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Vendome Beaute CEO Alexandra Whitcombe on running a successful, quality-oriented beauty company

Vendome's Alexandra Whitcombe

Vendome's Alexandra Whitcombe
Vendome CEO Alexandra Whitcombe

Alexandra Whitcombe is the creator and visionary behind Vendome Beaute. A New York City native, modeling and ballet were her among her early passions as she attended the prestigious High School Of Art & Design. Years in the floral industry taught Alexandra the essence of nature and its inextricable connection to beauty. Vendome Beaute is the product of Alexandra’s background, her worldliness, and her scientific awareness. She personally sources materials from the highest-quality local vendors in Switzerland, France and Italy to create a cosmetics line that is technologically-engineered to make women look and feel beautiful.

Downtown caught up with Alexandra for some Q&A to learn about what it is like to run a successful yet growing beauty company. Prior to running Vendome, Alexandra was known as “The Rose Queen” as the owner of the Chelsea-based Trellis Fine Florals. Alexandra is on Twitter as @AlixAstir, while Vendome can be followed on Twitter via @VendomeDeParis. Vendome products can be purchased via its website: www.vendomebeautefrance.com.

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You were born and raised in New York. What is it that keeps you here all these years later?

Alexandra Whitcombe: I am a true New Yorker, and loyal to my hometown. Not to mention that everything I need is right here! Although my heart belongs to New York City, I’ve been afflicted with a bit of wanderlust most of my life, and strayed a few times. I love to travel and have lived abroad. But like Dorothy in The Wizard Of Oz, one day you wake up and you realize you have everything you ever wanted right under your nose the whole time, and you go through a renewed and deep appreciation of your hometown. I absolutely adore New York City and don’t see myself living anywhere else. I am addicted to the excitement and vibrant cultural and art world. New York is my home.
 
Vendome Beaute is a New York-based company. Given how expensive it can be to do business in New York, did you ever think of basing the company elsewhere?

AW: No, it has never entered my mind to do business elsewhere. We do have a base and office in Rennes, France. We are definitely a Franco-American Company! However, I always knew the central nervous system of the company would be in New York. Although New York City is expensive, I believe New York affords us a level of prestige and respect not found elsewhere. There are also unique resources and opportunities that are available by having a New York City headquarters.

Some of your products are sourced in Europe. What happens in the New York office of Vendome?

AW: Our New York office is the creative force behind the brand. The atmosphere in the office is fun; we are constantly laughing and having a good time as we work. My personal philosophy is if it’s not fun, don’t do it. I’ll stop doing this if it ever stops being fun. For now, all of our products are from Europe, and have a deep French influence. Today, 98% of our collection is curated and made in France. The New York office serves as the idea machine, where we generate the creative concepts that become the products.

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What inspired you to launch Vendome?

AW: Prior to launching Vendome, I owned a floral business, which was the catalyst for Vendome. I wanted to create a beauty brand that used color and botanicals to offer women something new in cosmetics. The use of botanicals in skincare was common, but makeup didn’t incorporate florals. I realized that the beautiful aromas and essential oils from the flowers could be infused into makeup as well. I worked with a lab to help develop my recipes, and soon Vendome Beaute was born. The name “Vendome” came from the place where my French husband proposed to me on New Year’s Eve, so the company is influenced by the happiness and emotions of that magical night.
 
Is there a Vendome product that you are most proud of?

AW: Right now I am in love with my three well palettes. We created eight unique palettes of highly-pigmented, lush, long-lasting colors in charming, collectable boxes. Each of the eight palette boxes are designed with an image reflecting a different moment in a Vendome Girl’s life. The packaging evokes a modern take on the classic French scenes we have come to adore. I dare you not to fall in love with them!

What is coming up for Vendome? New product lines? Collaborations?

AW: It’s a very exciting time for us. Our line of 28 lip colors will be here for Spring 2017, as well as a gel-based foundations infused with fragrant and hydrating rose water. Additionally, our plumping concealer pen will be launched Summer of 2017. I am constantly sourcing new ingredients and designing products, and hope to have even more new products in the near future.

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What do you think makes Vendome so different from other beauty-oriented companies?

AW: In my opinion, we are very different in our look and approach. Vendome Beaute is full of charm, whimsy, and humor. We are a lifestyle, a way of being in the world.
 
Has your experiences from owning Trellis Fine Florals help with Vendome? Or are flowers and beauty products entirely different fields?

AW: No, they cross over. Make up and beauty relies on biology, flowers, herbs and fauna as ingredients. From the time of the ancient Egyptians grinding down lapis lazuli to modern times, women have been continually searching for ways to make themselves feel better and look better. I decided to create Vendome Beaute because I had a vision of a brand that incorporated the science of flowers into color.
 
I know that you attended the High School of Art and Design. Did you always know that you would be working within fashion and beauty? There was no Plan B?

AW: No, not at all. I was a writer and I always thought I’d be the author of the next great American Classic. Right now I am working on a beauty book for Vendome Beaute. It’s a beautiful workbook for all of the #MissVedomes out there that can’t get enough of our brand and really take the lifestyle to heart and really want to understand our philosophy. The book will feature gorgeous art, snippets of advice, wisdom, anecdotes, and history and how our products are best used.

Is there something you haven’t yet accomplished but still hope to at some point?

AW: Within the next two years we looking to launch our skincare line and first Eau de Toilette.

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When not busy with work, how do you like to spend your free time?

