Minskyrone, un talent à découvrir

Minskyrone, un talent à découvrir Durant ce mois de décembre, la scène du Mozika Vaovao (au CCAC) a fait découvrir encore une fois un talent sûr du rap au pays. En effet, Minskyrone, même si le gamin rappe en français, a convaincu plus d’un, surtout les grands noms du Rapy Gasy. Voici donc un petit entretien qu’on a fait juste avant qu’il monte en scène.

Minskyrone, est-ce que tu peux nous raconter un peu tes débuts ?
J’aimerai dire que je suis ici depuis 98, et puis j’étais dans un groupe avec un vieux poto et le gars il est plus ici à Madagascar. C’était un groupe de deux gars qui rappaient en français et à l’époque c’était encore du rap de chambre quoi, c’est à dire studio puis maison et c’est tout. Et puis on avait un autre groupe avec des gars qui bossaient avec nous, on bossait ensemble quoi, on aimait le rap et on a fait un groupe. On était huit gars dont j’étais le seul à raper en français.
A l’origine tu vois, je savais pas parler malgache, j’ai essayé de raper gachemal mais c’était comique donc j’ai continué à raper en français. Après notre groupe, SLK, je sais pas si tu connais, a participé à des trucs genre rapline et tout et on a eu le premier prix déjà.
J’ai entamé une carrière solo de puis 2003, 2003-04. a l’origine tu vois j’ai fait juste des morceaux comme ça, donc c’était toujours studio-maison … et puis en 2005, il y avait Toky qui passait à la maison et je l’ai fait écouter mes sons et c’était lui le premier qui a envoyé mes sons à la radio (rire). Depuis ce jour, je ne sais pas comment ça s’est fait mais plein de gens avaient mes sons à la radio. Et je me suis dit que je fais des bons sons quand même et on m’a demandé de sortir mes sons …j’ai commencé à écrire mon album en fin 2005 et je suis encore là (rire) et là je fais Mozika Vaovao.

On a remarqué que dans tes titres il y avait des featuring avec X-tah, Karnazy, Taga. Pourquoi ce choix ?
Pourquoi ce choix, parce que c’est tous des gens quand j’étais gamin tu vois par rapport à eux, c’était tous des gens que j’écoutais quand j’étais jeune et que je kiffais. Et puis je me suis dit qu’un jour si je sors mon album il y aura eux.

Qui fait tes instruments et c’est quoi ton genre de rap, tu aimes le hardcore, la bounce … ?
Je sais pas le genre mais j’ai jamais touché au bounce par contre. Je sais pas le genre mais je reste basique rap et puis ça dépend du thème, de l’humeur. C’est moi qui fait les instrus d’habitude et de temps en temps je tape avec un gars qui ne me quitte jamais, NayG (désolé pour le nom s’il y a une faute), et puis la majorité c’était à Valimad avec Andry et beaucoup de gars. On voulait faire quelque chose hors que … hors que d’habitude (rire).

T’as parlé là de ton premier album, je ne sais pas quand il va sortir mais y aura-il d’autres featurings ?
L’album, je te cite déjà qui sont les guests dans mon album, il y a Taga, il y a Karnazy … il y a X-tah, Fy aussi. Et puis il y aura d’autres gens mais en interlude.
Ben, déjà y aura Tolo et d’autres, je préfère pas encore te le dire tu vois (rire).

Ça va sortir quand et c’est quoi le titre ?
C’est quand que ça va sortir … je peux pas te répondre tu vois car je suis pas un gars riche. Je ne suis pas kamikaze, ne sors pas un truc si voilà … je prévois un truc alors que je ne sais même pas si c’est vendable tu vois. J’attends qu’il y ait des gens qui demandent et si je sens que ça mérite de sortir ben ça sortira sinon je le garderai pour moi et mes potes.

Est-ce que tu projettes de faire des clips et tout ça ?
Ouai, c’est tout à fait un projet là en ce moment. Je vais pas en faire un seul ou deux mais c’est que je vais m’y mettre, je vais en faire plein. Et puis quand ce sera le moment ben ça va passer à la télé.

Combien de titres à peu près composeront ton album ?
Normalement il y aura 20 titres.

