The Other Side with photographer Alicia J. Rose

Born and bred in Los Angeles, Alicia J. Rose has been a professional photographer for nearly a decade now. She’s been working her way up the west coast since she left the roost at 18 and called San Francisco home for a while, before relocating to Portland in the mid 90’s, where she lives today. Although she spends most of her time taking photographs for artists like The Thermals, Menomena, Y La Bamba, Stars of Track and Field, and Golden Bloom, Rose’s interest in photography was sparked by her own love of music. She explains, “I started playing accordion as Miss Murgatroid in the early days, but I kind of lost my [interest in] it a few years ago. Only recently have I started enjoying myself again as a player. Oddly enough, it’s the drums that have drawn me in. I started playing at the beginning of this year and now I’m singing and drumming in a new duo called White Widow with my pal Shawna Gore. Apparently, I was a drummer hiding in an accordion player’s body. Who knew?” In the future, Alicia plans to take up film making, since directing is her new obsession. Through photography, she came to the realization that she had been directing all along. Making music videos was a way to incorporate a new energy and passion into her work, while applying a trained photographer’s eye.

We were able to convince Alicia J. Rose to step away from her double life as a music booker/promoter/partner at Mississippi Studios to tell us what it’s like to be on The Other Side:



Y La Bamba, photo by Alicia J. Rose

 Green Light Go: How did you get started as a music photographer? Was there a defining moment that inspired you to work in this field, or was this career path always in the cards?

Alicia J. Rose: I started photographing bands when I started booking and working in college radio (at KUSF) in 1990. It was a natural progression for me to combine these two loves, especially after I had some killer band photos taken by Don Lewis in Los Angeles for my Miss Murgatroid release, Myoclonic Melodies. Lewis was a film shooter who employed multiple light sources and long exposures to make photos that truly blew my mind. They were a perfect representation for me as an artist. It was then that I realized what a difference proper photography makes.

I considered photography as a hobby in the early days, but I photographed a lot of rad bands, like Steel Pole Bath Tub, Tilt, Ovarian Trolley and a few others who were mostly pals from the scene I was getting to know. I also had a sweet (but smelly) darkroom in the basement of the first club I booked – The Chameleon on Valencia Street. My first camera was an Olympus OM10 that my dad gave me when I left to attend S.F. State. The camera served me well until I got my hands on a medium format Yashica Twin Lens, which slippery-sloped me into the Hasselblad, a Swedish magic camera system that I am still obsessed with.

I think I became a “professional” music photographer somewhere in the early 2000’s, after I had worked with The Decemberists. I had a day job for nearly a decade with NAIL Distribution. When I left to take on the talent buyer’s position at Doug Fir Lounge, I was able to focus my energy on photography more. My proximity to musicians was quite synergistic for my photography career.



The Decemberists, photo by Alicia J. Rose

 GLG: Over the years, you’ve shot for quite a few music magazines, such as Under the Radar, CMJ Magazine, Spin, and Magnet and have earned an impressive roster of clients, including The Thermals, Golden Bloom, Vagabond Opera, Stars of Track & Field, and The Decemberists. Who are you shooting for these days and what bands are you working with?

AJR: This year, my work has mostly been with northwest bands. I just spent the weekend shooting one of my favorite new Portland acts, AgesandAges. They have a new album coming out in February with Knitting Factory/Partisan. I’ve also recently shot press photos and album art for Menomena, Fences, Hey Marseilles, Y La Bamba, Sean Flinn & The Royal We, Mackintosh Braun, and Musee Mechanique. To be honest, I’d love to get out of town (or out of the country) a bit more and shoot bands outside of the northwest. New locations and people provide new inspiration, which is good. I love being plopped in the middle of a new city and eye it from a photo-location-emotional-relation perspective.


Menomena, photo by Alicia J. Rose


GLG: When you set out to photograph a new band, how do you determine a location and how to set up the shoot?

AJR: I usually start by talking to the band and I spend some quality time listening to their music. I’ll find out what (if any) concepts they have been toying with. In listening to their music, I’ll glean for myself for some of the inherent themes present [in the tunes]. We talk about their inspirations, who they are as people, and what their music is about. I also like to talk about the places they feel a connection with or have access to. This can yield some fun results. Once we have things sorted out, I’ll determine whether [the shoot will be] a daylight or strobe affair. I’ve been really into mixing light lately to make sunlight my bitch with different reflectors and film stocks. Geek alert!

Sometimes there is collaboration [with the artist], but other times, I’m called upon to “wave the wand” so to speak and find the right setting, look, or theme on my own. Not everyone has a clear vision of how they should be represented in the public eye, because that can be really tricky. There are a lot of bad band photos out there. Luckily, I have been booking, promoting bands, and promoting shows for as long as I have been a photographer, so I can be the “band whisperer” and pocket psychologist in difficult creative situations. I usually get to the root of someone’s vibe or creative ethos through casual conversation and a genuine connection with their own process and musical vision. There is a way to bring out the best in every subject, if you know what you are looking for.

