Sunday, February 12, 2017
















Glamour of the Week: George Alley releases new single, "Just Leave Me Dreaming"

Sail with us out to sea, as we engage in a conversation




B: How long did it take you to write this song? Was it in an instant inspirational flash? Or like a long painting you’ve been taking your time with because it’s special?

G: This song I wrote on and off in between several other songs I’m writing. I originally wrote the piano tracks, the melody probably in 2013/4 for it after hearing a Spanish video game and was re-watching Almodovars Volver. I thought I’d love to challenge myself into writing a song with a Flamenco element to it; but as I wrote, it kept changing and ended up in ¾ time as a waltz. I had never written a song in ¾ before and it felt alien to me, almost too different from what I had done previously and left alone for months more than a few times.

Then last spring I had just finished laying vocals for another song called “Hard to Hold” in Greenpoint (Brooklyn) with David Lee Rotten and Sy Boccari of Naked Highway, who in the past would do production on my songs, but now where I go to record vocals for their feedback, and because of their superior set up, and eucalyptus Spa treatments. I just record in my loft apartment, they have an actual studio.

They suggested that we meet again for a new song the next month so I went back to this song and asked my friend Andrew Mars/Settled Arrows who is a much better pianist than I to rerecord some sections of my piano tracks, and Eric Coyne to flesh out some of my synthesizer lines with some beautiful cello.

This song was a departure in a way. I was thinking I was writing “singles” and I didn’t see this song in that light. Additionally, I had written the melody previously and I had to make the words fit it and the subject matter had started taking on a real personal narrative for me and ended up being about me in some ways.

B: typical

G: HA!

B: But honestly, where better to pull from.  So, is this about your life?

G: To a degree sure, I don’t really think it’s advantageous to tell people exactly what this song is about. I went to a concert recently where an artist laid out all the details of every song he had written beforehand and I had heard these songs before, loved them, and had way more entertaining imagery in my mind about than what he dictated.

B: True, it robs you of that personal experience you attach with something.  So, you say this song is very personal to you tell more about that?

G: As I’ve developed as a songwriter and my writing style has changed so that I can more easily fit descriptive text into a pop song. A song like Summer Trophies that I wrote 5 years ago, is more of a traditional pop song telling a broader story; this is written in more of a singer-songwriting style, one is not better than the other but I feel like I’m developing my skill-set and being able to more consciously choose where I go with narrative.


B: My next question hinges on the narrative. What would you want fans or listeners to take away from it?

G: That’s really up to them. It is a fairly honest song for me.

B: Let's talk about the video, how did the concept develop?

G: This song had almost a sea shanty quality to it. When I asked Eric to play the Cello I said I wanted one track that is just the constant ebb tide.  I’m a Cancer, I write and think about water, it is a creative place for me to go. There’s also a nod to Joan Crawford’s Humoresque, she leaves her beach house and starts walking into the water at the end of the film.

B: Where was this filmed?

G: Ocean City, New Jersey, with Adam Peditto, who has directed most of my music videos. It was a Supermoon in late September, so we really lucked out on the moonlight.

B: As always, let's talk about wardrobe for a moment. Wardrobe has always been a key player in your performances.

G: Well initially I was going to wear some sort of robe and short shorts, which as you know is my usual look.

B: Or sometimes less…

G: Ha! Yes. But I ended up wearing a harness from my friend David Mason Cholpecki’s company, Slick It Up, and lots of black.













B: Describe your look/style for the video, where did you draw inspiration?

G: Around 1985, The Damned put out an album called Phatasmagora, and Dead or Alive put out an album called “Mad Bad and Dangerous to Know” They both had a similar cover a stark figure in black outside at night.

B: The video was shot in one take. Describe that experience. Was there extra pressure? Or did it feel natural for you since you have a lot of experience in live performance?

G: It was hard. I sort have had to map out where I might do things but it was also dark; uneven sand and I had no idea what I looked like.

