Author Archives: the LIFESTYLE

Feature: Vivian Garcia

Vivian Garcia has a wealth of experience as an artist. She has graced stages on multiple continents and draws from influences that are so varied yet performs each with grace and skill. A gifted vocalist who recently began accompanying herself on the guitar, Vivan has been involved with musicians and scenes located on both sides of the Atlantic Ocean and has connected with a global network of talented people.  We are extremely proud and excited to host her feature. Peep the dialogue below and check out her original track “Cold Bed,” and a link to her sound cloud following her words.

Leading off with some basics, where are you from? And where are you at?

VG: I am from Chicago, Illinois and a child of Cuban immigrants. I was raised on the north side of the city and glad of it as it is the most diverse part. Growing up I had friends who were Armenian, Turkish, Jamaican,Haitian, Philipino, Jordanian, Puerto Rican, Mexican, Cuban, Romanian,Indian, Pakistani, Assyrian…the list goes on. I did not realize then how influential the contact of these cultures would be in my music and my overall formation as a human being. I would not have it any other way.

I currently live in Madrid, Spain. I have been here since the fall of 2010 working on an M.A. Spanish and Latin American literature. I dreamed of living in Spain since I was 18. I tried as an undergrad to enter a study abroad program but was not accepted. In 2002, I tried once more, this time to a M.A. Program and was again not granted acceptance. In 2005, I left a post as an administrator for an alternative school system in Chicago to FINALLY come live in Spain. I studied Flamenco guitar for 3 months in Granada ( still my FAVORITE Spanish city) and from that point on vowed to return as often as possible.  In 2009 I returned to Granada to again take Flamenco guitar lessons at the Carmen de Las Cuevas school and in 2010 was FINALLY granted admission to a Master´s program at Saint Louis University in Madrid.

 I spend my time between my two muses, literature and music as well as the two cities Chicago and Madrid. I go home over the summers and Christmas to play shows and visit with family so it is not uncommon for my friends on FB to wonder which city I am residing in at any given moment.

What does Reflection and Response mean to you?

VG: I believe that art, in any of its mediums is not a passive endeavor. While some forms are created in solitary moments, painting for example, it is still a synthesis of the artists experiences with life, friends, family etc. and that same work then resonates in many different ways with viewers depending on their frame of mind and frame of reference, which even if silent, results in a dialogue. Music, well, on the one hand it is solitary in the moments of learning to play one’s instrument, but after that it can be a very communal and fluid experience. My time in Madrid has made me EXTREMELY grateful to have the ability to play and sing because it has allowed me to participate in spontaneous jam sessions in the plazas and parks here with people from all over the world just passing through. We have not always had a common spoken language, but the idiom of music has allowed for profound exchanges to transpire and suddenly, it is not just the people playing or singing involved, it is a whole circle of “spectators” who are now ACTIVELY participating in and helping to create the art in that moment.

I am a big fan of breaking down those rigid definitions of passive audience and active artist and so anytime there is a way to bring everyone into the fold it is a beautiful thing. I would say though, that transitioning from live performance to recording has been tough for me in the sense that I am not physically part of the instantaneous response to the art. It is a nice feeling though when people say they have been listening to a particular song on their own time in their own space and able to articulate how that theme resonates with them so I guess the reflection and response part comes in then 🙂

How do your current artistic endeavors fit in with that definition?


VG: I am in a huge stage of transition in ALL aspects of my life. At times it can be really challenging to know who I am or where I am because of living in two different countries, cultures, groups of friends. The common denominator has been my music. I have performed cover songs form most of my musical career. I am not ashamed of that-in fact I love interpreting great songs a new way.  Now, because I have just recently started to create new music and actually record it and THEN actually share it, my friends and family in Chicago and elsewhere have the opportunity to comment on what I have been creating here in Madrid. The feedback has been lovely, if at times overwhelming. It has though engendered a new dialogue…musicians I have collaborated with in the past back home are hearing the stuff I play here and want to make plans to create when I get home for the summer. I am hoping it is not too grandiose of a plan to try to get some trans continental stuff going and have musicians from both locations working together on the same pieces. I am not technologically savvy so we will see if I can get to that point.

What else have you been working on recently? What are you looking to work on next?