Tu parles de quoi généralement dans tes morceaux ?
Tu vois comme disait booba, certains parlent d’amour mais moi je parle de ce que je connais et je suis de son avis tu vois. L’amour euh … franchement je sais pas trop tu vois … mais jusqu’à maintenant je parle de ce qui me touche personnellement. Mais dans l’album je parle de la vie de tous les jours d’un … comment on va dire ça … d’un petit banlieusard quoi.

Le titre de l’album ?
… le titre de l’album c’est ” Lexique du bitume “.

j’ai entendu dire que durant le Mozika Vaovao tu vas tout faire en acoustique ?tout ?
euh non pas tout mais j’ai entendu qu’il va y avoir des sons acoustiques.
On va pas dire tout mais il y aura des sons faits à l’ancienne tu vois, basés sur des samplings … l’acoustique c’est aussi de l’expérimental alors on ne sais pas si ça va marcher ou pas, il y aura trois ou quatre sons qu’on va faire en acoustique.

Tes derniers mots ?
C’est surtout un truc que je voudrais dire … pour les générations surtout quoi, faites les choses bien.

Mozika vaovao 2006

greeeen kiseki(wish),ai uta(Love song)lyrics

Lyrics

nee, daisuki na kimi he’ warawa naide kiite kure
aishiteru’ danante kusai kedone
Dakedo kono kotoba igai tsutaeru koto ga dekinai
Hora ne! mata baka nishite waratta yone

Kimi no eran da (michi) wa (koko) de yokatta no ka
Nante wakaranai kedo…

Tada nai te waratte sugosu hibi ni
Tonari ni tatte yureru koto de
Boku ga ikiru imi ni natte
Kimi ni sasagu kono ai no uta

‘nee, ano hi no bokura nanno hanashi wo shiteta?’
Hajimete atta nichi ni yosoyososhiku
Arekara iroiro atte toki ni wa kenka mo shite
Wakari autameno toki sugo shitane

Kono hiroi bokura sora no shita deatte koi woshite itsumademo

Tada nai te waratte sugo su hibi ni
Tonari ni tatte yureru koto de
Kimi to iki ru imi ni natte
Kimi ni sasagu kono ai no uta

Itsumo meiwaku wokakete gomenne
Mitsudo koi ji

Kiseki lyrics

ashita, kyou yori mo suki ni nareru afureru omoi ga tomaranai
ima mo konna ni suki de iru no ni kotoba ni dekinai

kimi no kureta hibi ga tsumikasanari sugisatta hibi futari aruita “kiseki”
bokura no deai ga moshi guuzen naraba? unmei naraba?
kimi ni meguri aeta sore tte “kiseki”

futari yorisotte aruite towa no ai wo katachi ni shite
itsumademo kimi no yoko de waratte itakute
ARIGATOU ya Ah aishiteru ja mada tarinai kedo
semete iwasete “shiawase desu” to

itsumo kimi no migi no te no hira wo tada boku no hidari no te no hira ga
sotto tsutsundeku soredake de tada ai wo kanjiteita

hibi no naka de chiisana shiawase mitsuke kasane yukkuri aruita “kiseki”
bokura no deai wa ookina sekai de chiisana dekigoto
meguri aeta sore tte “kiseki”

umaku ikanai hi datte futari de ireba

Lieberman Says Obama Must Get Tougher on Iran

Senator Joe Lieberman (ID-CT) said yesterday that the “Obama administration needs to get tougher on Iran if it wants to broker peace in the Middle East,” The Hill reports.

"The original Obama administration position seemed to suggest the biggest obstacle to peace in the Middle East was the Israeli policy of building on territory [believed to be Palestinian]," Lieberman told MSNBC. "The real threat to peace in the Middle East is Iran."

"If you look at our policy, which is a global policy, to stop the Iranians from building nuclear weapons, everything we have done thus far has failed," Lieberman added, noting that he was preparing a bill that would levy new economic sanctions on the country. "I think the only way we’re going to stop this development… is for us to make it clear to the Iranians that if they don’t stop, they’ll suffer."

An Interview with Mathieu Santos of Ra Ra Riot

Ra Ra Riot: from the left, Ali Lawn, Mathieu Santos, Wes Miles, Milo Bonacci and Beck Zeller. Photo by Alanna Romeo

On Wednesday, July 29, I had the pleasure of talking with Ra Ra Riot bassist Mathieu Santos. We discussed the band’s role in New York City’s All Points West Festival (a muddy orgy of rock, hippies and sewage) as well as RRR’s plans for a follow-up album to their debut: The Rhumb Line.