B: As a dancer, did you choreograph this video? Or was it a freestyle expression?

G: There was some pressure I put on myself initially to choreograph something really specific for this, since it was a one take and focused on me; but when I started to think that way I actually took it into the dance studio and realized anything “choreographed” I did would come off as trite. The song was so personal and the background so specific there was no way I would be able to do “choreography” and not take away from lyrical meaning; especially since the music had to be sped up for it to have the slow framework it has.  So, I drank a few red bulls we drove in the middle of the night to the beach and I did it a few times and I think by the last take, I was in the song.

B: With the moonlight, was there a limited window to capture the video?

G: Yes, I had to move on a vertical plane because if I moved too far over you could see the Atlantic City Boardwalk on the left.

B: What do you hope people take away from the video?

G: I hope that they appreciate the aesthetic in the video and that it can help support the meaning of the song; whatever that means for the person watching.

B: As a member of the LGBT community, what advice would you give to a young LGBT artist?

G: Well, being identified as a Gay artist hasn’t really hasn’t affected my career in such a significant way that I can quantify; and I am not saying this as a “post-gay” statement.

My advice I can give to any artist is that you must write things for yourself. If you are writing or performing because you want to become famous or just want more attention you are setting yourself up for a very big fall. Artists make their best work when they are writing for themselves and speaking their own language.  
I’m not pitching my work to a specific demographic.

B: And most importantly, what can we expect to see from George Alley after this?

G: I’m very excited I have three other new songs almost complete, three that are being written right now, and three that have previously been released but getting some light updates. Once they are done I will be putting out an entire album; hopefully before the year’s end on vinyl and digital formats and more videos to accompany them.

Hear the New Track and Watch the New Video Below :
More info at www.georgealley.com
Now Available on iTunes and Amazon retailers 








Saturday, February 11, 2017

Glamour of the Week:  Michael Costello AW 2017 NYFW
Photography by Greg Jones







Saturday, November 3, 2012

Glamour of the Week : George Alley sits for an interview discussing his NEW single and video Summer Trophies



Stage Setting : 

          In the gutter lie dead leaves, scraps of paper,
          burnt matches and cigarette butts.  It is early
          morning.

          Now the CAMERA leaves the sign and MOVES EAST, the
          grey asphalt of the street filling the screen.  As
          speed accelerates to around 40 m.p.h., traffic de-
          marcations, white arrows, speed-limit warnings, man-
          hole covers, etc., flash by.  SUPERIMPOSED on all
          this are the CREDIT TITLES, in the stenciled style
          of the street sign.

Oh wait. that's the intro to Sunset Boulevard. For this is not the tale of Norma Desmond, but the one and only George Alley, and his memoir of Summer Love.








BR : So we've been talking about the video experience. How long did it take? we're you soaking it up? Because I know you were. 

George : Because it was all about me? 

BR : Yes because you recently said to me that your biggest obsession was dot dot dot. 

George : and you answered that I would say myself. 

BR : Exactly. 

[Laughter from both]

George : I was into it! But sometimes those situations cause pressure. I think that I'm a self involved person but then when I actually receive attention from other people It bothers me. I think "why are people paying attention to what I'm doing right now?!" 

BR : So what you are telling me is that you might have trouble dealing with any new found fame.

George : I think I'm mature enough that I can handle a little. Ha. Maybe not when I was 21, I would have done a lot of drugs and ended up like Marilyn (the 80's gender bending pop star) . 

BR : So now you are saying you didn't do drugs at 21? 

George : Well I'm talking about heroin or something. But luckily I stayed in Ohio for that period. 

BR : I would never say "luckily." 

George : BUT YEAH it was a two day shoot, filmed by the production company Optique, and directed by Adam Peditto in a huge warehouse in Kensington that is the residence of one of the dancers in the video Carolyn Merritt and the second day where I did the "illumanati hand movement" that you and I previously discussed, was filmed in my apartment in Olde City, Philadelphia. 

