Saturday, 10 December 2016

The Bells are Jingling...On Bellydancers, Not Reindeer!

If you are looking for something different to do this holiday season, why not ring it in with belly chains and finger chimes? Start planning your New Year's resolutions early and sign up for belly dancing classes with one of Ottawa's middle-eastern and north-African dance fusion experts, Halyma.

Halyma in action (photo credit David Peralty)

Halyma (aka Tracey Vibert) has practiced dance since childhood, and began focusing on belly dance method in 1995. She has since fused her own style, and teaches and performs in the Ottawa area. I think, when you view Halyma's performance at this clip, you will appreciate that she is bringing together quite the eclectic mix of influences in an engaging way. (She had me at "Rock the Casbah..." big Clash fan here!)

In addition to her dance talents, Halyma is a gifted wardrobe designer, creating unique and beautiful clothing and costumes for private clients, dancers, and film productions. SceneRazR will be interviewing her for a future post, focusing on her TAV Creations services.

Halyma is also offering a semi-private Community Class Party event on December 14th - limited number of tickets available. Please click here for details.

So you all have your fitness and entertainment lined up for 2017, right? You're welcome  >:]

Thursday, 8 December 2016

LIVE on Elgin: Small Club Fills a Big Gap in the Scene.

Recently, SceneRazR was fortunate to obtain some time with Lawrence Evenchick, who is one very busy dude. Jointly with his son, Jon, Lawrence runs an independent performance space - LIVE on Elgin -  at 220 Elgin Street, just upstairs from Dunn's Deli. LIVE on Elgin hosts a variety of performance/artistic entertainment seven nights a week, nearly every night of the year (although in December their calendar indicates that they'll at least take Christmas Eve and Christmas Day off - good call, gentlemen!). Knowing that Lawrence is a very in-demand actor for local theatre and films, I asked whether owning a busy performance space has cut back on his ability to nurture his acting career. (Note: it would be a tragedy if this were the case. Lawrence is a talented and supremely entertaining actor.)

Lawrence Evenchick, actor and
venue proprietor extraordinaire

Lawrence assured me that being part owner of LIVE on Elgin has not interfered with his acting projects. He went on to supply a very in-depth look at what local entrepreneurs may encounter when launching a live performance venue in the NCR, beginning with a guided tour of the premises.

The tour revealed some pleasing surprises. Often, the second-storey premises in older Ottawa buildings feel claustrophobic and seem almost more like second thoughts than second storeys. To be sure, LIVE on Elgin is accessible only by a long narrow flight of stairs, but this was a necessity:  the space is a sublet from Dunn's Deli on the floor below. Once you arrive at the top of the stairs, however, you are in a fairly generous space. There is a lounge area bordered with sofas and a flatscreen TV, with a medium-sized service bar opposite. (All photos are courtesy of LIVE on Elgin and photo credits for the interior shots go to Dave Di Ubaldo, Worn Leather Media.)

Paintings by local artists grace the walls, the decor is attractive, and the amenities are very up-to-date.

Lounge area

Bar area - yes, they're licensed!

Past the lounge and bar area is the performance studio which is where the magic takes place. At the far right-hand end of the room is a slightly elevated stage that is big enough to house an upright piano plus performance space that comes close to that of some of the smaller theatres in Ottawa. The stage feels almost as deep as it is wide, and has hosted musical groups, theatrical performances, burlesque shows, choirs, fan-fiction reading nights, improv theatre performances, and much more. Lawrence added that room has also been used for children's birthday parties, video shoots, and trivia nights. To get an idea of LIVE on Elgin's performance lineup you can view their calendar here.

The official stage area (although some acts, e.g. the poetry slams, prefer to perform on the dance floor - and LIVE on Elgin lets them do their thing their way).

As Lawrence explained, it's a very flexible space that lends itself to a variety of performances and uses. The tables and chairs are all mobile (no bolted down tables or booths) so they can modify the seating to make room for dancing, painting parties, or cabaret-style evenings, depending on the type of event or performance that is taking place. 

                    Flexible seating - tables and chairs can be repositioned or removed.

In addition to the size and flexibility of the performance area, other pluses are the "artist preparation" areas where performers can close a door or a curtain and get their war paint on, put on their costumes (or, in the case of burlesque dancers and naked choral groups, take OFF their costumes) and just generally have a place where they can get their heads in the game privately before taking the stage. Believe me: very few of the smaller performance venues in Ottawa offer this luxury, and it really IS a luxury.

