Interview: PremRock
PremRock
Interview & Photos By: Edwina Hay
Rapper PremRock has been a part of the independent scene in New York City for years now and has performed alongside rappers such as Open Mike Eagle, Armand Hammer, milo, and others. He’s impressively released two albums in 2020 and 2021 as a solo artist and with Curly Castro as a duo called ShrapKnel.
His newest album, Load Bearing Crow’s Feet, was released by Backwoodz Studios in June 2021, the independent label created by billy woods, that also put out ShrapKnel’s self-titled record in March 2020. In this interview, we learn more about PremRock’s newest album, how he met some of his colleagues, and what he read and listened to when New York, and most of the world, shut down.
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PremRock, you just held a record release show for your latest solo record, Load Bearing Crow’s Feet, which was your first live performance in 16 months. How did it feel to perform in front of an audience again?
PremRock: Definitely was a mixture of emotions. It felt great to actually perform but the rust felt a little apparent so leading up to the event I was a little nervous in terms of the actual logistics of everything. It came together remarkably well and I really appreciate the fellow performers for being on time and being incredibly positive. It goes a long way when producing a show.
At the show, you remarked, “Before COVID, I brought my own mic, now I doubly do it.” Can you tell us more about your microphone? Why do you use this specific one? When did you start bringing your own mic to shows?
PremRock: Yes! It’s a great idea I recommend to all artists, specifically touring ones. Actually in the market for a new one at the moment. Willie Green got the one I use now from the company and he graciously has let me hold it for…damn maybe 5 years now.
Your record release shows always seem to have great rappers sharing the stage with you for a night. How did you select the acts and special guests for the LCBF show? I hadn’t seen Fatboi Sharif before and excitedly texted friends about his entrance music before his set began.
PremRock: Sharif has entered my artistic orbit since he released Gandhi Loves Children. Since then we’ve been super friendly in our communications and I could tell right away he was a good person on top of being an incredibly creative and talented artist. It felt like a natural progression to get him involved. Zilla and Castro are obvious for me, that’s the team. Always enjoy having them up here. I specifically wanted to get Brainorchestra involved after his contributions to LBCF. I really admire his work ethic and quality of output. Anyone can drop something consistently but very few can do it at the level he does. Jarv, I met a few years ago on the road and was blown away by his live show. He’s truly a gem. He recently moved to BK so I thought it would be a nice maiden voyage and guessed correctly!
This album was another one of yours recorded by Willie Green. How did you two first meet? What was the recording process for this new record like?
PremRock: Green and I met in early 09’ at an open mic called BondFire at Bowery Poetry Club through the grace of Warren Britt. The indie scene here was really pretty vibrant and supportive, we clicked pretty naturally after the initial meeting. I recognized his talent pretty early on but what really sealed it was his organizational skills and professionalism. He’s got it down and he expects you to do the same which is why we became fast friends and creative partners in that respect.
Since you’ve worked with Green numerous times in the past, do you find that he knows the sound you are looking for and that you have a rapport with him? Can you tell us how this album was recorded? Was there a particular sound you were looking for with LBCF? When I listen to the record, I noticed horns on certain tracks like “Death on the Installment Plan,” “Prairie Burn,” and “Soft Machinery,” and I don’t recall that sound being on your prior records as much.
PremRock: He definitely knows how to mix my voice and has done so more than any other engineer. It’s a lot of trust for me but to set it and forget it so to speak is such a luxury. I will never have to peer over his shoulder or nudge him for any reason. He knows what needs to be done and does it. Good call with the horns! Didn’t particularly notice that myself. I love reggae and that’s where I went with “Prairie” as a producer. “Machinery” had a wonky drunk trumpet I like and felt was missing from my catalog and “Installment Plan” is just such a banger. The signature song it felt like immediately. The sound I am looking for is sort of ineffable. The kids might say it’s about vibes but it really is. I know what’s missing and seek until I find it. Probably why I don’t release solo albums often. It’s a process and Green is there to guide me.
You recently released the first video of the second track from Load Bearing Crow’s Feet (“REMORSE” featuring ELUCID) which begins with you on the ground, rapping in a chalk outline, but also features you throwing rocks in a train tunnel and other interesting visuals. How did you choose the director, Ariandé King, and how did you create the concept for the video for “REMORSE?”