AW: Sailing and skiing are two of my passions. I have been sailing since the age of eight. If I am not sailing/racing; I am skiing. If I’m not doing either of those, I really love to keep tabs on the art and antique scene in Manhattan. I’m addicted to collecting Georgian, Regency and Biedermeier Antiques. I never know when and where inspiration will strike for Vendome Beaute, I once created packaging based off of an embroidered silk work from the 1700s. Our lip balm was created when I had chapped lips while skiing in Chamonix.
 
Are there any upcoming events that you have tickets to? Concerts? Places in New York you plan on going during the holiday season?

AW: I just saw the Danish singer MØ at Terminal 5. She was amazing. Her music is sublime. She’s a true artist. She is unique, refreshing and different. I really respect and appreciate that with artists.
 
Do you have a favorite restaurant in New York?

AW: Eating out is one of my favorite past times. I will never turn away good food! And, NYC has plenty of that. I love Greek food and so Kellari Tavern on 44th Street has amazing Greek food. And they treat you like long-lost family when you go in, which I am; my mother’s name is Papadopoulos. And I also love Philippe on 60th.
 
Finally, Alexandra, any last words for the kids?

AW: A lot of people throw around the word “entrepreneur like” it is a job title, but starting your own company is very different for starting a new job. I didn’t set out to become an “entrepreneur.” I had an idea and it turned into this amazing journey where Vendome Beaute became a beauty brand. There was more work involved than I ever imagined, and there were times when I thought I’d never reach my goals. What got me through it, and kept me going, was the incredible people who helped me along the way. Many simply business associates who went out of their way to give extra guidance and support. These people were New Yorkers. We often get a bad rap, but honestly, there isn’t a more supportive place to start a business.

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Business

Really Busy People: Adam May

Photo: Courtesy of Adam May
Photo: Courtesy of Adam May

As discussed in earlier editions of this column, the word “busy” is entirely relative and subject to interpretation. Some people call themselves “busy” because they have brunch plans and a full DVR of reality shows to catch up on. Other people are “busy” because their career demands them to be on-call and alert at all times. But however you choose to define the word “busy,” within the context of this column, it is intended to imply that a person is keeping occupied while doing things that many people ought to find interesting.

In the case of Adam May, editor-in-chief of Blockfeed, he may only have one job, but that job keeps his eyes and ears very active. Blockfeed is a New York City-centric app that tailors news stories to a user’s current location. In holding down this post, Adam processes hundreds of news stories every day. In turn, I wanted to know what it is like to be responsible for all of the news that a reader may ingest. Fortunately, Adam provided honest and direct insight during our chat about what it’s like to stay so current yet also so local.

Blockfeed, as it turns out, is aiming to expand beyond New York City as far as its geolocation-based news service. Adam went into more depth about that within our Q&A, but fortunately he was also open about the work he did with the IDF. Long story short, there’s lots to learn from both Adam May and Blockfeed.

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It’s known that you manage the content streams and process over 600 stories a day. How do you usually find your content? Are there particular sources you rely on most?

Adam May: When we first decided to launch in NYC, we did a giant deep dive as a team, researching all the different sources of news in NYC: newspapers, magazines, local blogs, social media channels (including Downtown!). As we’ve been operating in NYC, we’ve stumbled upon more and more amazing resources. The best sources are often the local blogs. Maintaining a local blog is super-tough and rarely profitable — it’s always a passion project. And that passion translates into really excellent and dedicated journalism, even if it’s on a small scope. They usually manage to break all the coolest stories and viral occurrences in the City, you just may not hear about it unless Gothamist picks up the same story.

In reading so much content on a daily basis, have you become a speedreader?

A: Luckily, I was a pretty quick reader before all this began, but I’ve definitely gotten faster. Got to get those 10,000 hours in.

When you want to know what’s going on outside of work, which are the sites that you rely on most?

A: It’s kind of hard to separate, to be honest. I used to be a big magazine reader, I still have huge stacks of The Atlantic and GQ in my room. But these days, I try to keep up on the way that people continue to consume news. I try out new apps, new aggregators, try to keep my Twitter feed interesting. The way news is reported and disseminated is changing so quickly, makes it hard to stick to one publication. All that being said, I still get the New York Times delivered every morning.

Reading and work aside, what do you like to do with yourself?

A: My first paid writing job was about food, so I always loved cooking and eating far too much food. There was a day when I used to act and play guitar, but these days I kind of just smoke cigarettes and hang out with my dog.

Prior to Blockfeed, you worked as a journalist, director, social media director at a start-up, and as an editor for the IDF’s website. When someone asks you what you do for a living, how do you usually respond?

A: Great question. Honestly, it’s different for every circumstance. I mostly stick with “journalist” because it’s the easiest to explain, and sounds a lot less painfully millennial than “social media director.” Though it’s hard to miss a chance to shamelessly plug Blockfeed, so it usually finds its way in.

Did you always intend on following a career path that was uneasy to define in a few words? Or is that something that happened organically?

A: As organic as it gets. I actually always wanted something solid and stable that I could really devote myself to and turn into a career. But turns out I’m really restless, I just kept jumping from thing to thing.

Is there a field you haven’t yet worked in which you hope to?

A: I always wanted to be a scientist, astrophysics specifically. I have a mostly healthy obsession with science journals and have been known to go on long rants about the multiverse. Time might be running out for me though, I’m quickly approaching the age when most physicists burn out.

Having worked with them, what do you think the biggest misconception is about the IDF?

A: I think the biggest thing people don’t realize is how much of it is really run by kids. People who in this country are busy busting down Natty Lights and playing beer pong, in Israel the same kids are out in the field commanding troops, making huge decision that can occasionally have real geopolitical ramifications.