If you haven’t listened to this to band, do so immediately. It sounds like they’re putting in the hours necessary to make a great follow-up album.

1)      Can you explain the basic differences between doing a festival as opposed to your own show?

Festivals are just about mass exposure. You go in with the idea that people aren’t familiar with your songs, and you just want to convert as many fans as possible. Nothing really compares to the club show or your own headlining tours.

2)      What’s strange about concert advertisements is the difference between the so-called headliners, and other acts.  Headliners get the gigantic lettering and other acts simply don’t.  Who decides the pecking order for these shows? And does that put less or more pressure on your band?

It’s kind of interesting to see how a band’s credibility is determined by a font size.  A lot of different factors and a lot of people are working at this: album sales, chart positions, sometimes a band just shoots up out of nowhere. All that stuff.  Being lower on the bill never bothered us.  It’s all a part of a long uphill battle. We wanted to take the longer, more steady, very calculated approach.  So far it’s working out.

3)      Festivals, I’ve found, can offer extreme audiences: they either love you or hate you and let you know it.  Is RRR changing anything up for the festival, or would that be counter-productive?

The thought is to just keep your head down and focus on performing well  But our performances are more inhibited than during a club show, and the stages are usually really big, which can throw you off a bit.

It’s also hard when you’re performing in the daytime because you can clearly see that there are just hundreds of people walking around and they’re either going to check you out or completely ignore you. So, it gets a little competitive when you know there are other bands performing at the same time as you, and you’re just trying to get a crowd forming.

5)      Which bands are you going to check out?

Vampire Weekend and the Fleetboxes.  Wes and I saw them perform on SNL. They were just so, so tight, so passionate.

It was exciting to see that the  Yeah, Yeah, Yeahs are performing the day we’re playing. I was also pretty excited when our manager told us that was the Jay-Z was the new headliner.

6)      What I think is truly interesting about RRR are your arrangements.  Some songs are cello driven, others guitar based, one even revolved around a synthesizer.  Would you mind explaining RRR’s recording process?

It’s a really fun process, it’s also a very long process since there’s a lot of giving and taking, but you have to be aware and compromising enough to not only write your own part but recognize when an instrument should take the lead.

7)      Is RRR currently working on a new album?

Yeah, actually we’re doing APW then a festival in Boston , then we’re heading to upstate NY in our homeland and staying on a peach orchard where we’ll start working on the next album. We’ve been looking forward to it for over a year.

On [The Rhumb Line] we just recorded every song we knew, there wasn’t any true direction. But this time around we’ve been touring so much that everyone’s been writing on their own, so we have a ton of demos. As far as the direction, I guess it sort of remains to be determined. But everyone’s been getting into some new influences. I thinks we’re going to experiment with more instrument space. Milo’s been playing a lot less guitar and his ideas are more synth based this time around.

To read all of Matt Thomas’s published works, visit his homepage at: www.thevillagetotheleft.net

Free Thinking - Fighting Capitalism from Within

Posted by Cila Warncke

I just finished Peter Chapman’s excellent expose Jungle Capitalists about ruthless banana baron United Fruit Corporation which ran Central America as its private fiefdom for most of a century – casually killing off unruly workers, uncooperative heads of state, uncharted jungle and anything else that got in its way. It got me thinking about the antidote to brute free market economics. Given that we live in an anxiety-riddled, security obsessed, paranoid late-capitalist society there are limited alternatives. You can’t drop out and live off the land anymore unless you’re rich enough to buy the land in the first place, and our high-tech culture makes it difficult to live a private life. It isn’t easy to shape your own existence, given the physical, legal and ideological constraints on personal freedom. There are people, however, who take on the challenge and look for creative ways to address the ever-present imperative to pay the rent while doing something that is personally meaningful and socially beneficial. These unsung freedom fighters fuck with the system by surviving within it while doing what they want to do – and by using their skills in constructive, cooperative ways. In a perfect world, it’s what everyone would do.

This is the first instalment of what I hope will become a long series of blogs profiling individuals and businesses that operate outside the prevailing paradigm. First up, Algo Mas – a 100% Fair Trade shop in Ibiza.