After the tour and an offer of tea, Lawrence and I settled ourselves in the lounge area to talk inspiration, influences, and the challenges of doing business in the local performance community.

SceneRazR: You've stated that LIVE on Elgin was created because you and Jon Evenchick perceived a "gap" in the local entertainment scene. Your calendar is full every night of the week, so you were clearly correct. How did you settle on this particular format and venue to address that gap?

Lawrence Evenchick: "Jon's background is in music, mine is theatre. We thought we could cater to both." 

Lawrence noted that the gap in the music scene is primarily that, while many venues incorporate musical performance, not many are dedicated to music. To elaborate, he explained that many venues will have bands play, but there are still big screen TVs showing hockey or ball games while the band is "pushed off in the corner," so that the music isn't necessarily the sole focus. "That," said Lawrence, "is the niche we wanted to fill."

In terms of local theatre, Lawrence pointed out that there really are no small spaces. There are independent theatres of course, accommodating 200 to perhaps 600 patrons, but no smaller spaces where performers can hope to launch a performance and also walk away with some money in their pocket... the larger venues are simply not affordable propositions for the smaller and fringe acts that permeate the artistic scene. There are plenty of performers, Lawrence noted, who can sell 50 to 60 tickets - which would be a financial fail if they want to rent the larger theatres, but could look (and feel, in a smaller room) like a complete success in an establishment the size of LIVE on Elgin. Lawrence wanted these performers to have a venue, a voice, and a chance to generate some income. The solution, clearly, was a cabaret-style space in an area where there would be decent urban traffic.

The idea crystallized when Lawrence attended a house concert (yes, a concert in someone's house) by Craig Cardiff, an Ottawa musician. Lawrence learned that Craig enjoys playing house concerts because so few music venues are structured to focus on the performance. Often the musicians are an afterthought.

Craig Cardiff doing his thang (photo property of Craig Cardiff)

About the same time as the conversation with Craig, Lawrence heard from a couple of friends who had visited New Orleans. They told him that they had attended a drama performance at a bar: the admission tickets were affordable, so patrons showed up for the show but still had some discretionary dollars left over to buy a few drinks. Thus, the bar profited and there was still some money to throw to the actors at the end of the night. 

For Lawrence and Jon Evenchick, this sounded like a win-win format for everyone. The mission was clear: create a space that can house the smaller event populations; offer drinks at an affordable price; make sure the artists have the space to do what they require and have the space to host their audiences. And pay the bills on the space while they achieve all this.

SR: Brilliant idea! What was the biggest challenge you faced in getting it launched?

LE: (laughing) "The biggest challenge? The city!" (more laughter).

"It was touch and go... building permits, we've never renovated to meet building standards before." Some modifications to the space at 220 Elgin were simply cosmetic, but others were structural and more complicated. In terms of the permits, Lawrence listed them off: building, fire, health... and then there were the permits that had to be managed by exception (because, after all, LIVE on Elgin is an exceptional place). Lawrence had worked liquor establishments before, and figured he was on solid ground in terms of fulfilling the conditions for a liquor licence.

"I know all about liquor licences," Lawrence said. "I've known about SmartServe for a long time, I've worked bars for years, but you have to fulfill other conditions and also guarantee some guaranteed parking, which we can't do as it's all on-street parking. So we had to go to a variance committee." However, with his experience in the beverage industry, Lawrence felt he was on solid ground and was confident about LIVE on Elgin's chances for approval. "I thought it would be a slam-dunk," he admitted.

Unfortunately, this wasn't the case. The committee was split on whether to approve - the dissenters had reasons which were really irrational, according to Lawrence -  and it eventually came down to a tiebreaker that the Chair of the committee had to decide. Lawrence recalls that the variance committee managed to keep LIVE on Elgin's liquor licence in a holding pattern well past the club's launch date while it contemplated the application. As a result, the first week that the club was open, they served soda pop only because their liquor licence application had not yet been approved.

City variance committee member?

There were other issues: the building inspector was not an easy person to deal with. He misread the plans causing a misunderstanding about washroom capacity, which further delayed the permits.