PremRock: Interestingly enough, I was approached by my younger brother’s childhood friend Josh Layton who worked on the video and they asked if I’d be down to come to Philly and shoot a concept they had in mind after hearing some unreleased songs. They settled on “REMORSE.” Incredibly professional bunch...they had every minute mapped out to a tee on the day of the shoot. It was a lot of fun and I really hope to work with these guys again. Fun fact, there was someone living really close by on that train track scene, they just shouted, “What’s up?!”
Your music gives listeners insight into your influences due to references to literature or other musicians. Two examples that come to mind are one of your previous records, Mark’s Wild Years, which demonstrates your love of Tom Waits, and on the new album, a song called “Apollo Kids Meal,” a reference to the Ghostface Killah song, “Apollo Kids.” Since we all spent more time at home during the pandemic, I’m curious what were some of the things you listened to and/or read over the past year?
PremRock: I read some interesting stuff. More Baldwin, Marquez, Tom Robbins. Nafissa-Thompson Spires and Tommy Orange were the new-ish writers I checked out. Tried to diversify and really started out guns blazing but faded as each day felt just like the last, I mean we all went through it. Music-wise, I dug into Scarface and David Bowie a lot. Khruangbin, Serengeti, Quelle Chris, Shabazz Palaces, Boldy James, Stove God Cooks. Big Thief, Japanese Breakfast, Mount Eerie/Microphones---anything Phil Elverum related, and of course all the unreleased stuff from myself and the crew. Watched a TON of movies and that’s probably a separate interview altogether. I think I did the most my mental bandwidth would allow. Should’ve listened to more Neil Young and Reggae. Everyone on earth should listen to more Reggae.
In March 2020, your duo with Philadelphia rapper Curly Castro called ShrapKnel released a new album but unfortunately, touring came to an abrupt end that month due to the COVID-19 pandemic. How did ShrapKnel start and how do the two of you write songs for this project with him being based in Philly while you live in New York? Were you able to do any live shows for this record before events were banned across the US and the rest of the world?
PremRock: We really didn’t get that chance, unfortunately. We had more than a couple of things lined up and like for many people, it all came crashing down. We were able to link for the follow-up throughout the pandemic strategically. It was tough, but we made it work. Then since we both got vaccinated, it felt easy to traverse back and forth without a lot of fear.
How long have you known Curly Castro and when did you begin making music with him?
PremRock: Castro and I met at a battle-type event in Philly back in like 2013 or something. It was definitely a “can’t beat ‘em, join ‘em” scenario. We hit it off pretty well immediately but I don’t think either of us ever saw this happening. It was a pleasant surprise that the chemistry was as pronounced as it is/was and we are certainly running with it. Making music together comes very natural to us and it’s always a fun process.
On Sunday, August 15, 2021, ShrapKnel will take the stage at SummerStage in Central Park with other Backwoodz Studioz artists for your biggest hometown concert to date. Are there any sets you’re looking forward to seeing that day? Are you ready to go from playing an intimate record release show in Brooklyn at the end of July to a large outdoor stage in Manhattan almost a month later?
PremRock: I am extremely excited in general just to take in the whole scene. I mean it’s Alchemist! Backwoodz has come such a long way. It's really inspiring to watch it all unfold and to be part of the movement means extra. The magnitude is definitely not lost on me and I hope it isn’t the last time we play a stage this big but I like to think I’ll be at home in both settings. I like to perform.
INTERVIEW: The Weekend Ladies
The Weekend Ladies
The Photo Ladies Interview - by Edwina Hay
The Weekend Ladies is the new musical project by Tessa Greenberg and Ariel Sims. Their previous group together, Tayisha Busay, disbanded in 2012 with their final performance occurring at Glasslands Gallery in Williamsburg, Brooklyn only for that venue to close their doors in 2015 due to a new, more profitable, tenant desiring that same location for their new office. Their upcoming EP, Ghost Town, began to form in 2016, a year that marked personal trauma, loss, and the election of Donald J. Trump as president of the United States. Nearly five years later, we’re in a pandemic and most places in New York City are closed because of the deadly Coronavirus a.k.a. COVID-19.
