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Women From Mars

by Alex Teitz

Women from Mars (L-R:  beth Quist, Junis "Jude" Ponds, and Sally Taylor)

    FEMMUSIC began this story three months ago, and now is the perfect time to talk about The Women From Marsİ and Persephone's Circleİ. Next month we will focus on two other projects including Portland's Porch Songsİ, and The Independence Projectİ.  These projects are avenues for emerging artists, and show the synergy of great women who work together.

    The Women From Marsİ is not just one artist, or one group of artists, but a living, breathing project. It encompasses some of the best people in Colorado. It is also a project that doesn't bring in the headliners, but encourages the unknowns.

    The Project was founded by Nicole Jamrose, Wendy Woo, and Jude, otherwise known as Junis Ponds, sometime in 1998. It was, as Jude has said....... with Wendy, Nicole, and I (Jude) equally agreeing to do a show and putting it together, each doing equal amounts of work..." This show led to another, and another. These shows graced Boulder at Caffe Mars, the Fox Theater, The Foundry and The Boulder Theater predating March of 1999. According to Jude, the name The Women From Marsİ came from the Caffe Mars' support of the first shows.

    Next came Yoshi Ano who suggested the compilation CD. This CD contains twelve Women From Marsİ including Jude, Wendy Woo, Hazel Miller and Sally Taylor. Along with these bigger name artists, are included emerging artists like Maya Dorn, Libby Kirkpatrick, and Marie Beer. A portion of the sales goes to the National Multiple Sclerosis Society, and the American Cancer Society for breast cancer research. The CD is available through Broken Records.

At this time one feels it best to let one of the women speak about the project. What follows is an interview with Libby Kirkpatrick that was conducted three weeks before The Women From Marsİ CD release party. Libby is a sincere singer-songwriter who has been touring nationally, and was an organizer for Where's Richard, a 3-4 artist event held monthly at Penny Lane in Boulder.

FM: What is the The Women From Marsİ How did it come about?

LK: The Women From Marsİ got its name from the Mars Caffe, which was a very nice venue. It was a wine bar on the Pearl Street Mall. It was owned by a friend of ours who was pretty much going to end it soon, and we decided to do a couple of shows last minute, and make it just a whole bunch of women. Mostly our friends, who played music.

    So Wendy Woo, Liza Oxnard (of Zuba), Nicole Jamrose, and Jude (Junis Ponds) and Maya Dorn was there.

    I also have a song called "Jupiter", and there's a line in "Jupiter" that says, "...Girls go to Mars.." So, to me, that's the same thing. So that's what it basically wound up being called. We wanted to get some press releases on it, so we decided to call it a group. So it became known as The Women From Marsİ.

FM: How has The Women From Marsİ progressed (Multiple shows, the CD)?

LK: How that happened was, well the first show we had, was completely packed. Tons of people showed up. We wound up doing a follow-up one month or two later, at the Fox. I think that was the next place we did it.

    It went so well we decided to keep doing it, and we added some different people here and there.

    It all began, I forgot to mention, she'll be happy to know that I was telling you this. There was a woman named Patricia Masisak who was a painter. She is also one, of two people, who own an independent label called Broken Records. I don't know if it's a label per se, but they are the people who produced and did the graphics for the CD. Her husband produced one of the songs, and helped me get it together (on my CD that is).

    So Patricia was having an art show, it was a women's show of paintings, of women's faces and that was at Caffe Mars at the same time the show happened. So it was kinda like a combination of those two things. So we continued on the path of having art as combined with musicians. Once we had a really big show at The Foundry, which is a bar here, and there was an art show, and it had a really big turnout, and somebody came along, I'm not exactly sure who it was, but I know they spoke with a fellow named Yoshi Ano (Executive Producer of the CD), and they discussed a couple of projects regarding a compilation to be used as a benefit for Breast Cancer and Multiple Sclerosis. I guess what they did is they went out and found a whole bunch of people to give some money to support it. What's the word for that? You know what I mean right? So that's pretty much how it progressed to where it is now.