VG: I still perform covers when asked to play longer shows but in connection with the last question, I am really excited about the work I have been doing with Peter Muller. Really, it has come as a pleasant but wonderful surprise how two people from totally different backgrounds and generations..I am not a grandma but.ok lets just say I grew up in the 80´s , anyway it´s great that we can just click and make things happen.  I come in with a chord or two or one line of verse and suddenly there is a whole song. We jokingly call a side project the “dregs” because after we are finished recording whatever it is we are working on for the day there is some kind of awesome spontaneous instrumental number that just surfaces. I would like to see in the months to come where we can go with this.

Who or what inspires you?

VG: In general the people who inspire me are everyday folks who even with extenuating or stressful circumstances find it in their person to be kind and giving to others. Truly, I am a believer that people flourish and become their best selves when shown support, and kindness and nurturing. There is a quote which I feel best embodies this notion:“Too often we underestimate the power of a touch, a smile, a kind word, a listening ear, an honest compliment, or the smallest act of caring, all of which have the potential to turn a life around.”-
Leo F. Buscaglia

On a musical level, man, there is no dearth of people who inspire but if I have to be true to myself, it is seeing women, young or from previous generations who sing and play their own music. I listened to lots of Billie (Holliday) and Ella (Fitzgerald) as a young woman but truly grew to appreciate Nina Simone as I got older and realized just how amazing she was as a composer and performer. Currently, I am really digging on Esperanza Spaulding, Lianne la Havas, Nneka, Asa, and let me not forget Tracy Chapman. I think listening to her and seeing her in concert a few times in college made me want to pick up the guitar and play. And in the world of Spanish music….I love Bebe and Amparanoia.

Shout out to…?

VG: Well, I definitely have to thank my sister Laura Garcia who may not always agree with the path I have chosen but has always supported it. The Q4 collective in Chicago and Multi Kulti for allowing me to play so many great shows.  For sure all the musicians in Pilsen in Chicago…amazing amazing talent in ONE neighborhood. I have been lucky enough to be accompanied by some wonderful son jarocho groups 🙂 And in Madrid…well shout out to the Triskel open mic regulars. I can´t believe how many uber talented people come to share their music in one crowded basement! Last but not least Domenichi Morris and Ricardo Chavez, my awesomely talented musical partners in crime these past few years in Chicago!

Cold Bed by Vivian Garcia.

Slide guitar by Peter Muller

Listen to Vivian Garcia on Soundcloud

-Reflection and Response

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Snapshots From The Collective

birdboy by Ana de Andrés Moreno

Sometimes we need to fly.

(El Jadida, Morocco)

– Ana de Andrés Moreno

Reflection and Response.

The Snapshots From the Collective series works to create a space for Reflection and Response through photography. ANYone who wants to contribute ANY photos to this project can email us submissions at the.lifestyle.rr@gmail.com. One photo will be posted each week, and photos will only be used for the purposes of this series. Thank you and we look forward to building and expanding the Collective!!! -P & V

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Talk of the Town: The End of Local?

In a recent interview with HipHopDX legendary leader Chuck D of Public Enemy states:

“(Y)ou have somebody who comes up in a local [scene], at least they should be heard on local radio. But corporate radio and corporations have dominated over that existence, wiping out that foundation [for fairness]. And therefore the little business can’t even start up right, unless it’s corrupt and just totally, violently opposed to what the community is evolved from. So you gotta be national to even make it locally, where you should be local to make it locally.”

Do you have to “be national to even make it locally,”? What is your experience with current local scenes?

-Reflection and Response

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Snapshots From The Collective

human beings  by Ana de Andrés Moreno

No man is an island, entire of itself; every man is a piece of the continent, a part of the main; if a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friend’s or of thine own were; any man’s death diminishes me, because I am involved in mankind, and therefore never send to know for whom the bell tolls; it tolls for thee. (…)
John Donne, Devotions Upon Emergent Occasions 
Reflection and Response
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Two Tracks From a Documentary

Seattle, 2010. Just back from Argentine study abroad. My friend Yasmeen was finishing her film studies at the University of Southern Califronia and was doing a documentary and asked for some tracks. I put these together and she ended up using “Yasmeen Slower,” in the film.

Yasmeen Louder:

Yasmeen Slower

Reflection and Response

-P

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Feature: Leopoldo Pérez Obregón

This week the LIFESTYLE brings the Feature series back with a global conversation based around Reflection and Response. Leopoldo Pérez Obregón’s craft is unique, innovative, yet informed by the various cultures of his home region of Corrientes, Argentina. His band Acorriente represents this dedicated craft and has shared the stage with the biggest names in Argentine folk music at the National Chamamé Festival in Corrientes. Check the interview below for more about Leo’s current and upcoming projects with content after the conversation. He is a craftsperson in motion.