The IDF also makes an active effort to make a positive impact both in and out of Israel. There are units of the army dedicated to teaching underprivileged kids in poor areas, or to advocating for Palestinian civilians, or even an entire unit of reservists that’s on-call to respond to natural disasters around the world. I know some of it may seem like PR stunts, but it definitely isn’t for the people in those units, or the people they help. They really care.

Which of your prior positions trained you the best for your work with Blockfeed?

A: Definitely the IDF. It was the hardest, fastest-pace, most independent thing I’ve ever done with my life until now.

As Blockfeed is primarily New York-oriented at the moment, does Blockfeed have plans to expand to other cities?

A: Absolutely, we want to be in every major American city, one city at a time. But first, we’re going to start with nearby medium to large cities that have a vibrant culture and most importantly, a healthy local journalism scene. Think Boston, Washington D.C., Philadelphia, Chicago, and eventually we will tackle cities like L.A. and San Francisco.

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How would a publication or organization go about getting added to Blockfeed?

A: There is a way to sign up on our website, www.blockfeed.com, or you can just email us at contact@blockfeed.com. We’re always happy to hear from local journalists. At the end of the day, we want Blockfeed to help them since there’s a symbiotic relationship there — the better local news is doing, the better Blockfeed is doing.

When it comes to productivity, are there any tools or apps you primarily rely on to stay on-task and meet deadlines?

A: This is probably the most low-tech area of my life. I’ve tried god-knows-how-many “productivity apps,” but they never stick. I still just use a notepad and pen. The most high-tech I get is a Google Cal to make sure I don’t miss my appointments. It’s shameful.

Switching off from productivity, when you are aiming to be creative as a routine, do you have a routine? A place you go to or an album you listen to most?

A: Music is always the best way I can change my headspace. I am a huge fan of This Is Happening by LCD Soundsystem, it’s good for just about everything but writing. For writing I always resort to something wordless, Idle Moments by Grant Green or The Earth Is Not A Cold Dead Place by Explosions In The Sky.

Finally, Adam, any last words for the kids?

A: Learn how to drive before self-driving cars take over the world. It’s damn fun.

 

-by Darren Paltrowitz

Categories
Culture Entertainment

Really Busy People: Jan Rabson

I’m almost certain that every reader of Downtown Magazine could name at least one movie that Tom Cruise appeared in. The same goes for Arnold Schwarzenegger, Julia Roberts, Eddie Murphy and other stars with three decades of leading roles. However, the majority of readers are unlikely to be able to do the same for Mel Blanc, who had starring roles for over sixty years; Bugs Bunny and Barney Rubble were two of the voices he provided. Or even Don LaFontaine, whose acting you probably experienced every single day you watched television within the past few decades; he pioneered the “in a world…” movie trailer, which led to countless announcing and commercial gigs.

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After learning about people like Mel Blanc and Don LaFontaine, I quickly realized that they are plenty of steadily-working actors with careers to envy. One such person is Jan Rabson. Jan did voice work on just about every animated hit you can think of from the past few decades, like Inside Out, Minions, all three Toy Story movies, Up, Cars, Cloudy With A Chance Of Meatballs, and Wall-E. Yet beyond his decades of major credits in the animation world, Jan has also had plenty of on-screen roles, including appearances on The Tonight Show, Baywatch, Pee-Wee’s Big Adventure, Knight Rider and Fatal Attraction. And that is just the start of where he has worked.

Although Jon DiMaggio recently made a documentary about voice-over artists called I Know That Voice and Lake Bell co-wrote, directed and starred in a v/o-themed feature called “In A World…,” the world of voice actors is still something of a mystery to most people. What do these people look like? Where do casting people find them? How did they realize that they had such great voices? Is it really possible to make a living as an actor without being on-camera?

Fortunately, Jan was willing to speak with me about these topics and plenty more. As a native New Yorker who relocated to Los Angeles with a simple dream, and later opted to relocate to British Columbia, he has quite a unique story. Voice-over work wasn’t initially the career goal, yet that’s where he eventually wound up. Ultimately, Jan was generous with his time, and beyond his acting, I recommend everyone to check out his new app, History Speaking.

You have worked extensively as a voice-over artist, have done a lot of on-screen acting, have been a writer, a director, a producer, and I believe you have other businesses going on. When someone asks you what you do for a living, how do you usually respond?

Jan Rabson: When I used to live in L.A., I told people I was a driver. I was working a lot, but driving from studio to studio all day to work. The traffic was horrendous; I spent more time in the car than the studio. Now I tell people I’m semi-retired. I’m actually very shy, very uncomfortable when people ask me to “do a voice,” so sometimes I just say “actor” and people assume I work as a waiter.

Do you have a professional role or accomplishment you’re most proud of?

J: I would say my years on the Tonight Show were a part of Americana; seeing people watching seagulls shouting, “mine, mine.” And then when I start to think about it, they were mostly all fun and work I can be proud of. I’ve been fortunate enough to work on many of the top shows and movies, as well as with some of the most creative people in the world, in the last four decades. I pinch myself sometimes.

You worked a lot on The Tonight Show in the Johnny Carson era. A lot of people have their minds made up on Johnny the off-screen person due to the movie The Late Shift and the more recent American Masters documentary. What do you wish more people knew about the host or even the show itself?