That hasn't stopped many local musicians, poetry slammers, comedians, or theatre troupes from showing up at LIVE on Elgin. In fact, many local performers were supporting it before the venue got all their city approvals. "There were over fifty letters of support that were sent to the variance committee," Lawrence recalled. "From performers, musicians, producers...saying that we are the kind of venue that this city needs." It was encouraging that getting the support from the artistic community was easy: it was a sure signal that Lawrence and Jon were on the right track. "We hit the ground running, and we had a lot of really good support from Day One." They still do, and their reputation is growing.

SR: what would be the farthest "fringe" or niche performance that has ever graced the LIVE on Elgin stage?

LE: "The fan fiction night is... crazy!" Apparently, fan fiction can get pretty randy, and listening to the actors read it aloud sends the audience into hysterics. Lawrence added that other fringe performances are equally popular. "The Improv Nights are unbelievable. And Les Bunheads - they've auditioned for America's Got TalentAnd the Ottawa burlesque community consider us their home." 

Unconventional ballet duo "Les Bunheads!"

Many of the LIVE on Elgin events definitely cater to niche communities. As an example, the burlesque night is a dedicated performance once per month: therefore, it isn't competing with another performance genre. At LIVE on Elgin, catering to what works for the artists is key. "We've stuck with the artists rather than the producers, and artists feel at home here because it's a performance space,"  Lawrence noted. So far, it is working out well.

LIVE on Elgin has demonstrated considerable resiliency in terms of facing down city opposition and gaining and retaining support from the artistic community. Lawrence emphatically credits the participation from Ottawa's diverse performance community as the backbone of LIVE on Elgin's success. Rogers Cable have taken an interest, recording live music performances at the club and editing them down to be broadcast on YouTube - which is great for the musicians in terms of building their presence and broadening their audience. The segments air Sunday nights on Rogers Cable at 9 o'clock, and Lawrence estimates they have several months' worth of footage already in the can. It's another encouraging example of how arts and performance communities can support and cross-promote one another.

SR: A recent article in the Ottawa Citizen pointed out that both Zaphod's and Barrymore's had sold-out shows that week - mind you, one of those was Sebastian Bach! - and that this speaks to the need for more music venues in the NCR. However, when there are bars and clubs that struggle Monday to Thursday in terms of filling seats, do you think we need more venues or more support for the venues?

LE: "I think we need more support for the venues that we have." Lawrence pointed out that many people shell out big money to see out-of-town performers at the National Arts Centre, "...and then get squeamish about paying $35 or $40 to see local performers who are equally as talented." 

SR: And the NAC have pretty aggressive telemarketers as well! 

LE: "Extremely, extremely aggressive telemarketers. The people at the Gladstone Theatre, they can't afford to do that." He noted the irony of NAC patrons paying in the neighbourhood of $140 per ticket to see performers who don't live here or work here, and then balking at paying a decent price to support local performers. He feels it's partly due to an unfounded and incorrect assumption that the local talent is somehow inferior to the touring performers. Clearly there is money to be spent on art and performance, but patrons are choosing to support non-local entertainers. "It's really backwards," he observed.

 In addition to better support for local talent, Lawrence believes that the NCR needs more variety in terms of the size of the performance establishments. He noted that a lot of touring acts skip Ottawa between Toronto and Montreal because the NCR offers a choice between two gigantic stadiums, or smaller clubs the size of Ritual, for example. For certain performers, these venue sizes are too polarized and there is no mid-size that would suit the capacity that they are likely to draw. Lawrence's son and business partner, Jon, originally wanted to create a venue to meet that niche: 800 to 1000 seats, with a flexible space that could accommodate cabaret style seating or traditional theatre set-ups. LIVE on Elgin is proving to keep Jon busy enough, however, so the larger venue is part of his "Ten Year Plan." Lawrence agrees that it would help fit a need for music and theatrical performances alike.

SR: So we won't be seeing a "LIVE on Bank Street" or "LIVE on Woodroffe" anytime soon?

LE: "I think the next step is getting LIVE better known by the general public." Lawrence said that the arts and performance community are really locking in with the venue, and his hope is that people who don't move in the artistic circles will still make LIVE on Elgin their "go-to" for good entertainment at reasonable prices. Given how quickly the venue has caught on, the outcome is promising.

"I think we've met our goal," said Lawrence, "in terms of providing a space where performers are free to show up. We have built a space where many local performance acts feel they have a home." They feel they belong, here, he said, because it is an environment that is a performance space first and foremost.

