa, to name but a few.

BD/Tambourine: Nice to catch up with you again, Mike! Gentlemen – whoever is awake! (It’s 12 noon Toronto time, 10 am Edmonton time.) Happy New Year! Jen Militia has been really active since the new year. Let’s keep it simple to start – what are the highlights? And while you’re at it, gimme the lowlights… (laughing)

Mike: We have a new guitar player – Seamus Carling! He’s been with us since early December, so that’s new. Many lowlights! (laughing) A LOT of great shows! Kimberley, BC was great! New Year’s we played with Sweat Shop Union, a hip hop band out of Vancouver. Pandemonium! Chaos! A lot of fun!

T: You describe your music as “rock/soul/hip hop” – it’s an interesting mix. As a fan, all I know is that you sound very original, I’m a slave to “Commie Kid Shuffle”, and have met many a deadline on, “This is Not a Test”. (laughing)

Seamus: Rock/soul/hip hop – it’s all the same to us! I find it funny that people can’t grasp their heads around that concept!

T: Do you have any strategies for radio play? How tough is it to get? Do you see radio play equating to sales or factoring into Jen Militia at all? Where is your focus?

Mike: Radio play is nice. It hits the most people in the shortest amount of time. We’re lucky that we have songs that are “radio ready”. We don’t write for radio. It’s great, you know? It means more people are coming to the shows. It means more people are interested in what we’re doing and checking out our website.

T: What was it like when you heard yourself for the first time on the radio?

Holla: Our songs get played just randomly. When I heard our music on the radio for the first time – I got pumped up. It was a great sound!

T: How do you find booking gigs in Toronto? I mean, it’s a big city and there are more choices for music appreciation – it seems you’re immensely popular here in Toronto yet also have a ton of fans outside of the city, including across the country as your recent touring attests. How would you explain the draw?

Holla: Shit, Toronto is the hardest town to play in. (laughter erupts)

GP: Toronto has twice as many bands than people in the city…..

Mike: It’s a big city. You can’t hate on everyone and every thing. We have great fans in Toronto that come out and support us. Some places are better. In Toronto, we gotta deal with promoters that don’t always have your best interests at heart, other bands that think they’re amazing and aren’t. It’s the select clubs when we play Toronto. When the situation is right, and it’s close to us – nowhere in the country is it like that (in appreciating tone). People are a little less pretentious and more into it for the fun of it rather than the fashion of it. Jen Militia will take fun over fashion any day.

T: Let’s talk about Jen Militia’s songwriting. Do you feel you are testing boundaries with your music? (Interviewer attempts to “get serious” – this question is a tough answer to pull from them.)

Over the phone: (a lot of anonymous rumbling, there is a long pause)…..

T: Are you still there? Hello? (starting to laugh) Look it, I only do first class! I don’t want to ask you the cheap questions like, (high pitched & mockingly) “What are your music influences?” and “What’s your favourite fucking colour?” ok?? (Too late. Everyone is laughing. Again.)

Mike: Jen Militia is about testing the boundaries of how many girls can get on the dance floor! Songwriting includes a Berlin or Hamilton bar – alcohol is involved, and as many ladies as possible. The moment of clarity will sneak up on us, we write it down, and, next rehearsal, we set it to music. That’s the Jen Militia engineering process – alcohol and girls are involved. (laughing)

T: What happens when you’re just jamming? Any creative gems come of it? Do you end up finding your “true place” in that kind of process?

Kyle: Yes, even when we’re sober. (deadpan) (Then everyone laughs.)

Mike: It’s instant mingling of musical vibes. We don’t plan anything. We get together, you know, book some time, get into the bat cave, turn the power on and communicate. On tour, we spend most of our time waiting. Waiting to play. Waiting to go on stage. Waiting to get there. Waiting to get to the next gig. We spend our time intermingling with everybody, we laugh, we joke and have a great time together. When we get in a room to jam, it’s the same thing (as songwriting sessions) instead we do it with instruments. We communicate with instruments.

T: What would you say are the elements or combination of elements in your music that allow you to really “bring it” when you’re performing? What “ups” the adrenalin factor on stage?

Mike: Girls, girls, girls – and booze! (everyone laughs) Generally when we see people shouting and carrying on and having a good time like us, we have a great time. We have a better time than most people watchin’ us. It’s like when a preacher delivers a real nice sermon. The choir is singing just perfectly. It’s about movement and power. At a Jen Militia show, it’s the same thing. Like Jesus said, you’re sowing seeds. Some are sown on thorny ground, some fall on rocks. Some fall on fertile ground and it will be nourished by the beauty of music and it will grow strong.

Mike continues: That’s when people are feelin’ what we’re dealin’, and sweatin’ and yellin’ and boyfriends are getting jealous – the match is struck and the hand grenade pin is pulled.

T: Congrats on your win for “Best Urban” at the TIMAs this past October. What was that experience like? Did you garner more industry attention and fan appreciation as a result of that? I’m pretty confident for you on the fan side. (smiles)

Mike: There’s no “twinkle in the eye” (with that experience). There were ladies with drinks and we raided all the Jagermeister swag. It’s great to get recognized. Really, we’re doing what we’re doing before and now doing it after (the TIMA awards). Now when they see it, they take notice. Like a sign post. You’re walking, walking, walking and suddenly the sign post tells you you’ve gone this far, you’ve got this further to go, and you’re going in the right direction.

T: Using 3 words, what makes Jen Militia worth the price of admission to see live? Hype it up for Tambourine’s readership, ok, because you already know I’m showing up!

(There’s a long pause and then everyone on the other end of the phone starts to laugh. Then the interviewer laughs.)

Mike: We’re chargin’ $57.95, and, with your friend, you get in for $40! You’re taxing Kyle’s brain too much! I like the word “pandemonium”. Pandemonium!

Holla: Ass shakin’ rock!

Kyle: Come see our shit, buy our shit, see Jen Militia!

Mike: As I said, Seamus has been with us for a bit now. He’s got some great stuff. We intend to give him a chance to shine.

REFS/Sources:
www.myspace.com/JenMilitia
www.JenMlitia.com
www.TorontoIMA.com

Lyrics 123 - The Door

The Door

BD Marie Hughes, Dec.2008

At 2 a.m. there's no greater fear
From a stranger told
Your final destiny is near
A cold steel-back chair
Thrown through the glass
Blowin' out your past
Then you see
The door

No small mercies
Cloud your recalled memories
Strangers' hands guiding you through
The door

Night turns to day-faded stars
You dread the long corridor
When a victim you can't recall
A life lived of
Epic proportions and massive distortions
Grand finale outside the door

No small mercies
Cloud your recalled memories
Strangers' hands guiding you through
The door

It's inconceivable
Defies the lie you lived
Strangers' hands to you they give
And you go on
And you go on
And you go on
Thrown through the glass
Blowin' out your past
Goin' on through
Destiny's door

No small mercies
Cloud your recalled memories
Strangers' hands guiding you through
The door

Those lies became your soul
Those lies became your strength
Those strangers erased the dishonesty
And raging agony
Thrown through the glass
Blowin' out your past
Guiding you through
The door

And you go on
And you go on
And you go on
No small mercies
Cloud your recalled memories
Strangers' hands guiding you through
Steel chairs destroyed
And cold broken glass
You made it through
The door

Welcome to Three Quarters of the Truth!!

Welcome to Three Quarters of the Truth!! This online magazine hosts articles & interviews with independent artists, musicians and bands in Toronto, the GTA, and beyond! Your input and feedback is welcome! Sincerely, BD