    And then Broken Records, who was Patricia (The original artist who had a[n art] show up at  The Women From Marsİ show). She and her husband decided to take this CD onto their label, and that's how it became what it is. Just continually playing around town.

FM: How many artists encompass  The Women From Marsİ?

LK: Well the CD was really quite extensive. It turned out to be thirteen or fourteen I think on the CD. And there are others. I would say, it hasn't really become an exclusive thing, at all. So almost anybody who wanted to be a part of it wouldn't be excluded. I haven't heard of any such a thing. Although I think they have to have some sort of circulation, some amount of draw already, and laid down some sort of foundational groundwork. The less experienced show is the Where's Richard show.

    I would bet there's about twenty or twenty-five, people that have been involved.

FM: What are your goals (short/long term) for  The Women From Marsİ and Where's Richard?

LK: I hadn't really thought of that, because I feel very fortunate to have been included into this, and I haven't really done as much work as Jude or Nicole on it. They have extremely good organizational skills, those two. I have [been] touring, [with] my own show, so I'm kinda here and gone quite a bit.

    So I think there may be a tour scheduled somewhere in the future for  The Women From Marsİ. I would certainly like to be a part of that, as long as I have enough forewarning, I think. I see my musical life very much evolving around community. Cause as you go out there, you meet all these people, you discover you have all these friends, you begin a weaving. You begin to lay down this first round, and then this second round and the next thing you know everyone's crossing. I see it as a very good tool for the development of community. Especially if it does a tour, and also think there's a chance that we might have national distribution at the end of a six month trial. If it does well, if the sales do well. So I would love to see it as something I could partake in, for the rest of my musical career. I love it. I love the idea that I have me and my friends making music together. I would like maybe to do some more work on each individual piece that we do, that maybe do some things together, to create more harmonies on each other's stuff, and everybody playing a little more on each other's things. That would be something I would really like to do a little bit more. Because right now, it's really like, because it's the nature of the coming and going people, twenty-five people we don't have the chance to practice or perform together. We're all pretty much independent women who have started this. A thing for ourselves, and then gotten involved in  The Women From Marsİ.

    And for Where's Richard, I see it similarly, although it's a smaller scale. I do plan on leaving this town in August for awhile. To go to back to the East Coast. When I plan on coming through town quite a bit, touring and such. So yeah, I think that answers the question.

FM: It does

LK: So I'll probably pass Where's Richard back to Joanne, if she wants, or to Maya maybe if she wants. It's a great show, it's a lotta fun. But that's my plan.

FM: What benefits do you get with the smaller artists coming onto The Women From Marsİ?

LK: Oh! Exposure, certainly. And there's a great deal of pride. I see people that are starting ... It's kinda like Maggie (Maggie Simpson) when I saw her, I was not performing out. It was like four or five years ago. And I used to go see her and felt a tremendous sense of respect, and a direction towards her. To try get to what she's doing, to do what she's doing. Because I saw her as a great musician and somebody who did a lot of work to get there. It provides a more obvious avenue.

    I remember just sort of looking at Maggie, like in the distance, and being like, 'Wow!' (emphatically). I wonder how I'm ever gonna get there. And then eventually becoming her friend. I think it's a wonderful avenue for opening that sense of community up. You know instead of me looking out and seeing Maggie in the distance and wondering how I'm going to get there. If we're in a show together, anybody else who wants to work with her, is like totally working with her on a project. That's certainly a benefit is development of community. And exposure, I mentioned that .... I think that's all. It happens to be ironic that Marie Beer just walked in (to the restaurant where the interview was taking place), she happens to be a  The Women From Marsİ as well. They're all over.

    She just kinda began her work lately too. She is ah, you know, fabulous. And it's great for me to have a show where she has that many people around her, watching her, and now she gets to do shows with this  The Women From Marsİ thing so she gets better exposure. That's pretty much what I already said.

FM: Ok.  What role do you see The Women From Marsİ, and similar projects nationwide, create for music & the music industry as a whole?

LK: I certainly think it is an empowering thing. To know...that women can write music that can be reached. I'd like to hear the question one more time.