SceneRazR loves a happy ending, and wishes LIVE on Elgin continued longevity and popularity!

SceneRazR is very grateful to Lawrence for giving so much of his time to tell his story and give us a guided tour. LIVE on Elgin is definitely worth some space on your calendar. Please visit LIVE on Elgin to see what floats your fancy - you will not be disappointed! >:]


Wednesday, 30 November 2016

Does Ottawa need MORE music clubs? Or does it need more SUPPORT for the clubs it already has?

It was great to see so many sold-out gigs on the Ottawa scene recently - a fact that was picked up and highlighted by Ottawa Citizen arts reporter Kirsten E. Endemann.

"Baz" sold out Bazmore's

Citing acts such as Coleman Hell and Ria Mae, who sold out Zaphod Beeblebrox on November 24, and Sebastian Bach 
who sold out Barrymore's Music Hall on November 26, Ms Endemann offered the opinion that these performances are "...evidence Ottawa needs more music venues, not fewer of them."

The nightclub at the end of the universe (or the middle of the Byward Market...)

Hmmm. My personal sentiment is that, we have plenty of Ottawa/Gatineau venues... we just need more of them to be sell-out shows. If we have clubs that are sitting empty on many nights, despite the fact that they are offering quality entertainment, I don't think we need more empty clubs. What needs to happen? More support for small business from the city? More support from art consumers? More grants for artistic enterprise?

Well I don't run a local entertainment business, so I don't want to speculate too closely ... instead, I'm interviewing some real local club owners who will tell us what is actually going on in and behind the scene, and what they think would make the Ottawa arts community more healthy and vibrant - with tons more sold-out shows. Coming up shortly, dear readers!

Saturday, 26 November 2016

Interview with Jumpin' Joel Flash!

As promised, readers, here is an update on what Jumpin' Joel Flash is about, is doing, and will be doing in the near future. Joel is a quadruple threat combo of vocalist, instrumentalist, actor and songwriter... and all-round killer entertainer. So I guess he's a quintuple threat? Anyway, math ain't SceneRazR's strong suit, hot local art scene is.

Please follow Joel on the links listed below to check in on his gigs and other happenings (especially you awkward first date aficionados >:] ).

SceneRazr: There is a lot going on in a Jumpin’ Joel Flash performance – not just musically, but in terms of performance art and improvisation. When you build your show, do you have a particular goal in mind in terms of what you want the audience to take away with them?

Jumpin' Joel Flash: Above all else, I’m looking to entertain. People could be doing anything else with their evening… other shows, movies, dinners, art, Netflix, etc... If someone has taken the time to leave their house, travel to the venue, pay cover, and wait patiently for the act to start, I think we, as performers, owe it to them to deliver something to remember. I want people to leave saying “wow”. It’s happened every time so far.

Joel Bringin' It
(credit Ryan Lindsey Photography)

SR: The cover tunes you play run a wide gamut of musical styles. This is true of your original music as well. Do you have a particular genre or style of music that influences or inspires your process?

JJF: I’ve always been a classic rock nut. It was actually Weird Al that got me into it… his “Hot Rocks Polka” turned me onto the Stones and it snowballed from there.

In college, I joined a local cover band called Barrelhouse. Playing with them changed how I looked at music, and for the better. I wasn’t afraid or turned off by things that sounded like they were recorded after 1980. We played a metric ton of Allman Brothers, but could also play full sets of Steely Dan. Intricate, complex tunes that gave me an appreciation for wildly different styles and grooves. At one point, we were playing the entirety of Abbey Road front to back. It was madness. But it all worked. And it was a stupid amount of fun.

Their influence remains with me. I like the southern crunchy jams and grooves of The Allmans mixed with fun harmonies and odd song structure of Steely. It all comes back to the Stones though. If my act could sound like Exile on Main Street then I’d be in a very happy place.

From left to right: Brad Cutler, Joel, Zoe Elizabeth and Robin Hodge
(as backing vocalists "The Ghost Lights")
(credit Ryan Lindsey Photography)
SR: In addition to performing in various musical acts, you’ve recently explored acting – and now you have also developed the score for an original musical – Phantom of the Opry – that will be staged in Ottawa in the near future. Could you walk us through how that evolved?