The Weekend Ladies’ newest single “Love is a Choice” can be purchased on Bandcamp and their full Ghost Town EP is now available on all platforms. In this interview, The Photo Ladies help you get to know The Weekend Ladies.
Instagram, Twitter, Facebook, Bandcamp, YouTube, Soundcloud, Spotify, iTunes/Apple Music
Tessa and Ariel, how did you two first meet and decide to make music together?
We met in 2003 at Marymount Manhattan College while studying theater, but we first got to know each other while taking a radical liberal arts class about the social taboos around menstruation. That class ended up informing so much of our shared feminist views that we still incorporate into our art and activism to this day. However, ultimately the music and collaboration were born out of dissatisfaction with what our theater education had shown us in terms of performance outlets. We were both theatre misfits and began looking for alternative ways to engage in the performing arts. I think we both identified in one another that feeling of "Ohhhh, YOU'RE a cool weirdo TOO!" During this time, Tessa had a video assignment for a film class - a song and music video about her favorite sneakers - and asked Ariel to collaborate. It was fun, weird, and it gave both of us some of that outlet we had been looking for that made us think: “hey, we don't have to audition for anything ever again, we can just make our own music and performance art.” We bonded over our shared childhood of singing and taking dance classes during the Jock Jams/90s house & freestyle music era that became a sort of holy grail for us and continues to inform our taste and musical style. After college, we kept making our own weird songs and performances and within a year, we had a handful of bizarre electronic songs written using a free version of Apple's GarageBand that we started performing in the back of bars at odd weekday time slots. At first, our act was more of an early 2000's digital love letter to vaudeville and it didn't fit into any genre but we just kept doing it and enjoying it more and more. Then one day, we sort of looked at each other and said, "Could this be a real thing? Should we maybe try and be….like...an actual band?" The answer was yes.
Ariel during Tayisha Busay’s set at Public Assembly on June 24, 2010.
Tessa during Tayisha Busay’s set at Public Assembly on June 24, 2010.
I met the two of you via your previous group, Tayisha Busay, and first saw you perform before Big Freedia at Public Assembly during the Northside Festival in 2010. Can you tell us the importance of New York City in the formation of your music as Tayisha Busay and how that led to your new duo known as The Weekend Ladies?
As Tayisha Busay, we first existed on the furthest fringes of an already fringe scene. We weren't an indie rock or folk band so it was hard to get on those bills, and we weren't a hip hop or DJ act either. At first we really just squeezed our way into every possible show that needed a spot filled... I mean we FINAGLED! We mostly played in Brooklyn and the Lower East Side of Manhattan where there was a lot going on musically. Still perpetually outsider-weirdos, we weren't chic, slick or cool, and we often felt incredibly bored at the popular shows where the bands took themselves too seriously. As young artists, we battled an immense amount of sexism, misogyny, and exclusion, even after the addition of our third member, Brandon Levesque. We rejected the idea that we had to be a sexy women-led band and instead we leaned into our sense of humor and corny Bat Mitzvah-Slumber-Party level stage antics from our Jock-Jams-School-Play-Theater days. We knew that it was our New York too and that we could define it for ourselves. After a couple of years of playing out, we finally crossed paths with some fellow, like-minded DIY electro-pop acts like Planet Rump, Suspicious Package, and Great Tiger. By 2010, indie-electro and DIY dance-pop was more of a "thing" and it felt like New York was finally embracing it (and us) a little bit. Most of the love we got was in the gay bars and alongside other queer acts - like Big Freedia. To this day, it’s the queer spaces that feel like an artistic home to us, anywhere we go. After our last show as Tayisha Busay in 2012, we took five years off from performing together so we could spend time on other jobs and projects, and probably to grow up a little! In 2016, we reconnected after some intense life changes and a period that Ariel would coin as "Raft Times." Our old version of New York had completely changed, but some of the loss we experienced encouraged us to start writing again: that's when The Weekend Ladies formed. After Tayisha Busay, we've joked that we were "traumatized by DIY" and all the scrappiness and hustling that burnt us out in the Brooklyn scene. The Weekend Ladies is a rejection of that. It's now more about the art, leisure, and slow, deep, empowered catharsis that we can create through music and performance. We also learned how this approach to art makes us better activists and all-around more balanced people.