Thursday evening in the tiny village of Sant Miquel and the plaza below the Iglesia is full of children, music and the scent of home baking. On the corner, door and sky-blue shutters flung open, sits Algo Mas. This small Fair Trade shop has just celebrated its second anniversary and judging by the stream of locals who stop to say hello, it is firmly cemented in the community. Italian expats Valeria Cova and Aurietta Sala run the shop, along with Blanca Llosent. Aurietta and Valeria are Italian, but have each lived in Ibiza for more than 30 years and have fond memories of the days when visiting friends meant half a day’s walk through the countryside and dinner by candlelight. They are not hippie dilettantes, however, or airy fairy idealists. Algo Mas is the product of hard work, common sense and a firm commitment to the principles of Fair Trade. Click here to continue reading

Interview: Sonya Cotton

Sonya Cotton plays folk music with a delicacy and poise that perfectly complements her indelible singing voice. The songs on her second album Red River float along, as if bobbing along the titular waterway. But they are also weighed down with a sorrowful spirit, one exemplified most strongly by the album’s striking cover art. Cotton sounds at once joyous to be alive but horrified at what is happening the world around her. Much of this comes directly from the singer-songwriter’s life, as many songs on the album were inspired by watching her relationship and those of some close friends end. She speaks to it directly but also uses metaphor to also speak to the disintegrating relationship that humans have with nature. It’s an album you don’t walk away from easily, but the best records tend to have that effect on listeners. Cotton spoke with The Voice of Energy about her creative spirit, the inspirations behind the album, and her efforts to help positively impact the environment.

You started off studying visual arts, when did you become interested in writing and performing music? Or has this always be an interest of yours?

Growing up, my family often took trips to New York City to see Broadway musicals and dance performances and concerts. From a young age I was taken with the whole concept of stage performance. I loved the energy and the immediacy of it. I loved the exchange between the performers and the audience. Watching people express themselves creatively in that way really resonated in me. I remember sitting on the edge of my seat during Les Miserables, wishing so intensely that I was on stage too. So my intrigue with performance started young, and I pursued musical theater and dance through grade school and high school, and a little bit in college. But getting on stage and performing my own personal compositions, sharing my own words and melodies, I didn’t start exploring that until college. That sort of performance, for me, was (and still is) much more terrifying in a way, because I am putting my truest self out there, as opposed to a character or an interpreter of someone else’s work. But it also has the potential to be deeply rewarding.
What is the songwriting process like for you and your band? Does it start with you bringing a song or an idea to the rest of the group or do you all work together on each and every thing?
Every song on Red River is extremely personal, the inspiration drawn directly from my life or my dreams. So far my songwriting process has been very consistent: something moves me, and I write down some words about it. Then I pick up my guitar or ukulele and start to sing along with these words I’ve written. Once a song is effectively finished, I bring it to my band.  Sometimes I’ll have harmonies or specific parts written when I approach the band with a new song, but more often everyone in the band brings their own ideas for their parts and I either say “Yes!” or “Let’s work on that together.”

What inspires you to start writing a song? Do you hear a melody in your head that you grasp on to or do you start with a lyrical or visual idea?

Often times it has been a feeling of sadness or despair that initially causes me to reach for a pen to start writing. In the process of writing I find solace, which is a really meaningful process for me. I find solace, I think, because there is something inherently hopeful about the act of creating, especially if that creation is in some way beautiful (a subjective term, of course). I aim to write songs that are beautiful, I think, because that is most comforting to my soul. I rarely, if ever, begin writing a song with a melodic idea. That always comes second to the emotion or idea expressed in words.

The cover of your new album is very striking. Was this taken when you actually came across a dead deer in the woods?

On the inside cover of my album, I’ve included a statement, because I think it’s vital that people understand why I chose to put this photo on the cover. I’d like to share it here:

The deer in the cover photograph was found dead by the roadside. I grew up in the suburbs of NJ and through the course of my life I have become accustomed to the sight of dead animals along the road. At times I have tuned it out or looked away. At times — when I’ve felt in touch with my truest, most connected self – it has affected me profoundly. When I began writing this collection of songs, several of the most important and defining relationships around me, as well as my own romantic relationship, were dissolving. I witnessed and felt a great deal of conflict, betrayal, and destruction, some of it perpetrated by me, and some by the people around me that I love. I dreamt frequently of the wreckage. It was embodied in the form of a dead deer, its body maimed and bloodied. Thus, the dead deer became a personal symbol of the painful aftermath of destructive behaviors. But for me the dead deer by the roadside has meaning that far transcends the symbolic. It is a wild creature for whom I feel deep respect and reverence, whose life was ended unjustly, and in violence. Throughout these songs, I aim to create a space of reflection and appreciation for what is wild and free, to confront and to question our propensity to destroy the things we care for, to mourn these losses, and to celebrate the hope that remains.
What brought about your interest in environmental issues?