JJF: My wife began starring in a number of Local Director Brett Kellys films, including Homicycle, Raiders of the Lost Shark, and SpyFall. I began hanging around the sets and was eventually asked to try out for a couple of roles. Then I saw the open casting call for My Fair Zombie. My experience with musical theatre was absolute zero, but I dig zombies and I can sing, so I thought I’d give it a go.

I auditioned and got in, which was both a wonderful surprise, and a dreadful feeling of doom. I’d never acted….let’s say ‘theatrically’ before. Luckily, I was surrounded by such an amazing group of people that were happy to answer all my questions and guide me through the process. I was awed by their talent every time I saw them. I’m happy to call them all friends.  

After My Fair Zombie was over, Brett asked if I had any interest in writing the score for Phantom. Having never composed for theatre before, and having no musical director experience, I of course said yes.
SR: As well as being an insanely gifted singer, you play guitar in Jumpin’ Joel Flash, and play occasional trumpet in Fuzzy Bunny Slaughterhouse – also in Barrelhouse, your erstwhile blues lineup. Any other instrumental talents you haven’t told us about?

JJF: I can beatbox, but I haven’t yet figured out how to channel it into a performance. I also do a great impression of Stuart MacLean. Maybe they should be mixed? Vinyl Cafe R-r-r-r-r-remix?

Joel manifesting some of his multi-instrumental talents in Fuzzy Bunny Slaughterhouse (Ottawa's premier rabbit-themed rock band)

If i could get my hands on a keytar, I bet i could play that as well. Only if it’s hot pink though.
SR: That kerfuffle in the House of Commons where one MP made a fart simile during Question Period, and another MP said she was out of line: are you on “Team Fart,” or do you fall firmly on the lines of observing the timeless traditional courtesies of parliamentary procedure?

JJF: (insert ‘hot air in parliament’ joke here)
SR: What’s next for Jumpin' Joel Flash? Recording? More gigs? Let SceneRazR readers know when and where to find you  :)

JJF: More gigs fo’ sho’... I’m hoping to play around town as much as possible in 2017! The band is growing and is currently made up of some insane talent: The guitar stylings of Brad Cutler make everything we do all the more ethereal and epic and insert another ‘e’ word here. And I can’t go on enough about the vocal and performance stylings of The Ghost Lights… Zoe Elizabeth and Robin Hodge give our act a major dose of energy... their theatre background shines brightly in everything they do. They sound incredible and put on a show you won’t forget.   

And definitely people should come and check out Phantom of the Opry at The Gladstone this February!  The actors are wonderful, the script is hilarious, and the 10 original songs I’ve composed will get stuck in your head!  Lord knows they’re stuck in mine.

Also looking to record my first album! There is more than enough material… it’s just finding the time at this point. Also will need to get a few session players… or permanent band members perhaps?  Always interested in applications!  

So yeah…. Whew…. A busy 2017!  Can’t wait to share it with Ottawa!

SR: Thanks for taking the time to talk with us Joel, and please continue to keep SceneRazR looped in with your future projects and performances. Our esteemed readers can find Jumpin' Joel Flash updates at or contact him at In terms of band auditions, Joel is currently looking for keys and horns, so all you keyists and hornists should get in touch with him without delay!

Little Rebels Stick it to the Big Kids

Can I just say how COOL it is that Ottawa once again has a "real rock" station? And may I emphasize how HELLA-COOL it is that they're independently owned and operated? This is major. What Rebel 101.7 calls "The Evil Empire" (monolithic media giants) have been eroding the quality and integrity of journalism, reporting and media content for decades now. It is so bloody refreshing to hear Rebel voices on the air, bringing real rock back to the NCR.

Rebel's tune selection is very refreshing if you get tired of hearing the same old hits people have been spinning over the last 40 years or so. Not only do they play cuts that I haven't heard on mainstream radio ever in my lifetime (Butthole Surfers? I've never heard them anywhere outside my own record collection!), they also play local talent and are diligent about plugging local artists' music and shows. Just because. This is something that other so-called rock stations (sorry, if you play Neil Young at me you're not a real rock station) - the ones owned by the corpulent big-media companies - are not well known for.

If you don't already tune in, please dial up Rebel 101.7, and help them fly their freaky flag for all time.