FM: Of course. What role does  The Women From Marsİ, and similar projects nationwide, create for music & the music industry as a whole?

LK: That's an interesting question. (Long Pause)

    Well, one thing I really appreciate about it, goes back to this community thing again. The dynamics between the women, so far, it's been really nice. There hasn't been any catty, backstabbing, typical, stupid, girl's type stuff. It's been really supportive. Non-exclusive. I think that sets a wonderful example.

    I heard when back Tori Amos, and Sarah Mclachlin were beginning that there all this talk that there wasn't enough room for two women on the radio in the same hour. That kind of attitude and behavior is just, don't know, it just really doesn't create a nice feeling. I know that there are certain limits, there are limits to that, but I think one thing it could create is a good example of networking, and positive networking, positive community oriented projects. Which may exist out there already. To tell you the truth Alex, I really know very little about the music industry. I know it's got a dog eat dog reputation. And that's sort of what I'm referring to. Maybe it will set a new standard for that. So that's for the music industry.

    And for music as a whole .... I'm not really, I'm not really sure what it will look like, but I know another thing that encourages self-expression. I suppose. That's obviously something that happens in music. That's what music is, is expression. The only thing I can really think of is a little more emphasis on the singer-songwriter, but I think Voices on the Vergeİ, or maybe you know if, Voices on the Vergeİ and, what's that rescue one? RESPONDİ, I don't know, if people work together to make any of those. I'm not really sure. I know it a strengthening and a bond between women in music. That's all I can foresee, really. I have no idea. I hadn't thought about that. It's a good question.

FM: What obstacles, as an emerging woman artist, have you faced?

LK: The challenge of how to, what challenges have I faced as a woman?

    Well, I'm almost thirty. I'll be thirty in a year and a half. I have no children. I've never been married. It's not a normal lifestyle, you know. According to my parents, you know, their generation, and most people in America, and other cultures certainly would be like, 'Where's your husband?' , 'What are you doing?'

    And I do want a child. I'd like one in like five years or so. I'd like to start thinking about having a house, a solid place to settlle down. And obviously, when you're traveling around, it doesn't create so many roots, you know. It certainly spreads community wide and long, but it doesn't really promote a lot of rooting. Which is why I dread to leave this place because in a way, because I do feel pretty much 'sewn in' here. That's a challenge I've faced as a woman.

    Also I a lot of people, as an emerging artist, not as an artist, that's important. People are constantly asking me, 'Why don't I get a band?' That's a challenge to reach people in a way that they're not accustomed to. They're accustomed to being fully. entertained. I think if I had a band everybody would constantly talk through it. And I feel, personally, strong about like, that I should have people engage me when I'm play music. it makes me a stronger performer. I feel belittled when I'm being spoken over. So the challenge is to reach people on a one to one way. At this point, to get them to listen I guess. That's a twist on a challenge of being an emerging artist.

    Another challenge on being an emerging female artist is taking the initiative to really tour. It's pretty daunting to look at the whole country recognize how many people are out there, and what it takes to get enough people to hear you. So that you can feed yourself. Maybe start thing thinking about the future a little bit more which I know that my father would just love it it if I could do that. My dad, and my mom are both are always asking me how I'm going to manage my future. But I feel confident that success will come. I'm doing what I love so ... It's not exactly the norm, and that's a challenge. Those are some of my main focuses in terms of the challenges.

    And then also to maintain a healthly image of myself. It's hard out there. You have to feel confident. You can't shrink in the face of competition you know. You have to been strong and prepared to be solo. Take care of yourself, and to return all the calls that come in. How to accept the early stages of people, like, knowing who you are and you not knowing who they are, and like, people coming up to you or saying like, 'That's Libby.' It's a challenge to learn how to work with people.

    It's one of Marie's topics is you have to be, you know, 'packagable' in a certain way. They don't want someone who's strung out on heroin or obese or and those are extreme. But, you know, you have to keep yourself healthy. Not that so your palatable, I mean packagable. Palatable? Whoops! But for your own sense of how to stay strong and be okay. Since you're not going to be at home with a kid and a husband. That's a long answer.