J: The truth is, I didn’t know Johnny very well. I knew the head writers and the crew, but not Johnny. He was, obviously, extremely talented and a very nice man. The head writers, [Andrew] Nicholls and [Darrell] Vickers, recommended me to him, he saw a comedy commercial I had running and said, “that’s the guy.” I was fortunate to not only do many on-camera skits but also a lot of the voice-overs, everything from “love radar guns” to sheiks and cash machines. We would rehearse, he was nice to me — no complaints. He would always say before each sketch, “no ad-libs.” I would always ad-lib. I always got hired again, so I had to assume they were okay. He was a master at the craft. The last sketch we did, before he retired, I could see he was tired of going out there. It was a great script, everything screwed up, as usual, he was brilliant. But after that I would get hired to come in, we’d rehearse, and he would find a reason not to do the sketch. That was it.

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Was it always your plan to be an actor that specialized in voice-overs? Did people compliment your speaking voice a lot when you were growing up?

J: I had to laugh. I always thought I would be a Danny Kaye kind of guy. Movies, lots of voices, etc. I did some on-camera but I got tired of sitting in trailers, auditioning with hundreds, etc. At the same time, I was trying to get into animation, which was always a love of mine since I was a kid. An agent told me I should try commercial voice-overs — I did, and frankly, made a good portion of my living from commercials and announcing.

Having grown up in New York on Long Island, what was it that brought you out west to Los Angeles?

J: Long Island was never comfortable for me. After being an art major at college, I realized the art world wasn’t for me, I wanted something more dependable, more stable. I wanted to be an actor (laughs). I had been writing to Mel Blanc [voice-over artist behind Porky Pig, Daffy Duck, and Yosemite Sam, among others] since I was 16, but that’s a whole other story. I was working for Eastern Airlines, standing on the runway at LaGuardia Airport in -40 degree wind chill, and decided if I was going to try to be an actor, I’d rather starve where it’s warm. Off to L.A. I went, not knowing a soul.

After many years out west, what influenced your move to British Columbia?

J: There were many, many reasons. I had never felt entirely comfortable in L.A. I always lived in the Hills or away from the “action.” At this point, I was married and had two young boys, I didn’t want to raise them in L.A. After the eight-month strike, the business changed dramatically. The traffic in L.A. was getting exponentially worse. My wife was having health issues due to the smog. The internet changed the dynamics of voice-overs. We had a recording studio in L.A. and I knew we could run it from afar. I was tired of “the grind” and wanted to live in the country. We live on a small island. My home is surrounded by woods, wonderful neighbors, and I have my own beach. I couldn’t get that in L.A. Etc, etc, etc…

Your wife has worked extensively in casting and as a director for voice-overs. Is that how you two first met?

J: Cindy Akers, her professional name, was working at Bob Lloyd’s The Voicecaster [agency]. They mostly cast commercials and I was doing very well out of there. I was very afraid of dating Cindy because I didn’t want to screw it up. Luckily, it all worked out well. Cindy does a lot of work, mostly in animation now. I don’t get any real “leg up” on jobs as it’s always ultimately the producer’s decision. It’s always fun when we get to work together. This week was unusual, we did a two-day voice-over workshop and two shows of a cartoon in Vancouver together.

What do you think the biggest misconception is about the voicework field or even in working as a voice-over actor?

J: I’d say two things. One, that if you have a good voice you can just jump in and start working. It’s a highly-competitive field and has to be an almost full-time pursuit. And two, it’s not the voice, it’s the acting.

For someone who wants to start a career in the voice-over field in 2015, what are the initial steps that you would recommend taking? Is taking a class or workshop always essential?

J: If you are an outright brilliant superstar, no class. Otherwise, most people have no concept of how difficult and competitive the voice-over field is. The odds against them are astronomical. I would say to take workshops, get a voice-over workout group together, perform, do improv, network. But before you do a tape, make sure you are 100 percent ready & 1000 percent competitive.

What can you tell me about your recently-launched business History Speaking? Are there any goals you’re aiming to accomplish with it?

J: History Speaking is an app for smart phones. Any statue, art piece, or landmark can have a QR code on it. Just swipe your phone and you get a phone call back from anyone from George Washington to the San Francisco Bridge. We are hoping to have QR codes all across the U.S. and Canada, it’s a great way to educate people and learn about history in a fun way. I do all the writing and the voices, I’m having a ball.

Is there a field you haven’t yet worked in which you still have your eye on?

J: I am actually quite content these days. I was never a star but I was a solidly working actor. I’m proud of that. I was never rich but I managed to move to an oceanfront house. I’ve done a lot of things in my 61 years and I’m not through. I’d like to write my memoirs, if for nothing else, so my kids can know a little more about their dad.

When you’re not working, what do you like to do with yourself?

J: The truth is, I have a vague line between work and play. I love what I do. I pretend to be other people, animals and inanimate objects. I have fun. I write. I love to hang with my boys and my wife. I love to travel. I have a few different businesses. I am making a kinetic sculpture out of metal and wood. I just built a room above my office for my 6’ x 12’ snooker table. I am a sumo wrestling fan. I love to read — books! — and I love to kayak.

Finally, Jan, last words for the kids?

J: Keep moving forward. Enjoy your life. Don’t let embarrassment, other people’s opinions, or sometimes even logic, get in your way. After reality struck, I set a goal for myself: to make enough money from the SAG union to get the medical insurance. I’ve done that, and more. The odds were against me, if I were talking to the young me I’d say, “Are you crazy? Do you know how tough it is to make a living out there?” And the truth is, what do I know?