Para empezar con algunos puntos básicas, de dónde vienes? Dónde estás?
Leading off with some basics, where are you from? And where are you at?
LPO: Yo nací en Corrientes, norte de Argentina, una de las provincias más pobres del país. Ahora vivo en Buenos Aires, aunque no estoy seguro de eso. No importa que pase el 90% de mi tiempo en esta ciudad, siento que sigo viviendo en Corrientes y acá sólo estudio o trabajo.

LPO: I was born in Corrientes in northern Argentina, one of the most impoverished states of the country. I currently reside in Buenos Aires, although I’m not sure where I live. Although I spend 90% of my time here in this city, I feel that I’m still living in Corrientes because I only study and work here.

Que quiere decir Reflection and Response para ti?
What does Reflection and Response mean to you?

LPO: No creo en las ideas que sostienen que el arte es esa cosa mística, romanticona y siempre bella que surge de expresar los íntimos sentimientos. Esa búsqueda por la espontaneidad irreflexiva y holgazana es una de las cosas que no me gusta encontrar entre los artistas.  Por eso es que la idea de Reflection and Response me dice mucho, porque creo que del autismo en el arte no puede salir nada bueno.

Muchos artistas viven enamorados de su propia obra, y suponen que siempre sus creaciones son “innovadoras” porque asumen que el campo cultural en el que operan es una tábula rasa que empieza a escribirse desde el momento en el que ellos compusieron su primer canción o terminaron su primer lienzo. Cualquier intento de creación que presuma un campo cultural vacío, y que su aparición es acontextual, está destinado a ser un fracaso, a la irrelevancia, aunque pueda conseguir al principio alguno que otro aplauso fácil.

De esta manera entiendo que es fundamental que la comunidad de artistas no sea una comunidad de ciegos y sordos que pretendan crear siempre ex nihilo. Necesitamos saber que se hizo antes, y qué están haciendo los demás, para que nuestras propias creaciones tengan relevancia y puedan dialogar con los aportes anteriores que otros seres humanos fueron haciendo y hacen alrededor del tiempo. Si cada uno está preocupado por producir mucho y reflexionar poco, entonces hay mucha respuesta, pero poca interacción entre todos nosotros, y eso tampoco sirve.

“El que se larga a los gritos no escucha su propio canto”, dice una canción de Atahualpa Yupanqui, uno de los más grandes folkloristas que tuvo la Argentina. Seguramente a él le hubiera gustado mucho la idea de Reflection and Response.

LPO: I don’t believe in ideas that decree that art is some mystical thing, romantic and always beautiful and comes from expressing intimate feelings. I’m not attracted to the drive for spontaneity and idleness in artists. Indeed, Reflection and Response is meaningful for me because I don’t believe much can come out of from artistic isolation. Too many artists live enamored of their own work and believe that their work is somehow “innovative,” because they think the cultural field in which they operate is a blank slate that began when they started to compose their first song or finish their first canvas. Any intent to create based on the idea of a completely new or vacant cultural field with no context is destined for failure and irrelevance, though it may achieve some cheap applause.

Based on these ideas I find it fundamental that the artistic community not be blind and deaf and pretend to create out of nothing. We must know what was done before, what others are doing and creating in order for our creations to be relevant and can dialogue with previous ideas that human beings have been working on for all time.  If everyone is focused on creating great quantities of work with little reflection, there remain many answers with limited interaction between the artistic community-something that doesn’t matter.

“One who strays too far from cries does not hear his or her own song,” sings Atahualpa Yupanqui, one of the most important folk artists in Argentina. He would have surely agreed with the idea of Reflection and Response.

Que más estás haciendo actualmente? Que proyectos estás pensando trabajar próximamente? Como se encuentran esos proyectos con tu idea de Reflection and Response?
What else have you been working on recently? What are you looking to work on next? How do these projects fit in with your ideas on Reflection and Response?

LPO: Acorriente es una banda que hasta ahora logró insertarse bien en el campo cultural local. Creo que eso responde no sólo al talento individual de cada uno de los músicos que componen la banda, sino a una lectura buena del contexto artístico actual y a una intencionalidad de intervención sobre el campo cultural muy premeditada, y creo que exitosa en cuanto a sus cualidades estéticas también.