A combination of nature and nurture, I think.  Finding profound meaning and value in the natural world feels like an inherent part of me, a part of my heart, in the same way that my love for my family feels like a part of my heart. I don’t think anyone taught me to feel soulfully connected to animals and forests and rivers, I think that’s just in me somewhere.  On the other hand, I have also seen a great deal of concern and care regarding environmental and animal welfare issues modeled for me by the most important person in my life: my mother.  She was an environmentalist and an animal welfare advocate (some of the groups she worked for included: The International Fund for Animal Welfare, The Audubon Society, and most recently The American Bird Conservancy). Her work has always been very inspiring to me.

What can you tell me about your involvement with Shake Your Peace?

I sing harmonies in SYP!, an activist band led by my band-mate Gabe Dominguez. I’m on my way to being the rhythm guitar player as well. We’d like to restructure the band so that Gabe plays fiddle and I play guitar, but we both need some more practice before we’re ready for that. I’ve gone on three tours with Shake Your Peace! One bicycle tour in Utah, and two walking tours down the California coast.

The Shake Your Peace site lists one of your additions to the music as “tap dancing” – when did you start tapping?

I started tapping when I was in second grade. I’ve always loved to dance. Someday I’ll write an album of songs people can dance to.

Your site says that you plan on touring the northeast by train and foot – will you continue to tour like this?

That is my plan, and my hope. Train travel is pretty expensive these days, so I’m not sure how we’re going to afford it all, but I’m going to apply for some grant money soon, and we’ll do everything we can to make it happen. It feels like a meaningful statement, as well as a much more pleasant way of moving through the world. Hopefully more people will be turning to public transportation in the coming years, so prices (as well as emissions) will decrease.  We had a train tour scheduled for this month, from Seattle to San Francisco, but unfortunately we’ve had to cancel it.  (We are currently re-scheduling it.) It was heartbreaking, we worked so hard to book it, and it would have been our first train tour as a band. I think the only thing that could have possibly caused that tour to be canceled was a life-threatening medical emergency, and that’s exactly what happened to me two weeks ago.  Crazy. But I am almost all recovered now, and soon it will happen. Next on the list will be the northeast.

Creator Spotlight: Erica Hesse

This week, 100% Super Show Approved got a chance to sit down with ‘The Key’ creator, pin-up artist extraordinaire, Erica Hesse for a little Q&A.

 Hey Erica, let’s take a page out of the Comic Geek Speak interview book… what was the first comic book you ever bought?

I think the very first comic book I ever bought for myself was an Archie comic. I can’t remember the exact issue, or even what the title was.  But I do know I used to go to a news agency every week. I would check out and buy the latest Archie comics.  I used to have stacks and stacks of them, in digest format.  I think most of the ones I was drawn to were about Betty and Veronica.

 

 What about comics do you find most appealing?What I find most appealing about comics is the art. The way the art is drawn in the comic is very important, color and  the overall mood of a comic,  too. I like when a story takes its time being told, gets me so lost in the story, (so much so) that I’m not even aware of what’s going on around me. If I’m in my own little world when I read a comic, then the comic has done its job (laughs).  That’s what I find most appealing about comics, the art. The art has to draw me in first before I can delve in. The story always comes second. It could be the greatest story every told, but if the art doesn’t appeal to me first in the slightest bit, I won’t read it.

What is your favorite comic series, past or present?  

It’s hard to pinpoint one series, so I will pick Joe Linsner’s “Lucifer’s Halo”. This comic series tested my openness in subject matter when it came to comics. I would always avoid comics that touched on religion.