What were some of your favorite venues to perform around NYC that have since closed forever?
Too many, gone too soon! Glasslands was our favorite, even though they'd get mad at us for throwing confetti and silly string everywhere. The old Silent Barn was a hot, fun mess. Death By Audio smelled like shit and they didn't always get us but we still fucked it up a few times. Sugarland really embraced us with open arms and made us feel at home. Shea Stadium was great. The OLD House Of Yes on Maujer Street (but check them out at their current home at 2 Wyckoff Avenue or on the Internet)! The old Secret Project Robot on Kent Avenue. Santos Party House! RIP :(
How would you characterize the Weekend Ladies sound? What are some of your musical influences?
At its core, our music is electropop. As performing artists, we combine our social activism, clowning, and witchcraft to serve fun and emotionally charged anthems for dystopian times. Our musical pizza pie is topped with everything from lots of Robyn, to Devo, Italo Disco, late 80s freestyle like Debbie Deb, Crystal Waters, Cher, Kate Bush, and the sound of our Moms yelling at a customer service person on the phone so they can get $8 back on their long-distance phone bill in 1994.
What is the songwriting process like for the two of you? Do you write lyrics and music separately or together? Has this process changed over the years from Tayisha Busay compared to now?
These days it's very Postal Service-style. One of us will completely produce the music and write lyrics to a near-full song and then the other will take the track and fill in the little details like vocal harmonies or synth fills. We are now very good at letting each other take the lead on a song so it can be its full self, and then giving each other feedback or ideas to build upon what's already there. Writing more individually has also been a great way to avoid forcing the creative process in a room together on an arbitrarily designated day, which is how we used to do more collaborative writing in Tayisha Busay. It was fine but our songs back then were more forced and lacking in depth because we felt we "needed" 1 more ballad or 1 more banger to round out the album or a set. But that was a made-up, bullshit mentality based on what other people had done rather than what made sense for us as artists. Since then, the actual content of our writing has matured and evolved quite a bit based on our personal life experiences from which we write. Tayisha Busay was like a teenager's diary. The Weekend Ladies is a thick, leather-bound, grown-ass journal.
Your first single as Weekend Ladies is “Love is a Choice” and the video features an 80s vibe and displays your sense of humor. How did you come up with the concept of the music video and bring it to life?
We shot the video this summer (still in the throes of COVID-19 restrictions) while we were cat-sitting for friends in Scarsdale, NY. We knew we wanted to do some kind of video for this song, despite the obstacles that the pandemic presented, and this house gave us the quarantined space we didn’t have in the city. For inspiration, we watched a lot of lo-fi, campy Italo videos from the ’80s and ’90s and realized how much we already love and embody this moment in culture and music. Around the same time, we had gotten really into watching all the old “Weird Al” Yankovic videos, almost as therapy for the stressful and heartbreaking time we were living through - we are perpetually soothed by “Weird Al”’s earnest absurdity and his relentless commitment to the “bit.” The plan for the shoot was originally very barebones: we would get a bunch of funny props at the dollar store, have our genius filmmaker friend Suzi Sadler come to the house in Scarsdale for a couple of days with basic equipment, and we would get some fun, very DIY green screen footage. By some stroke of magic that seems to follow The Weekend Ladies around, a porch-side conversation with a neighbor led to the discovery that she was sitting on a garage full of professional film equipment left by her husband who she had recently separated from. A filmmaker herself (and a woman experiencing recent heartbreak as well), she understood what we were trying to do and she lent us the top-of-the-line gear that took our rinky-dink operation to glossy levels that otherwise would have been impossible to achieve. The results are so perfectly us: through a series of random coincidences, we were able to beg and borrow our way into a video that we couldn’t afford, and we STILL chose to film ourselves goofing off, putting press-on nails on our toes and wigs on bouncy balls.
Proceeds from the sales of “Love is a Choice” will go to The Audre Lorde Project. Can you tell us more about this organization and why you chose them as a charity partner for your single?