La banda puede disfrutarse sin conocer cómo ni qué es la música de Corrientes -que vendría a ser el chamamé-, pero si conocés el contexto probablemente puedas disfrutar de otras cosas que hacen que la banda tenga algo muy particular para decir.

Te mentiría si no te dijera que está entre mis planes recibirme de abogado. De algún lado tengo que sacar dinero para hacer música! Tengo un proyecto para hacer un registro audiovisual de dos músicos que a pesar de su talento sólo quedaron como grandes músicos de pequeños pueblos. Quiero reivindicar la figura y el talento de esos personajes ocultos por la pobreza y la marginalidad. Como proyecto artístico este año si puedo terminar eso estaría más que contento, además de hacer alguno que otro show con Acorriente.

LPO: Acorriente is a band that has been able until now to get involved in the local cultural scene. I believe that this comes from not only the individual talent of each member of the group, but also an astute understanding of current artistic context and a deliberate intention to get involved in this scene, and also positive aesthetic qualities. Although one can enjoy the band without an understanding of music from Corrientes, known as chamamé with an understanding of our cultural context one can enjoy particularities in our music that shows the band has something to say.

I would be lying if I did not say that graduating with a law degree wasn’t in my future plans. Somehow I have to make money to be able to create music! I’ve been thinking of doing an audiovisual collection of two musicians who are talented yet are only considered great artists in small towns. I would like to vindicate the talent of these people who have been marginalized because of poverty. I would be more than happy if I’m able to finish this project and do another show with Acorriente.

Quien o que te inspira?
Who or what inspires you?
LPO: Las mujeres Peter! Me inspiran las mujeres! Igual que vos, empecé a hacer música para tener muchas chicas. No, mentira, fue una mezcla de cosas. En realidad creo que hay que trabajar mucho y tratar de buscar menos el momento mágico de la inspiración, yo no me inspiro, pienso mucho en mis composiciones. Cuando atravieso momentos emocionales fuertes no me salen mis mejores cosas porque me cuesta pensar.

LPO: Women, Peter! Women inspire me. Just like you, I began to play music in order to meet women. Joking- it was a mix of things. In reality I believe it requires a lot of work and the attempt to find that magical moment of inspiration. I don’t get inspired, instead I labor over my compositions.  My best work doesn’t come out when I dare to work from strong emotions because it becomes difficult to think.

Hay algo más que quieres que sepa el Collectivo?

Is there anything else you would like the Collective to know?

LPO: Sí. Quiero que sepan que tengo un trauma con que las cosas me van a explotar en la cara. Cada vez que voy a mear, por ejemplo, cuando me voy a secar las manos con la maquinita esa que sopla viento me agarra un miedo! Ni hablar del dispenser de agua caliente para el mate o del motor del auto.

Ah, y soy peronista. Muy importante.

LPO: I would like people to know that I am traumatized by that which blows up in my face. Whenever I go pee, for example, when I put my hands under the dryer I get a fright! Not to mention hot water from the thermos for mate or car motors.

Ah, I also am a Peronist. Very important.

Saludos a…?
Shout out to…?

LPO: Un gran saludo a mi amigo personal Roger Waters que viene a tocar a la Argentina dentro de poco, y al compañero Peter Muller, para que nunca se olvide de los pibes del barrio.

LPO: A shout out to my good friend Roger Waters who is shortly coming to Argentina to perform, and to my homie Peter Muller, so that he never forgets the neighborhood kids.

Acorriente: http://soundcloud.com/leobregon/sets/a-corriente/

Leo’s Blog: http://www.lavidayotrossonidos.blogspot.com.es/

Reflection and Response.

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Shake This Maze Album Release Party

On Friday March 23rd we did the first Shake This Maze album release party at an apartment in La Latina, Madrid. We brought our own PA and rearranged some furnitaure that made the living room into a fitting venue. Special thanks to Danny Kaufman, Katie Wear, and the incredibly talented Vivian Garcia for helping us make this independent project debut pop. Reflection and Response is live out here.