-by Darren Paltrowitz

Categories
Culture Music

Really Busy People: Lucy Woodward

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Lucy Woodward is one of those artists that five people may recognize from five different projects. A lot of people would know her for her major label career, having released albums on Atlantic and Verve, which led to appearances on TV shows and concerts stages around the world; one of her singles on Atlantic became a major global hit for Stacie Orrico. Many people are familiar for her work supporting other artists, touring as a vocalist with artists as diverse as Pink Martini, Snarky Puppy and Rod Stewart. Some people would know her as a top jingle singer. However they know Lucy Woodward, that singing voice is powerful and distinct.

While Lucy is based in Los Angeles, she is a native New Yorker with a number of New York-based projects going on at the moment. Currently on tour with Rod Stewart, she is in the midst of finishing her follow-up album to 2010’s Hooked!. Lucy went into more depth about some of these projects within our conversation, also describing how she manages to stay productive amongst the busyness.

 

When was it that you knew that you were going to be a lifer as a musician?

Lucy Woodward: My parents were both musicians, so all of my childhood I was music-making and creating. Ballet, drawing, playing instruments, harmonizing in the house all the time. When I was eight years old, I wrote stories obsessively. My grandmother noticed the the “writer’s bump” on my third finger, and while I was embarrassed about it, she was proud. I knew I was a lifer at “creating” things very young. My first concert was Debbie Gibson at Radio City [Music Hall]. I cried all the way home because I so deeply wanted to sing with a band. Saw Madonna’s Blonde Ambition tour that same year and also sobbed all the way home. I felt spiritually connected — not only to Madonna but just to “it.”

 

When someone finds out that you’re a musician and asks you if they’ve heard anything that you’ve worked on, do you have a stock response? Or credits you’re more likely to tell them?

L: Oh, the secrets! I’d rather talk about them! I guess it depends how on deeply they want to go into the conversation. You can usually tell very early on what they really are interested in. Sometimes they just want to know what famous people you’ve sung with. Sometimes they want to talk about the music business, or what inspires writing a song and I’m all about that. If I don’t feel like being chatty — plane rides — I say I sing jingles because it’s a very finite conversation!

 

Although you’d identify as a musician, you do a lot of different things between jingles and session work, recording and touring as a singer/songwriter, performing as a sideman — for a lack of a better term — with Rod Stewart and Snarky Puppy, and doing side projects like The Goods and The Joshua Shneider Love Speaks Orchestra. Did I miss any titles or roles there?

L: For as long as I can remember, I have always had different projects happening simultaneously to get all the creative kinks out. I need that fuel to feed that fire! Some projects pay the rent, but some don’t and that’s totally cool. A few years ago, I toured on and off with Pink Martini and had to learn a whole bunch of languages in a five days because I was filling in for China Forbes, their singer who had to go on immediate vocal rest. Most challenging gig I have ever had — fun. I have a little bluegrass band with friends in NYC I jam with when we can all get together. I’m also developing a show with some other friends in NYC about girl groups in the ’60s and I’m tinkling with a Peggy Lee covers record and an ’80s EP. I also sing with The David Ricard Big Band in L.A. and we’ve been recording all year. I love the energy of working with loads of different people. That in of itself, inspires the hell out of me.

 

How is it that you’re able to juggle so many projects at once? Is there a specific app or tool you use? Do you live in iCal or Google Calendar?

L: When I get the stomach virus, I know I’ve taken on too much! I live in iCal. I stare at it throughout the day, and look at those little rectangle events like it’s a goddamn game of Tetris. It’s horrible. I wish I was kidding.

 

How does life compare for you on-stage and in the studio versus off-stage and just being a regular person?

L: An ex-boyfriend told me once that he wished I was a normal girlfriend. I cried, of course, and we broke up.  I “normalize” myself when I get off the road by baking — I’m not that great. I get super-domesticated. On the road, everything is in Ziploc bags, so it’s fun for me to take a tea bag out of an actual box of tea from a cupboard. I appreciate those cupboards very, very much.

 

What’s looking ahead for you at the moment in your solo career?

L: I have just spent the last year and a half jumping on and off the road to work on my next — and fourth! — record with Henry Hey and Michael League in NYC. We have done a lot of playing together over many years, and it was really exciting to make something together simply because we trust and like each other so much. It’s made up of heavy masculine horn arrangements and feminine vocals, and I think that dichotomy really embodies who I am as a singer. Nic Hard mixed it and added some amazing “left” vibes to it. It was a real love project and I can’t wait to perform it. We are mastering it now and I’ll be putting it out in early 2016. In the meantime, I’m going to sign to GroundUp Music, Michael League’s label, and work on some mini-releases for the rest of this year. I am really pumped about it all…

lucy woodward1

You’ve played the major label game for a good chunk of your career. Looking back, are you nostalgic for that in any way? Or is it more preferable to be able to pick and choose what you work on?

L: I have always been able to pick and choose what I want to work on, but of course on a label, something always has to get approved by someone, and it’s a boring wait of a game. I won’t lie, I do get nostalgic for the old school budgets that were put into making records — but who doesn’t? I still get statements from my first record deal saying I now only owe -$1,000,000 something dollars. I laugh and want to post the statement every time! It’s a total joke how much money people used to put into breaking a new artist because they’d spend it on the wrong thing, like dinners, not artist development. It’s been an amazing experience working on this last record because Henry Hey, Mike League and I are all super close, and daily it would go something like: “That feel good to you? Yeah? Me too. Let’s move on…” We wanted each other’s approval and didn’t have to wait for anyone else’s.

 

If all went as planned for you, how would you be spending most of your time? Would you be touring? Doing more recording than touring? Focusing on writing?