I didn’t pick it up at first, but the comic kept crossing my path from time to time. So one of those times, I figured what the heck; I’ll give it a read. The comic is about Heaven, Hell and what falls in between. It sounds so cookie cutter when I describe it, but it’s far from that. For me it was an entertaining and thought provoking read. The art on the comic covers were what attracted me at first, and the interior art really drew me in. I found this series during a time when I was getting back into comics, so this is probably one of the reasons it sticks in my head to this day. Now when I think about it, it was really silly of me to think that I was avoiding all these great comics on what I thought comics should be written about.  In a way, this comic helped me to not fear my own ideas when it came to developing my own comics.

How long have you been drawing and who/what was your main inspiration for picking up the pencil?

There are actually two answers to this question. I’ve been drawing since I was a kid. I can’t remember how young I was, but I do remember doing a kick-ass finger painting in kindergarten. Maybe it all started from there (laughs). I do remember drawing, being inspired by comics I was reading at the time… copying the characters line for line– stuff that kids start out doing before they develop their own style. My main inspiration growing up was Dan DeCarlo. I read a lot of Archie comics, so naturally I was inspired by him. Dan DeCarlo’s art, especially in the the late 50’s and 60’s was and still is amazing. The way he illustrated women, drew me in. The wasp-ish waist, the curvy hips, and the sexy yet innocent faces. It wasn’t until many years later I learned that he did a lot of illustration work for Humorama, a men’s humor magazine. I would say his work played a huge influence on my art even as of today.

And the second start?

There was a period in my life where I stopped drawing and collecting comics. I think this was in the early 90’s during the huge comics boom. I was collecting all kinds of comics during the height of it all. I collected all the variants and number one issues, so much I think I got burned out. I became so disgusted with how comics were becoming, how I was allowing myself to be a part of that, and slowly stopped collecting them.  I even stopped drawing without even realizing it. It was such a slow progression. I didn’t even realize I had turned away from what I loved doing most, until it was too late to care. This went on for about six years (I’m guessing) and while I was on vacation, I popped into a comic store, Golden Apple Comics, in Los Angeles for kicks. Honestly, I hadn’t stepped foot in a comic store in years.

The Key #2 will be available at the CGS Super Show!

I’m from New Jersey, so comic stores pretty much disappeared after the whole 90’s thing. I stepped in and was amazed how big the store was. I remember there being a huge wall of comics and being awed by all of them. I looked through some of them and was immediately drawn in to some of the art. I remember I was looking at Michael Turner’s Witchblade, Randy Queen’s DarkChylde, and Joe Linsner’s Dawn 10th Anniversary comic.  I kept staring at this red haired woman on the cover and was really inspired by it.  So inspired, during that week I went out and bought some pencil and paper at a small art store and started sketching again.

Which artists do you feel most influence your style?

If there was one artist I could say that influences my style , it would be Dan DeCarlo. 

Other artists that inspire me (in no particular order)are George Petty, Gil Elvgren, Alberto Vargas, Olivia, Linsner, Alphonse Mucha, Terry Dodson, Coop, Mark Ryden, Tara McPherson, the list could go on and on!

Art Geek Time: let’s talk about the process of creating the perfect pin-up. Do you use models? Do you tend to pencil a lot or do you add detail in the inks? Has the computer changed the way you produce art?

I don’t think there is a “definitive” process that I use to create a perfect pin-up. I’m always trying new things here and there, still trying to improve my craft. I think it all depends on what I think the end result (the look) should be. I don’t use live models for my art, (would love to but just don’t have the time) but I do tend to use photo reference here and there. When I do use photo reference, it’s mainly for the pose, or if I need to see how a hand should lay for example. Sometimes I even get my camera and take pictures of myself for reference. Most of the time, I just draw it from scratch, straight out of my head.

PREVIEW: The Key #2, Page 1

My start out point is always the same, I always, always start out in pencil. On the rare occasion, I will sketch it right in the computer using my Wacom tablet. But 99% of the time I start out in pencil. I start out with a basic frame, sketching in circles/shapes for the head, shoulders, arms, and rest of the body. From there I start sketching in the form (the body) of the figure. I have to get the figure down pat first, before I start adding in the details. My first instinct is to illustrate the face, which I love to do, but is an extremely bad habit on my part. Once I have the figure fleshed out, I then can start adding in the details. At this point I start on the face, details of the clothing, etc. I always do all my details in pencil. It’s when I start inking my pin-up I can determine which lines to edit out. After I ink it, that’s where the next step comes in, color. Depending if it’s a personal commission or something that needs to be printed, the color is done either traditionally or digitally.