Our artistic journey of the last couple of decades has been heavily influenced by our activism and intersectional feminism. We have seen that art and music are powerful tools for community organizing and social justice. Over time, the majority of our shows have become fund and awareness-raising events for various causes. Both of us have a healthy obsession with the poet/activist/feminist Audre Lorde, and also with the organization that evokes her name: The Audre Lorde Project, based here in our adopted hometown, Brooklyn. ALP is an LGBTSTGNC organization focusing on people of color in the New York City area. This org is about as intersectional as you can get, tackling the issues that arise as a result of compounded oppression of folx experiencing concurrent forms of discrimination based on gender identity, sexual orientation, race, immigration status, wealth inequality, etc. We also love ALP’s hyperlocal approach, letting them focus on the nuanced struggles that New York City presents.
What was the recording process like for the songs on the Ghost Town EP?
Our approach to writing and recording has always been very DIY and most of the production is done solo, bedroom-style. With this release, we wanted to achieve very clean, pop-sounding vocals, which is very hard to do when you don’t have the right equipment or space. We teamed up with our friend, engineer Thomas Ricard, who had done some previous work with Ariel for her solo project Ariel & The Swoon. He had the right equipment, knew what he was doing, and was a great energy match for us. It was important to have someone at that stage with a new perspective come into the mix after the two of us had been in a feedback loop with these songs for so long. Thomas recorded all of our vocals at his space at the infamous Danbro Studios in East Williamsburg, helped us with some of the arrangements and effects, and he played a sick guitar part on “The Gun.” Miraculously, we finished the recording of these tracks just weeks before COVID would close down the city. Our very talented friend Joseph Colmenero mixed and mastered Ghost Town. Tessa has worked with Joe on some of her previous solo releases under the name TWERP and he was willing to help give these songs the bump that we needed!
What is your definition of a Weekend Lady and how do you become one?
At some point, our shitty capitalist society invented this stupid idea that weekdays were for work and weekends were for fun and leisure. Fuck that. And fuck anything trying to exist solely in the binary! We have day jobs too - but experiencing joy and feeling blissfully untethered is something that anyone should be able to embrace during any day of the week, month, or year -- and as any gender. We happen to be cis-gendered ladies but, the truth is, ANYONE can be a Weekend Lady/Person/Spirit and the secret is that you already ARE one! Maybe your weekend spirit means smashing a bunch of burnt-out lightbulbs in the street just to hear that beautiful sound. Or maybe it's just sleeping in and eating two bags of the recently re-released 3D Doritos because the texture has a very special mouth feel. A Weekend Lady/Spirit embraces an instinctual will to find that joyful Saturday energy for even ONE minute on even the darkest of days. It's a fucked up world, but no one and nothing should be allowed to steal the joy and love you have within -- not even an asshole on a Monday.
Also, there used to be an amazing discount store on Knickerbocker Avenue in Bushwick called “Weekend for Ladies” where we used to frequent for the $1 rack!
If New York City resumes live events within the upcoming year, what do you envision being next for The Weekend Ladies?
It’s fair to say that about 50% of this project relies heavily on the performance aspects and it has been almost unbearable not having live shows to complete the true birth of Ghost Town. In the meantime, we have been able to focus on making some really great music videos and overall are trying to use this strange opportunity to delve inwards and out of our comfort zones. We hope to partner with new friends for some streaming/experimental/virtual experiences soon - if you host anything like this, hit us up!
3/4ths of the song titles of the Ghost Town EP are “Feel Like Shit,” Tired,” and “The Gun.” My final question for you is, are the Weekend Ladies okay now? I mean, besides the global pandemic and the general collapse of our society, of course.
In truth, the last four years have been incredibly rough on both of us - personally, professionally, politically, etc. The desperation, despair, and heartache was relentless and at times, insurmountable. However, making art about strife is very therapeutic for us. Written years before any inclining of the multiple global catastrophes we are currently experiencing, the themes of these songs are eerily relevant. When listening to Ghost Town now, we also can hear the beautiful things that we have learned about ourselves, each other, and life. We hear the trials and tribulations of an emotional odyssey that prepared us to weather this storm: Ghost Town is our unexpected adventure of hauntings and hallucinations that finds light in the dark and strength in sisterhood.
BLOG POST: The Photo Ladies Print Shops
We created a list of online print shops that are available from members of The Photo Ladies Community. At these links, you will find photo prints, zines, and other products featuring their images or designs available for sale.