Reflection and Response

-P

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SHAKE THIS MAZE

Shake This Maze

Shake This Maze is a project that started sometime around 2009 in Buenos Aires when I decided to get back into writing more personal lyrics. During this time I had the good fortune to be able to work with talented musicians both inside and outside of the city of Buenos Aires. Conversations about life in Buenos Aires can be heard on “The Villa,” which was recorded in Villa Carraza, a low-income area outside of the city. While in Argentina I also work with a woman with an amazing voice whose version of “The City,” brought out such soulful tones in the track.

After moving back to Seattle to finish school at the University of Washington I formed a group called 55thandBrooklyn, and tracks such as “Past That,” “Wake Up,” “He’s Your Guy,” and “The Christmas Song,” were part of the live set of 55th later performed live around Seattle at venues such as Fourno’s, Lucid, and Waid’s in early 2011. After graduation in March 2011, I got a job at Duke’s Chowder house, a Seattle seafood chain restaurant. The members of 55th had gone their separate ways and I focused on solo lyrics accompanied by acoustic guitar. Experiences from Seattle during this period crafted through this type arrangement can be heard on “This job,” “Making Spaces,” and “Jade Eyes.” Final recording of these later tracks was done in two different apartment studios in Madrid, Spain.

The final two tracks of the album were projects begun years before I even left for college. “Livin on the West Coast” comes from the P.Muller and Sneaky V days of 2002-2006 when V and I first started messing with composition and arranging music with Garage Band in Berkeley. In  “Spark This Shit Flaming” I used a beat from Seattle that samples me playing drums from my parents basement in 2003.Then in Spain I wrote the lyrics and recorded and mastered the track.

I started out using Logic Express 8 in Argentina and finished up with Ableton Suite 8. I have used the same Apogee one interface and MXL V88 mic for 3 years.

While the tracks mostly come from me, this project is 100% collaboration between V and I. If it weren’t for his idea to start this project, there’d be no album. If it weren’t for his craftsmanship, the tracks would have no presentation.

In order to purchase the album:

-Directly from Peter in Madrid at upcoming shows, album release parties, open mics, other shows or contact at the.lifestyle.rr@gmail.com

-Directly from Vicken in the New York City area or contact V at the.lifestyle.rr@gmail.com

-For orders not in Madrid or New York City…

Shake This Maze USA:

Buy Now USA

Shake This Maze Europa:

Buy Now Europa

-8€ for European orders and $10 for orders in the United States. All other currencies are accepted.

An important idea of the album comes from the title track: “Shake this maze to the core with these chords and verses/Mix genres like cops, johns, whores, and virgins/Turn the source of hurting into a sense of pride/ Find the gold on the shipwrecks of life.” Music for me has been a main source of Reflection and Response, and the tracks on this album are just that: Reflections on everyday experience. This release is an ultimate Response.

The making of the album artwork was a handcrafted process involving 6 stages and multiple mediums. We started by ordering 50 blank recycled chipboard album covers and some CD sleeves from the good folks over at Stumptown Printers, and Shake This Maze was soon on its way…

1. Cover Art, Part 1: Acrylic paint stencil

I started the cover art by cutting a stencil of the “PM” logo that I had created for Peter about a month ago. An old-school classic stencil made from the basics: a manila folder and an exacto blade. Using red acrylic paint and a brush, I hand stenciled this first layer on the units.

2. Cover Art, Part 2: India ink stencil

Next, I cut another stencil of the lettering I drew up for the album title, Shake This Maze. Using india ink and a brush, I centered this second layer over the red “PM” backdrop.

3. Back Cover

For the back cover (not pictured) I hand-wrote some credits with a Pigma Micron #8 pen..

4. Tracklist

Moving on to the tracklists, I used a Pigma Brush pen to write the song titles. I also marked each unit with a 1/50, 2/50….49/50, 50/50.. on the right inside cover. It would be dope to see where all of these end up, so hit us up with the whereabouts.. we might have to set up a map to keep track!

5. CD Labels

I printed the “PM” logo and the “Shake This Maze” lettering on Brown Kraft CD Labels, which we then threw on each CD..

6. Assembly

Finally, using a hot glue gun, I folded and assembled each case. Look for more goods in the inside left pocket too!!

This was a dope collaborative project to work on, and it’s amazing how each album case turns out to be unique in some way – whether it’s slightly different placement of the cover lettering stencils, or the individually numbered inside pocket…they all have their own vibe and character! I think this handcrafted approach is the only fitting way to showcase Peter’s original, honest, and raw creative talent. Reflection and Response.

V.

Reflection and Response.

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