PREVIEW: The Key #2, Page 2

Using the computer has changed the way I produce art over the years. Years ago, I would have never thought I could produce art digitally. I was hell bent on doing everything traditionally. But as the years progressed, and as I learned different programs, I could see what benefits it had, so I had a change of heart.  Using the computer is a  another great medium that artists can utilize to produce art faster, and still stay true to your style. For me, it will never replace producing art traditionally, it’s just another medium I can utilize to create great art.

I know ‘The Key’ is your baby… when are we getting the next issue?

If I had a dollar for every time someone asked when the next issue will be out (laughs) I would be rich!  No really, people have a right to ask. I even ask myself, when is the next issue coming out, girl? It’s been way too long!  Get off your ass, and draw some comics!! 

PREVIEW: The Key #2, Page 3

Not to make excuses, but my comic is a one woman show. It’s really hard to produce a comic if I’m determined to do everything myself from start to finish. I don’t think people realize when I say that: I do all the  pencils, the inks, the colors, the layout, the text . All of it is done by me. The only thing I don’t do is write it. I’ll  make suggestions here and there, but that’s one job I leave up to Chris (Holt). I think this is one of the many reasons why it has taken so long for this second issue to be produced. With most comics, you have several people sharing the workload, and that’s not the case with this series. Maybe further down the line I will have a co-colorist, an idea I have been playing with, but right now I’m content to leave things the way they are.

Chris and I also felt that the first issue was a bit rushed. It was the first time either of us had done anything like this, so it’s a huge learning experience. There were so many things we could have done differently, from the art to the dialogue, to the coloring. But that’s what it’s all about, learning as you go. So I think with this second issue I’ve taken more time in developing how the art will look, quality wise, as opposed to “Oh my God, I have to hurry! The comic has to be done by this date! People are waiting for it, and I promised!”

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When I started working on “The Key” I had no idea how much time it would entail. I mean, I did have an idea, but didn’t realize that I would be living and breathing it with any spare moment I have. And I have to be honest, working a full-time job affects the timeline. It’s just not realistic for me to keep placing all these deadlines on myself when all I’m doing is pissing people off by promising it will be out soon.  I know I promised the second issue would be out this past summer, but of course that didn’t happen.  Also I have personal family stuff that popped up , got married last year, and the list goes on. I just have to keep trucking on with the comic as much as I can when I have free time. So no more promises! Well, maybe just one more, I did make a tentative schedule of when each issue will be available for pre-order. Issue two will be available for pre-order end of November/beginning of December. After that, expect each issue to be available for pre-order every three-four months.

Any plans for more comics work?

I haven’t done anything else as of late because I really want to get “The Key” series done first. Some people think I’m crazy for not taking other offers, but I need to do what is best for me right now. I have talked with different writers here and there, and there are projects I really want to work on, I just choose not to right now.

PREVIEW: The Key #2, Page 5

Nerdiest thing you’ve done all year? Details, girlfriend!

The only thing I can think of is the New York ComicCon. For me that’s the ultimate nerd-fest. My being at a comic convention is like giving sugar to a five year old. I am literally in my own zone. It’s bad, but I get so overwhelmed by trying to get to everything I want to check out, I forget if anyone is with me.  I met up with my friend Deb at the show, and she said I was like a person with A.D.D.! I (unintentionally) didn’t meet up with her at certain locations because I got so lost in seeing everything and wanting to do everything at once! So if you ever want to hang out with me, a comic convention would not be the place to hang out.

How did you find Comic Geek Speak and how long have you been listening?A guy named Joe Janz emailed me about my art and somehow through the course of emailing back and forth, he mentioned Comic Geek Speak to me. He told me it was a cool show, it was about comics, and should take a listen to it. I didn’t even know what a podcast was before that. So you could say I was a pod cast virgin (laughs)! Comic Geek Speak was my first!  I checked out the show, and have been listening to them ever since. I think I started listening in October of 2006. Really great show, really glad that he suggested it to me! Thanks Joe!

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 What are you most looking forward to at the Super Show?

I’m looking forward to seeing everyone again, it’s been way too long! I feel like we’re one big group of friends at the Super Show. It’s awesome. Is it here yet?

For more information on Erica Hesse and her work, visit: http://hesse-art.com/. Come back soon for another spotlight on one of your favorite 100% Super Show Approved creator!