GLG: From a photographer’s point of view, how do you know that you are a good match for a band? What things do you have to keep in mind before agreeing to work with an artist?

AJR: Well, I definitely have to respect someone as a human being and appreciate what they’re doing creatively and professionally. I look at every shoot as [a way to add] to my body of work, so there is some pickiness on my part, but I also am up for new types of clients and technical challenges. I put a lot of work into my own process, so I tend to go deeper with folks on an art direction level, especially when I fall in love with [their] record. The bonus is that by creating unique and intuitive images for an artist, they become armed with the proper tools to forge a path in this messy little business.

GLG: What is the best piece of advice you’d give a band that thinks they are ready to hire a photographer?

AJR: DO IT…and understand that band photography is not an afterthought, it’s a statement and an investment along the same lines as recording, manufacturing, or graphic design. If you are a brand new band, have a friend that shows some photographic promise shoot you and [don’t be afraid to] be creative. After a spell, the amateur stuff won’t hold up, so to become successful and play bigger clubs, you will need a decent image for advertisements. This is when imagery, band branding, and aesthetic really start to matter. If there’s a specific photographer or artist that you resonate with, hit them up. If you’re nice, [the photographer] may do you a favor. In the meanwhile, save up [to hire a photographer]. It’s worth playing a couple extra shows to pay for band pictures, because sweet photos will lead to better bookings and a lot more press!

GLG: What are the most challenging and rewarding things about being a music photographer?

AJR: The biggest challenge I have faced is not being in the way of the right work [at times]. I live in Portland by choice, not in LA or NYC, so I often feel like I’m missing out on the big stuff. Plus, I remain unrepresented by a legit agency, but I maintain the belief that my work speaks for itself. I know [word] gets out there by proxy of my subjects’ travels, so hopefully, people who feel passionately about [music photography] will continue to reach out.

The best thing is getting the chance to consistently collaborate with other artists to help define their point of view through my own…that jazzes me to the core. It’s satisfying to dial talented artists in with images that compliment and help expand their own artistic and musical vision. Getting to apply my filter to [the band] is really a blast, but I don’t think it’s necessarily respected as its own art form. My years as a promoter have gifted me with the ability to key into aesthetics as a driving force of cultural zeitgeist. It is challenging, yes, but I figure it’s best to lead by example. My goal is to do my best to elevate my perspective by kicking ass and making more stunning and effective pictures. Lately, I have been on a kick to do more “holy trinity” work with bands. [This is] where I contribute to general art direction, create album art or take press photos, and create a music video for the release of a record. These 3-part zingers have proven to be my favorite, most challenging projects to date.

The Builders And The Butchers "Golden And Green" from Alicia J. Rose on Vimeo. Click Here to Read More..

The Other Side with The Red Alert's Adam McKibbin

It was May of 2005 when journalist Adam McKibbin, unveiled his interview with Shearwater's Jonathan Meiburg as the first post on the “indie-centric” music blog, The Red Alert. Over the years, the website has evolved to incorporate interviews with indie A-listers such as Weezer, Band of Horses, Dr. Dog, The Album Leaf, The Black Keys, Iron & Wine, Passion Pit, and The Thermals, as well as filmmaker turned recording artist turned “experimenter,” David Lynch. The Red Alert, which hails as a “Music, Politics and Progression” forum, has more recently expanded to include album reviews and Mp3 posts to highlight the independent artists they love, while helping the “casual music fan” sift through the overwhelming amount of music available at the click of a mouse.

We managed to track down The Red Alert’s Adam McKibbin in between his own interview sessions to find out what it’s like to be on the other side:

Green Light Go: What makes The Red Alert different from other websites?
Adam McKibbin: We're really DIY, so it took a few years to find professional web design. We update The Red Alert weekly and since there's no pretense to cover everything, that frees us up to cover anything we want, whether it's Arcade Fire, a weirdo electronic album, a comedy DVD, or a book about the war in Burma.

GLG: Do you think The Red Alert has a specific musical niche?
AM: Not really, although we generally (but not exclusively) huddle under the broad umbrella of "indie."

GLG: What contemporary albums are you looking forward to coming out?
AM: We're in the odd time of the year where we're besieged by gift box sets and holiday albums and, of course, a lot of hip-hop and R&B. Like everyone with an internet connection, I'll check out the new Kanye West and Cee-Lo, but I'm also a fan of Ne-Yo, and I have a soft spot for Rihanna. I'll definitely get Apparat's installment of DJ-Kicks, as well as the EPs by Liars and The Tallest Man on Earth. On the box set front, the Orange Juice box should be pretty cool.