L: I feel I never have enough time to write when I’m on the road. It’s just a different brain. But lately, I find myself committing to finishing lyrics on short plane rides because I know we have to land at some point and it’s a good, short concentrated “push” for myself; I totally sound like my mother right now. I love, love, love touring, though, when the project/people are awesome. Rod’s band is super family [oriented] and so is Snarky Puppy. Whether it’s a stinky tour van or a private jet, it’s all in the hang. I love the studio because it’s a laboratory and everyone is just a bunch of chemists making cool, new shit. I fall into a deep, happy groove with both the studio and touring.

 

What was the “big break” that led you getting your first record deal?

L: I was rejected all the time for a long while playing Bleecker Street [venues] and singing for executives in their offices. I really don’t know how I stayed so positive hearing “she’s not ready yet” all the time. But it was true. I wasn’t ready. My songs weren’t that strong yet and I had to work on my stage presence. I just needed to sing more. So I did all that: wrote more, collaborated more, gigged more. Judy Stakee at Warner/Chappell signed me and she took me under her wing and developed the heck out of me — hooking me up with other writers like Jamie Houston, Kevin Kadish and John Shanks. Vini Poncia, my manager at the time, started this idea called “Dumb Girls” and Kevin Kadish and I finished it, and Kevin did an amazing track. Ron Shapiro, who was president of Atlantic [Records] in 2002, fell in love with the song when I sang it live in his office one night. He took me up to Ahmet Ertegun’s office and said “listen to this voice.” Ahmet kissed me on my cheek and gave me his blessing. All that happened very, very fast. Made the record, video, radio tour, Jay Leno, Japan and.scene! It was over! But that was basically the journey leading up to my first release. Tommy Mottola signed me to Epic [Records] a couple of years before that but that record never happened — thank god!. I wouldn’t change any of this “up and down” record label heartache for a second, though.

 

Given your more DIY-oriented career path coming out of years of playing the game, what advice would you have for an artist that’s just starting out now?

L: You have to love what you do so much. You have to sacrifice sometimes, run out of money sometimes, end romantic relationships sometimes. It’s all worth it when you love what you do. It’s your name on that record — no one else’s.

 

Do you still get star-struck? Are there any artists you’re still hoping to collaborate with “one day?”

L: I’d love to do a duet with Tony Bennett or Trent Reznor or Brittany Howard from Alabama Shakes. I’d sing backup for Bjork for free. In fact, I’d pay her to have me sing backup for her! I can’t remember the last time I got star-struck. Sometimes I just worship my friends if they’ve just shared a new film or song with me that they’ve just completed.

 

Finally, Lucy, any last words for the kids?

L: Get off Facebook and start engaging in the world a bit more! I love me some Facebook but when I realize I have been only reading the news on Facebook, I think, “go outside and play, Lucy.”

-by Darren Paltrowitz

Categories
Culture Music

Really Busy People: Mike Viola

Mike Viola
Mike Viola
Mike Viola

I first found out about Mike Viola in 1997 when his old band, Candy Butchers, opened for They Might Be Giants at Irving Plaza. I was blown away not just by the songs, but the familiarity of his voice. While doing some research the following day, I uncovered that Viola was the voice (and primary instrumentalist and rumored co-writer) behind “That Thing You Do!”

In the nearly 20 years since that gig, Mike Viola has positioned himself as a highly-sought-after producer, composer and sideman. A lot of the music in “Get Him To The Greek” and “Walk Hard: The Dewey Cox Story” was written by him. Ryan Adams, Matt Nathanson, Rachael Yamagata, Mandy Moore, New Politics, Brett Dennen, Gin Wigmore and Andrew McMahon are among the artists who have recorded his songs over the past few years. Recent releases by Fall Out Boy, Jenny Lewis, and Butch Walker include his studio work.

2015 brings the release of “Stairway To Paradise,”  a 4-song release featuring Mike’s first new music in a few years, as put out on Ryan Adams’ PAX-AM label. As part of Ryan’s band, Mike will be playing at this year’s Governors Ball Music Festival.

As someone who transitioned from a Boston novelty as a teenager (who made an album with Kim Fowley), to a New York-based major label artist in his 20s, to a project-based writer and producer in his 30s and 40s – now based in Los Angeles – Mike certainly has a lot to teach about long-term survival as a musician. He kindly took time to answer some questions for Downtown about how he became a “go to” for struggling artists.

Downtown Magazine’s Darren Paltrowitz: When someone asks you what you do for a living, how do you usually answer?

Mike Viola: Musician.  That seems to cover it all.

You got your professional start as a teenager.  Is that something you’re proud of?  Or is there some regret in knowing that your work from so many years ago is out there?

M: It is what it is. Making rock music for a living isn’t something you decide.  It just happens and if you’re lucky enough to be pretty good, that’s all it really takes to get people to notice.  The trick is, having something to say, a purpose.  Now I get hired to find the purpose for younger artists.  There are so many young singers and performers who are hungry for this version of stardom they’ve been sold on TV by shows like “The Voice.” They are looking for record deals, and if they can sing and maybe play and they look great or have some quirky thing about them that feels like star quality, they eventually have to make a record. That’s usually the beginning of the end for these kids.  Like betting on a pony.  For me, and for people of my generation who just stumbled into it without any idea of what it would bring besides some kind of rebellion, or a way to get girls, we didn’t face that challenge. Our challenge was to get a gig, find people to play to, then we took it from there.   I can remember as a kid being in the studio was something we HAD to do to sell the music, but we always thought we were better live.   Which we were. Recordings exist of me when I’m really young and some of it is definitely not embarrassing.  ‘Cause although I sound like Joan Jett — my voice hadn’t changed yet — we were participating in this DIY movement that was driving The Minutemen, Black Flag, etc., without even knowing it.  We were trying to sound like Foreigner but ended up sounding like The Buzzcocks.