BR : Optique? 

George : Yes, isn't that the french word for glasses store? 

BR : Um, Let me look that up. I was thinking more like something to with an illusion or vision or sight. 

George : I love how we are these Ohioans talking about the french language. 

BR : By the way Optique means Optic, Of or relating to the eye or vision... So how many people worked on this set? 

George : Three performers : Carolyn, Julia Crawford and Philip Moore and three people working for Optique. 

BR: I loved the lighting in the video. I like to light space like that, it felt very film noir.  

George : That's kind of your aesthetic isn't it? Your photographs and your place is like that.  

BR : Totally. It's all black, white, grey and some hints of the colors of the chakras. Tell me about the wardrobe in "Summer Trophies" 

George: Well there were five "characters" in the video. There's some Gaultier and Westwood and some weird things I've made with the local dry cleaner or accumulated. Each one of the characters is doing a "screen test" in the video. The were all Me as Me but they were nods to actors in certain movies like Leslie Ann Warren in Clue or with the tux character; Christopher Walken in A View to A Kill. 

BR : Oh really I though that one was your tribute to "Just One of the Guys" You know, when she pretends to be a boy because she's a high school journalist trying to get a scholarship? 

George : So you thought it was some kind of gender thing?

[Laughter from both]

 yes I know that actress she was in "Some Kind of Wonderful." 

BR : Screen tests can be degrading for an accomplished actress. 

George : Yes, so degrading. What inspired Adam and I when making this video was watching Joan Crawford do screen tests in her late 50's for the axe-murderer film "Straight Jacket" in some cases playing characters that were supposedly in their 20's. It's a B-Movie but the acting done by her in the tests and subsequent film is transfixing. Also, because the song for "Summer Trophies" is really about someone getting older realizing another summer is passing by and looking at the mementos from a romantic fling as a nostalgic symbol of past interactions. I don't know as I get older at the end of every summer gets a little more sad. 

BR : Summer Love. I know what you mean. 

George: Love yes! And as we get older love gets more and more nostalgic. And in the beginning of each season I get flooded for a few days with memories of all the summers, or springs or winters I've lived. 

BR : It's like a right of passage. And every year you show what you have learned from the past summer and you start a fresh but you build yourself a little bit stronger. So what is next for you? 

George : I have I am working with Sy Boccari who produced Summer Trophies on a few more dance orientated songs I wrote for another double single coming out this fall and hopefully by Spring my album "Schemes" will be out. There will be more videos with Optique. Possibly one for the b-side to "Summer Trophies" called "Bad Movie" but if not certainly for the new songs. And I'll be performing live a few dates in Philadelphia in November and December, and this mothers day the collaborative arts festival I co-curate COLLAGE will be be back in effect.









FADE OUT. THE END

Thursday, February 23, 2012

Friday, January 14, 2011

Chelsea Center for the Performing Arts




Our proposal is a programmatic hybrid of performance and education which will attract even more creative and diverse individuals to the neighborhood of Chelsea, New York. Located between the Highline Elevated Park and the West Side Highway, our building is transforming between an organic rhythm to a more rigid structure, as a way to blend between the organic edge and the rigid grid of the west end of the site. The building consists of four major performance theaters ranging in scale to allow for multiple uses of performance. The theaters each have a very distinct identity which allows for the experience from Lobby to Theater to be unique to the user each time they return to see a new performance. The relationship between the Theater and the School is mixed to allow the students to be surrounded by a creative environment that will put them on display during their course of studies. Carefully blurring the boundaries between the school and the theaters allows for views behind the scenes which sets a stage of a unique experience for the students as well as the user by reversing the experience of a traditional theater.


Bryan Reitter
Satoshi Matsuzaki
Pratt Institute
Fall 2010 Hina Jamelle Studio


music : adagio for strings - barber

Saturday, September 11, 2010

Thursday, August 12, 2010