Thursday, 24 November 2016

Rushin' (Russian?) with Jumpin' Joel Flash

Hey Maniacs, I have a must-see for you if you want crazy vox, belly laughs, and a feast for the ears and eyes. I'm talking about Jumpin' Joel Flash, a musical act that is taking the acoustic pub circuit by storm - and that will soon be moving to bigger and louder venues as the band's lineup expands.

Jumpin' Joel Flash took the stage at the Avant Garde Bar last Friday as the second of three bands, playing to a very packed house. In fact, it was so packed that the only pictures I could take were of the back of other peoples' heads.

I need to be taller

I love the Avant Garde Bar. I'm a major Russophile, and Avant Garde is a Russian-themed cafe/bar that has a very hammer-and-sickle art vibe going on with lots of pre-perestroika era propaganda posters on the walls. The bar is small but well-stocked and there was a large and thirsty population crowding about it when I arrived. Ochen' kruto! (Russian for: Very cool!)

Because Kandinsky

Jumpin' Joel Flash consist of the eponymous Joel handling emcee, guitar and lead vocals, Robin Hodge and Zoe Elizabeth as the backing vocal group Ghostlights, Brad Cutler on second guitar and as Head Fall Boy for a few comedic setups, and Kim Valentine on ukulele. 

 Joel plus Robin and Zoe

As the performance rolled out, it struck me that this band is the PERFECT act to see if you are going on that awkward first date - the one your brother/sister/best friend/(god forbid) MOM set you up on because "I know you don't know him/her very well but you two would be PERFECT together" and so you meet up with mister or miss Perfect and find out that you have NOTHING TO TALK ABOUT and spend the first three quarters of the date in agonizing attempts to find common ground so you can actually have a conversation. Or that first date you set up yourself where you feel very triumphant but are dying with anxiety, hoping that all goes well, and are second-guessing yourself because you are worried you won't be smart/funny/entertaining enough. Well, problems solved, dear people: make a Jumpin' Joel Flash gig your first date destination of choice. Here's why: there is so much going on during the show that you will a) be so entertained that you will not have to make conversation; b) be able to laugh together at the genuinely hilarious byplay onstage (laughing together = raised endorphins = major attraction); c) be so blown away that you will have plenty to talk about after the gig. 

Don't be like these people! Go see JJF!

Joel starts off with a wickedly entertaining takeoff on a classic Johnny Cash tune, and segues into pop tunes, Disney tunes, original tunes, all peppered with frequent jokes, improvs and audience participation sequences - propped up with entertaining interplay with his backing vocalists and musicians. Make no mistake: to really appreciate it, you HAVE to see it.

With this in mind, SceneRazR managed to catch up with this very busy dude after the gig to get more info on who he is, what drives his shows, and where to stay on top of his performance schedule (awkward first daters take note!). Interview to follow, dear readers. Meanwhile please visit to get up-to-date on Joel's latest and greatest events!

Tuesday, 15 November 2016

Ottawa Rockers BIG JEEZUS TRUCK open for legendary DIAMOND HEAD at the Brass Monkey

Hunt up your earplugs for this one, Maniacs  >:]

This Wednesday, November 23, local rock icons BIG JEEZUS TRUCK will be winding up the crowd at Ottawa's Brass Monkey for none other than Brit metal legends Diamond Head.

Slim Reaper of BJT

If history is anything to go by, this will be a ripping show. >:]

Over the past year, the Brass Monkey has been under new ownership and has undertaken some amazing renovations to the stage setup and the audience space. The vibe is cool yet laid back, there is still a large pool and darts area plus a private party room, and the owners remain committed to bringing in classic rock acts in a classy space. Make sure you friend them on Facebook and bookmark their events so you don't miss a trick in the Monkey cage!

Welcome to SceneRazr - Spotlight on the Baddest and Raddest Entertainment in the NCR!

Welcome to SceneRazR, Maniacs  >:]

To paraphrase an infamous person who inhabits the country south of our green and pleasant land: it's time to make things "great." With this in mind, SceneRazR will shine a huge spotlight on the spiciest, sparkiest, shiniest and darkest music, art, writing, film, theatre and performances/entertainment in the Ottawa-Gatineau area - with a major focus on LOCAL talent.

Follow us here at SceneRazR for links to primo events, interviews, and overviews of local artists and shows. Contact us at if you have anything you'd like us to promote in your local arts scene.

Looking forward to kicking it up!

-- Editor