Photo: Courtesy of Mike Viola
Photo: Courtesy of Mike Viola

Are there any skills or parts of your trade that you think you were better at 10 or 20 years ago?

M: Not at all.  The real curse of time is that you end up finally honing your skills when it might be too late. This goes for everything, not just music.  I’ve learned that the REAL music that exists is an extension of lives lived. A residual of lives lived. It’s not the end game. Being alive and interacting with people is the end game. Everything else just gets buried, sold off or put in a museum. The trick is to survive while you’re alive, not when you’re dead.

Of all the projects you’ve worked on, do you have one or two that you are most proud of?

M: “Hang On Mike” and “Lurch.”

When was the moment in your career where you knew that you were a lifer in music?

M: Really the second I picked up the guitar.  The only question I’ve ever had is, “Can I keep on getting away with this?”  As long as I can, I will. That’s the true gift.

Do you have any regrets when it comes to your career?

M: Probably. I mean we all do right? Definitely! I’ve tried to learn from the missteps.

Looking back at the past 30-plus years in music, how much of the work you’ve done came as a result of hustling versus proper auditioning?

M: I’ve auditioned for one thing in my life. One.  It was for a commercial for sneakers.  Zips sneakers. My mom thought we could use the money and I was approached by a talent scout and auditioned and won the spot.   It’s on YouTube.  It’s hilarious. I don’t hustle. I wish I knew how.  My thing is, when I get a job working with an artist, I always try and do my best. That sounds righteous…or like… bullshit, but it’s not.  My advice to anybody is simply: try, really try.

Are there people you are still itching to work with?

M: New artists that are lost and in need of direction.

Is there a field that you are interested in outside of music that you’d ever consider doing?

M: No.

What are the apps and/or web-based tools that you rely most on for work?

M: Just e-mail. I use Logic and ProTools for songwriting from time to time, but mostly I write on guitar. All the recording happens on tape.

You’re known to be a big vinyl aficionado.  Are there any other old pieces of technology that you’re especially fond of?

M: I love my landline back home, and writing songs on hotel stationary.

When you’re not at work, what do you like to do in your free time?

M: Play with my kids. Usually in my driveway with the doors to my studio open wide, vinyl cranked up, usually something heavy so we can hear it over our playing.

Finally, Mike, any last words for the kids?

M: Question everything.

Categories
Culture Music

Really Busy People: Gallery 1988’s Jensen Karp

Jensen Karp

Whether or not they know it, millions upon millions of people have experienced the work of Jensen Karp. The epitome of this column’s namesake, Jensen Karp is a true renaissance man within the creative field.

Jensen has written for television (e.g. VH1’s “Candidly Nicole,” ESPN’s “The ESPY’s, WWE’s “Monday Night Raw”). He has written for Rolling Stone. He has a memoir in the works for Random House, which follows the “Just Can’t Get Enough” book he wrote with Matthew Robinson. He was a major label hip-hop artist, signed under the name Hot Karl, and currently manages a major label rapper named Nova Rockafeller. He has appeared in and written content for web-hubs like Funny Or Die and JASH. He has co-hosted almost 200 episodes of the weekly “Get Up On This” podcast. He owns two Los Angeles-based, pop-culture-centric art galleries under the name Gallery 1988. He recently filmed a pilot for CNBC, which comes on the heel of acting in the first season of VH1’s “Barely Famous” series.

And believe it or not, those are not all of Jensen’s credits or businesses, past or present.

Jensen kindly took some time to answer questions about how he not only manages to get everything done, but also maintains such high quality in his output.

D: I believe I first found out about you when you were a guest on Dave Lagana’s podcast.  So many projects and careers…When someone asks what do you for a living, what do you say?

Jensen: For a long time, I kind of just took a deep breath and picked one of them, mostly landing on art dealer. But nowadays, I’ve become more confident in saying “writer.” It doesn’t really encapsulate all of the gallery work, which is something I’ve been doing for 11 years, but writing is what I went to USC for and it’s been filling up my days for the past year. It’s also what makes me happiest, which is an easy way to decide how to answer, I’ve figured out. Everything you mentioned I’m proud of though, it’s just a weird thing when you rattle off a bunch of jobs to people like a creep, so you have to sort of have to settle on one and go with it.

D: When was it that you realized that it paid off to have a multi-faceted career, rather than just trying to do one thing?

J: I’m not sure it was a conscious decision. It’s a long story — and soon to be book — about how my rap career was pulled out from under me a little. And I’m sort of just learning that maybe I take on all these jobs, so that if one is taken away from me, then I have others. But also, I have a lot of interests and I’ve never been one to pass on an opportunity that I love, because that will depress me. So I started putting a lot of irons on a lot of fires, and I’ve been really lucky that a few of them paid off. I’ll stick to that theory for doing stuff I like, until I have a heart attack from stress.

D: Much has been said about your parents on your podcast, but not much about how they felt about your career choices.  What sort of reaction did you initially get when it wasn’t clear that you were going to be a teacher or a lawyer or striving for an office-based career?

J: I don’t talk about their reactions much because they were always supportive. It’s boring. My mother was a singer and wished she had taken it further, and my dad wanted to manage me at some point. They never really expected me to be a desk job guy, but did always want to make sure I was writing, since they had noticed I enjoyed doing it at a young age. Also, some of my elementary school teachers started contacting them about my writing, and how I should be forced to stick with it. I think that’s what they expected me to do for the rest of my life. Rap was just a pleasant surprise.