The print websites are listed in alphabetical order by second name of the artist. Some of our members are also donating proceeds from their sales to organizations.
Kayla Abell: https://concertflotus.darkroom.tech/
Marissa Alper (Brooklyn, NY): https://www.wearebkc.com/artist-relief-gallery?category=Marissa+Alper
Violeta Alvarez (Houston, TX): https://violetaalvarez.photoshelter.com/gallery-collection/Shop/C0000vbmRB2ql7I8
Kelli Anne (Vancouver, BC, Canada): https://kelliannephoto.darkroom.tech/
Lindsay Blane (Vancouver, BC, Canada): https://lindseyblane.darkroom.tech/
Erin Brown (Madison, WI): http://erinbrownphoto.com/shop
Erin Broxton: https://erinbroxton.bigcartel.com/
Ava Butera (Chicago, IL): https://avabutera.darkroom.tech/
Tess Cagle (Austin, TX): http://www.tesscagle.com/buy-prints
Brigid Gallagher (Chicago, IL): https://brigidagallagher.darkroom.tech/
Joanna Glezakos (Toronto, ON, Canada): https://vengenza-549404.square.site/
Ashley Grace (Boston, MA): https://agracephotography.darkroom.tech/
Edwina Hay (Brooklyn, NY): https://thisisnotaphotograph.com/store
Amanda Huerta (Chicago, IL): https://amandahuerta.darkroom.tech/
Jenna Hum (Toronto, ON, Canada): https://jennanhum.darkroom.tech/
Dana Jacobs (San Francisco, CA): https://picsbydana.darkroom.tech/
Amber James (Rochester, NY): https://amberjamesphoto.bigcartel.com/
Kaitlyn Johnston (Chicago, IL): https://www.kaitlynjohnstonphotography.com/store
Tara Lakatos: https://www.rockdnaphotography.com/shop
Elli Lauren: https://ellilaurenphoto.instaproofs.com/gallery/#events/1557948/4005633
Carolyn Lederach (Philadelphia, PA): https://hazycolours.darkroom.tech/
Alex Liscio: https://www.inprnt.com/gallery/ohaiimalex/
Allie Loven: https://allielovenphotography.darkroom.tech/
Samantha Madnick (San Diego, CA): https://sammadnick.darkroom.tech/
Aly Mae (Vancouver, BC, Canada): https://alymaephotos.darkroom.tech/
Alexa Mancilla (San Francisco and Los Angeles, CA): https://alexadanielle.darkroom.tech/
Marissa Marchello (Philadelphia, PA): https://rissamarchello.darkroom.tech/
Sofie Milton: https://sofmilton.darkroom.tech/
Pam Muhart (New York, NY): https://pmuhart.darkroom.tech/
Taylor Nettnin (Chicago, IL): https://tnettnin.darkroom.tech/
Sarah Northrop (Portland, OR/Los Angeles, CA/Seattle, WA/Eugene, OR): https://sartakespics.darkroom.tech/
Melinda Oswandel (Rutherford, NJ): https://www.etsy.com/shop/melindaoswandelphoto/
Julia Paul (Chicago, IL): https://www.etsy.com/shop/JSPxPhotography
Sophia Ragomo (Brooklyn, NY): https://sophiaragomo.darkroom.tech/
Taylor Regulski (Orlando, FL): https://www.cameraladyphotography.com/store
Savannah Rowley (Orlando, FL): https://savileeography.darkroom.tech/
Victoria Sanders (Chicago, IL): https://veesanders.darkroom.tech/
Zoe Salvucci (Boston, MA): https://www.zoesalvucci.com/print-shop
Kate Scott (Chicago, IL): https://www.etsy.com/shop/katescottphoto
Ester Segretto (New York, NY): http://estersegrettophotography.com/store
Reema Shah (St. Louis, MO): http://outoftheblackphotography.com/prints
Kaylee Smoke (Hamilton/Toronto/Winnipeg, ON, Canada): https://kayleesmoke.darkroom.tech/
Elena Strawn (San Francisco, CA): https://www.elenastrawnphotography.com/store
Nina Tadic (Hebron, IN): https://ninatadic.darkroom.tech/
Ashley Travis: https://www.ashleytravisphotography.com/Print-Shop-
Mallory Turner (Los Angeles, CA): https://losteyesight.bigcartel.com/
Clarissa Villondo (Washington, DC): https://karlinvillondo.darkroom.tech/
Skylar Watkins (Philadelphia, PA): http://www.sadpunkpress.com/shop
Justine Willard (San Francisco, CA): https://justinewillard.darkroom.tech/
Brooke Wright: https://brookewright.darkroom.tech/
Amy Young (Boston, MA): https://amyyoungphoto.darkroom.tech/
Anna Xu (Seattle, WA): http://www.annaxuphoto.com/print-shop
BLOG POST: Coronavirus Resources for Creatives
All around the world, COVID-19 (also known as Coronavirus) has impacted our daily lives. In order to stop the spread of the disease, many places have enacted shelter in place for their residents and the work done by artists, musicians, and other professionals have come to a complete halt.