FM: How does the Denver/Boulder music scene treat emerging women artists? Since you're about to get a taste of how other scenes treat emerging artists.

LK: Right. I've felt very supported. I think I've been really lucky. I'm not inspired to go to Denver for some reason. I did like Stella's when I went there, but this is like mother's milk here (Boulder) . It's really comfortable. I wish that there were more paying venues but I've made due all right I think. I think it really takes a lot more intiative than I thought. I have to put myself out there. I still have a little bit of leftover , like, you know, maybe the magazines will call me , or maybe the paper will call me for an interview because they know that I've been doing this show and that show. But they really don't. They really don't.

FM: What additional things would you like to add about The Women From Marsİ, Where's Richard, the Denver/Boulder music scene, or the music industry in general? Is there anything else you want to say to our readers from all over the nation?

LK: I'm going to have to think about this for a moment. (Pause). Basically I think I would like to say something very basic and that is I believe that we can have whatever we want with what we have. Do you know what I mean? I believe we do whatever we want. That um, It's important to be conscious, and decide how you want things to happen, because I do think that they crystallize, manifest right ahead of you. You know, walk your talk, and you will. So careful what you talk, and make sure it's what you want for yourself, I guess. That's how I feel. I feel confident I'm going to get what I want to do this. I'm really glad for the opportunities that I have had, and for other artists. The room that is made for art. It's declining, obviously, but it's ever important. Words of encouragement mainly.

FM: Thank you very much.

    Next, on April 22, 1999 The Women From Marsİ CD release party was held at the Fox Theater in Boulder. The Fox is a 500 person venue with a proscenium stage and a sound system that is of top notch quality. It has had performers from Susan Tedeschi, to the Samples, and Shawn Colvin. That night was filled with a blinding snowstorm that made the roads treacherous. Despite it, the Fox was packed.

The night was filled with incredible performances. Among them include Marie Beer's "Hurricane of War", a reflection on violence in modern times. At the time Marie had just written it to commemorate the Columbine High School tragedy. Among the other amazing performances was Wendy Woo's energetic performance of her song on the CD, "Sundrops." At midpoint, Sally Taylor and her band dragged onto stage Jude, Beth Quist, Wendy Woo, Maggie Simpson and others to join her in singing her joyous song "Happy Now." The energy that flowed overcame the worst of any snowy night.

If that were not enough, it was announced at the CD release party that The Women From Marsİ would have their own radio program. The radio show is on 1490 AM in Boulder from 8-10 am on Sundays. This show is hosted by Jude, or by Marca Cassity. Marca is one of the many Women From Marsİ not on the CD, but who is vital to the project. Marca's brash style has made her a perfect emcee for other The Women From Marsİ performances.

Among those performances include CD release parties in Ft. Collins, and Denver. Each show brings in some of the same artists, and some varied. For example, Hazel Miller brought her fiery blues to the Denver CD release party on May 8 at the Mercury Cafe. Marca Cassity also played with her band, including the independent bass singer-songwriter Elizabeth Trice.

Throughout the amazing growth of these shows, The Women From Marsİ continues to support relatively new artists. On June 19, they played the Lodo Music Hall with both Women From Marsİ artists, as well as the recent winners from the Lilith Fair@ Talent Search, Melanie Susuras, and runner-up Kristina Ingham (read more about both next month). Opening up the night was Linda Storey, an artist who thrives in spite of being afflicted with MS. Her song, and the CD Willow Tree reminds everyone about the CD's worth. Next was The Liz Clark Band, a folkrock band led by a seventeen year-old.

The Women From Marsİ is more than a CD, or a show. From artists like Marie Beer, Liz Clark, Maya Dorn, Marca Cassity, Elizabeth Trice, and Libby Kirkpatrick the project is developing new talent, and giving new artists the stage.

As of this writing many new projects have emerged for The Women From Marsİ. It is known that Libby Kirkpatrick and Beth Quist will be visiting Persephone's Circleİ (see our article) in Seattle, and Porch Songsİ in Portland. There are rumors of another CD, and a tour.

İ  FEMMUSIC 1999-2008

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