GLG: How does The Red Alert support independent music and what is important about doing so?
AM: We seriously consider music from all corners. The elephant in the room in regards to "indie music," though, is that a lot of [indie rock] is really bad. I think the utility of mp3 blogs and indie-centric sites like ours is to be a bit of a curator for the casual music fan - because otherwise, it can be pretty overwhelming for someone who doesn't obsess over music 24/7.

GLG: Do you think online publications are taking precedence over print magazines? What kind of effect do you think that has on bands?
AM: That's certainly the direction we're headed, although I would imagine most bands hoping to make the A-list would still rather be on the cover of Rolling Stone than the homepage of Pitchfork. The variety of outlets is a very good thing, certainly, and allows communities to easily form around the most obscure of sub-sub-genres. In terms of reaching an audience and forging relationships, it's a great time to be in a band. In terms of spending a million dollars on a video shoot, however...[that’s another story].

GLG: What blogs/publications do you read other than your own?
AM: Daytrotter is a must-visit for me. Some of my other favorites, musically speaking, are Said the Gramophone, Large-Hearted Boy, The Fader, RCRD, Rollo & Grady, Muzzle of Bees, and I Am Fuel, You Are Friends. I also check Pitchfork, Stereogum and PopMatters.

GLG: If you could interview any musician or band (dead or alive), who would it be?
AM: Well, it would be hard to turn down an interview with any of the dead icons, from Elvis to Beethoven to Cobain to Coltrane to Lennon. Sam Cooke is a personal favorite. I'd love to interview Bob Dylan, but I would probably be better off with Leonard Cohen. On a more plausible level, I've always wanted to interview Okkervil River's Will Sheff, but haven't had the opportunity yet, as well as Nick Cave, PJ Harvey, Tom Waits, Thom Yorke, Beyonce, and Eddie Vedder.

GLG: If you could be in any band (of all time), who would you rock with?
AM: I'd transport my 6th grade self into the middle of Metallica.

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Music Monday - Consequence of Sound Talks Arcade Fire, Vampire Weekend and More...

Music Monday Q&A

Running a music blog/website ca be a 24-hour job. People like Consequence of Sound's Alex Young don't have regular set hours because if you want to break the latest news, and beat others to the punch, you need to be ready to do so at the drop of a hat. That means a lot of work, late hours and scanning the Internet for new music. Based in New York and Chicago, one of CoS' coolest sections is Festival Outlook; a database that keeps track of all the newest lineup and rumors running around for music festivals all over the world. They must have spies on the inside. Considering how busy he is, we truly appreciate Young answering our questions.

1. How long has CoS been operating?
We have been up and running since September 2007. Ironically enough, however, it was never meant to be one... it eventually evolved into. Initially, it was just a hobby, but after meeting Michael Roffman – who is now the President & Editor-in-Chief – it sort of quickly evolved into a full-time profession.

2. What makes CoS different from other websites?
I think the thing that separates us from a lot of other websites is our passion. It’s not like we’re making a living off this – at least so far – but we’re still completely obsessed with making sure we are first to report a story, review an album, etc. We don’t have necessarily have hours. Instead, we often find ourselves posting at all hours of the day and night, seven days a week. I’m not sure many other websites can say that.


3. Do you think CoS has a specific musical niche?
We pride ourselves on covering all genres, ranging from indie rock and hip-hop to alt-country and electronica. So I don’t think we have a specific niche per say.

4. What contemporary albums are you looking forward to coming out?
Arcade Fire, Ra Ra Riot, The Thermals, Beastie Boys, and Kanye West.

5. How does CoS support independent music and what is important about doing so?
I think it goes without saying that no one buys music anymore. So the best ways to support artists are to do things like buy merch, attend a concert, and telling a friend. So make sure you do that. On CoS, we do things like post tour announcements and provide links to buy tickets and post spotlights about up-and-coming bands. We are also really trying to get into the events business, which would serve as another vehicle to showcase independent artists.

6. Do you think online publications are taking precedence over print magazines? What kind of effect do you think that has on bands?
In some respects, yes, but I do think both can co-exist. A magazine is a better outlet for feature stories since it’s a more engaging activity to read print on a page than it is on a website. (People on the web have short attention spans.). But I think when it comes to news and learning about new artists, online publications take precedence. After all, a magazine cannot publish breaking news or include an mp3.

7. What blogs/publications do you read other than your own?
My favorite websites are twentyfourbit.com (most unique info out there), rockitoutblog.com (only music blog that is also a video blog), stereogum.com (they are some of the most clever writers out there), and brooklynvegan.com (since I live in New York).

8. What has been your most definitive moment since you started at CoS?
Standing on stage during Vampire Weekend’s set at Lollapalooza last year and staring out at the 60,000 people watching.

9. If there is any musician/band you could interview (dead or alive) who would it be?
Jack White. By far the most interesting musician alive. I would love to write a book about him one day.

10. If you could be in any band (of all time), who would you rock with?
The Clash? The Raconteurs? The Thermals? Couldn’t choose just one.

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