Many organizations have created funds to assist workers during the pandemic and we have gathered a list of some of them below.
American Federation of Musicians
The American Federation of Musicians has gathered a list of resources available in the United States and Canada which is available on their site here: https://www.afm.org/covid-19/#get
Authority Collective
The Authority Collective is a group of womxn, femmes, trans, non-binary and gender non-conforming people of color reclaiming their authority in the photography, film and VR/AR industries. The collective has provided a list of resources available on their website:
https://www.authoritycollective.org/coronavirus-resources
COVID-19 Freelance Artist Resources
An aggregated list of free resources, financial relief, opportunities and other options available to freelance artists. https://covid19freelanceartistresource.wordpress.com/
The Crew Nation Relief Fund
Live Nation Entertainment has started a fund for live entertainment crew employees who have been directly impacted by COVID-19. The HOB Music Forward Foundation will be selecting recipients based on an objective determination of need. Live Nation employees are ineligible.
https://www.livenationentertainment.com/relief-fund/
Diversify Photo Relief Print Sale
There are prints for sale by Diversify Photo with sales going directly to over 100 artists of color that are impacted by COVID-19.https://diversifyphoto.darkroom.tech/
Freelancer’s Relief Fund
A relief fund created by The Freelancers Union offers up to $1,000 per freelance household to assist with lost work, utilities, and other bills as a result of COVID-19.
https://www.freelancersunion.org/resources/freelancers-relief-fund/
Joan Mitchell Foundation
The Joan Mitchell Foundation has created a fund to support US based visual artists (painting, sculpture, and/or drawing) up to $6,000 who have experienced significant losses due to Coronavirus:
https://joanmitchellfoundation.org/artist-programs/artist-grants/emergency
MusiCares
The charitable foundation of the Recording Academy has established a fund to help people in the music community impacted by COVID-19.
https://www.grammy.com/musicares/get-help/musicares-coronavirus-relief-fund
National Endowment for the Arts COVID-19 Resources for Artists and Arts Organizations
The NEA has gathered a list of service organizations that are offering relief for artists and arts organizations that will be updated frequently.
https://www.arts.gov/covid-19-resources-for-artists-and-arts-organizations
The Photographer Fund
A $25,000 fund to help photographers who are impacted by COVID-19 by Format. You do not need to be a Format customer in order to apply.
https://www.format.com/photographer-fund
The Sweet Relief COVID-19 Fund
Sweet Relief has created a fund to directly support musicians and music industry workers with their expenses.https://www.sweetrelief.org/covid-19-fund.html
Women Photograph Fund:
Women Photograph, an international organization that aims to elevate the voices of women, nonbinary and transgender visual journalists, is currently collecting donations to help support their members who have been impacted financially by Coronavirus. https://www.womenphotograph.com/donate
In the United States, the CARES act was recently passed and unemployment benefits were expanded to include more groups of people, such as self employed workers plus extending the length of time people can collect unemployment payments. Visit the Department of Labor website for your state in order to learn more and apply.
In addition to the funds and services provided above, the best way to support artists and musicians is to buy items directly from them. If you’re in a position to help out financially, please buy their art or merchandise via their websites or their Bandcamp during this crisis and after it subsides.
Submitted by: Edwina Hay