D: Is there a field or profession that you haven’t yet worked in that you’ve thought about?

J: I would love to eventually write and direct a movie. I’ve been working on a short doc for the past two years that is near completion, but honestly, it was very hard. I wasn’t able to give it as much time as I’d like, and sort of had to do it in spurts, which is why it took so long, but I would love to just carve out a bunch of time one day and direct something real. Also, I would love to write a novel, which is my hope for after the memoir.

D: Is it your plan to stay so diversified?  Or do you one day hope to slow down and focus on one or two things?

J: I REALLY want to slow down and pick something. I do. And I think I’ve done that a little. “Barely Famous” filmed over 4 days, and I have a pilot at CNBC that filmed over 4 [days]. Those seem like long ventures, but they aren’t. Once the book is done, and a few TV shows I’ve been working on wrap up, things should be a little better. But the truth is, I enjoy doing a lot at once, or have convinced myself I have to somehow. But either way, I’ve said I’ll be slowing down for about five years now and haven’t. But for my own sake, I still want the answer to be yes.

D: Are there particular tools or apps that you primarily rely on to keep everything on-track?

J: Yes. FantastiCAL. It’s a great iPhone app. When the new iOS systems started dropping consistently, I think the iCal took the biggest hit. It genuinely started messing up meetings and calls for me. So I downloaded FantastiCAL on a suggestion of [producer] Just Blaze and I have never looked back. If it were to crash, I would just move to Wyoming and take up fishing. It reminds me of everything that is going to happen or has happened. Without it, I’m lost.

D: When it comes to managing finances, are you a planner?

J: Sort of? I have a money manager for things like that, and I am always putting money away for my IRA, but I’m also not a very hands-on guy about it. I feel like I selected him, and my investment specialist, because I’ve known them for years. I can trust them to do their jobs, and if they don’t, only I’m to blame for placing that trust. But they’ve been great so far. I am not a big spender though at all. I fall on the modest side.

D: Your record deal and publishing deal came about when the music industry was still thriving, and the legend goes that you invested some of that into starting Gallery 1988.  Do you have any overall strategy when it comes to saving or investing?

J: Yes, I used some of the last money I had from the advance to open G1988, which was a nice feeling actually. It felt better than just throwing it away on comic books. My strategy has always been to invest in things that seem fun. A bunch of friends and I all threw money into a bar a few years ago and it tanked. Two years later it closed its doors and we all laughed. It was a dumb move, but it taught me something: I only put my money into something that, if it fails, I will still be happy about. That bar made me feel dumb from the start. I put a bunch of money into this short documentary without ANY plan of what to do with it when I’m done. But I knew I HAD to do it. And that’s it. Same with Nova. When she flew out to stay with me years ago, it was to make cool rap music, not get a record deal at Island [Records]. I just invest in what I would like to do, and then again, you can only blame yourself when it fails.

D: When it comes to your career, how much of what you have accomplished is rooted in hustle versus having an agent or manager seek new opportunities?

J: Up until last year, EVERYTHING was through me hustling. I had agents and reps for years, but they never really did anything, except get me more money during negotiations; which I won’t pretend isn’t a big deal, it is. But over the last year. I signed to CAA and 3 Arts [Entertainment] and both of them have gotten me opportunities that wouldn’t have been in my realm without them. That’s been a nice feeling. But also, I still am hustling. If I see a job I would want, I can contact my reps or just contact direct still. It’s a nice thing to have, but I don’t ever see myself depending on it.

D: You’re known to be a prolific joke-writer on social media.  Is that simply for fun?  Or is it that more rooted in “wanting to create” and keeping your name out there?

J: 100% for fun. I started writing jokes on Twitter when I was focused completely on the gallery and its marketing division. Really trying to get that off the ground back then. But I knew I needed an outlet for joke-writing. It was something I had been doing since high school and usually would just write the bits down in a little notebook, so Twitter was ideal for me. I feel like I used to have an unhealthy relationship with Twitter, overusing and caring too much about it, but over the past two years I have really been able to find its place in my everyday life, especially as I’ve gotten busier. It’s just a hobby that is fun for me, and at the same time helped me get writing gigs, which is a nice bonus.

D: If you were talking to your teenage self, is there any career advice you have passed along?

J: Don’t invest in that bar.

D: On your podcast, you’ve mentioned relying on jogging as a cure for overthinking and worrying.  How did you first get into jogging?

J: I had no other option. I suffer from Obsessive Thoughts Disorder and need to do something to stop it. I had tried intensive therapy and medication, and nothing had given me full clarity. It’s not a secret that exercise can do the same exact job as meds, and so I finally listened to the advice and tried it and I haven’t been the same since. I try to run everyday, but my schedule recently has been rough — I also broke my arm in January and am just getting better. It saved my life. Not sure I could live without it. Not sure it will work for everyone, but I can’t praise it enough.

D: When you’re not working, what do you like to do with yourself?

J: I fell back in love with TV over the past few years. I wasn’t watching for a bit, but now I try and watch a dozen shows at a time on DVR. And I am a die-hard NBA fan. I am specifically a Clippers guy and have been my whole life, but the NBA makes me very happy, unlike really anything else.

D: Finally, Jensen, any last words for the kids?

J: If you’re creative, do what you love. If not, don’t be hard on yourself. I know a lot of people who have a desk job because they feel most comfortable with that. And sometimes they make it seem like they don’t have exciting lives. I sort of hate that “exciting” is based on creativity, because it isn’t. Doing what you like and what makes you happiest, no matter what is, defines exciting for me.

 

by Darren Paltrowitz