“I must recommend my favorite that I serve at my own table year after year,” says Bearbower. “The beauty of this drink is that it can be served cold, or you can even serve it warm in a punch bowl, ladling it into cups.”

Single Barrel Cider

1 ½ parts Cruzan Single Barrel
1 part simple syrup
¾ parts fresh-squeezed lemon juice
1 part fresh cider (the cloudy kind, the one you buy in the refrigerator section)
Fresh-grated cinnamon (or you could use nutmeg, even pumpkin spices)

Let's pretend we are spending our Thanksgiving with a Crucian, laying in a hammock on a remote, ridiculously gorgeous tropical island. What then?

“I must recommend the classic, good ol’ fashioned Daiquiri,” says Bearbower. “Especially when vacationing on the islands, people perceive a daiquiri to be every color of the rainbow, blue, green, red, frozen and insanely sweet - but the real key to a classic daquiri is freshness. Just shake all ingredients with ice, and pour into a cocktail glass.”

Daiquiri

1 ½ parts Cruzan Light
1 part simple syrup
¾ part fresh-squeezed lemon juice

Final question. You're lounging around after Thanksgiving, watching scary horror movies...like loved ones do. The Shining, originator of one of the most famous rum lines of all ("RED RUM"), comes on. What should we all drink to calm our terrified nerves?

“Here is one of my favorites,” says Bearbower. “It’s Cruzan’s take on a Dark and Stormy. It’s one of those drinks that is so interesting to taste and highlights the rum so well.”

1 ½ parts Cruzan Single Barrel
Top with fresh ginger beer
Squeeze of lime
Float on top Cruzan Black Strap

“There’s an interesting trick to this drink,” says Bearbower. “First, use a tall glass and fill with ice. Add the rum, top with ginger beer and squeeze of lime. Then the trick is to take a flat spoon and rest it just on top of the drink. Pour the Black Strap slowly on the spoon so it overfills on top of the drink. The Cruzan Black Strap rum will actually float on top!"

Woven Bones by Bekah Cope

Zoo music is Dee Dee from Dum Dum Girls, and her husband Brandon (Welchez) who plays in the Crocodiles. Both Dum Dum Girls and Woven Bones first 7" singles came out on HoZac Records in March 2009 so we had a label connection already. We had mutual friends, interests in each other sound, etc. etc. -- they offered up the idea of doing a record for us and we jumped on it. Dee Dee and Brandon are two of my best friends.

Our first full length will be out on Chicago's HoZac Records in mid-spring 2010.

You guys have released much of your work on 7" records -- a lot of bands don't utilize that format anymore -- any specific reasons you guys still press vinyl? How does a band today balance releases on vinyl, CD, and direct online releases --- are iTunes releases, etc. essential in this era?

7"s or 45's are still the way to release a non digital single, so we use that format. They are really popular again these days, and become instantly collectible sometimes. CD's are so disposable and people just download digitally for free anyways these days. Vinyl is the way to actually get a product to the music consumer that actually wants a physical item. The art is bigger, it's more tactile, the music sounds warmer, and actually records last longer than CD's if taken care of. I'm sure our LP will be on CD in the spring, and when something bigger happens for us with bigger distribution we'll have CD's. Right now, we are selling records to a niche sector of the music economy, and most of them have iPods or record players. We'll get into iTunes and digital stuff soon, probably around the time the LP comes out. Everything has just been going so fast we haven't thought much about digital yet.

Woven Bones by Bekah Cope

We played San Diego and Costa Mesa in June, but for an actual tour this is the first jaunt for us out West. We're super excited about all the shows. We have friends all over the West Coast and we're ready for a little vacation from the Lone Star State, though Austin is so a good home to come home to.

What are your thoughts on Austin as a breeding ground for musicians -- a perfect city for musicians because of the myriad of opportunities, or a dilution of talent because of the mass quantity of bands in town?

Austin has all the resources you need and rent is cheap enough in the right spots to be able to pull off the rock n roll life. At the same time, I think Austin is also a place that takes hard work to get your band decent local recognition. It’s a fine line of playing enough, not playing too much, and playing the right shows before you build a solid local fan base. I do believe that the real dilution of talent here is that there are many bands that think Austin is their ticket to fame -- it's not at all. You gotta work hard here too. Nothing just happens because you live in Austin -- it's a regular city when the festivals aren't going on. It's a great youthful, artistic city, but still just a regular grind like any other city on any normal day. Austin is a perfect place if you take hold of your own destiny in it.

Thank you for speaking with Austinist.

Woven Bones: [Official] [MySpace]
Shapes Have Fangs: [MySpace]
Dated: [MySpace]


Flip through the Austinist Weekend Music Preview Slideshow below for details on a number of events in town this weekend.

Images from MySpace / Facebook / provided by entity.

Digital is more convenient, but that only makes paper all the more special. Humans are multifaceted and can’t exist in a vacuum of virtual reality. The first thing anyone does when they see a letterpress printed piece is to touch it. It’s automatic. It’s also evident in the “handmade nation” surge, with people going for very tactile things like knitting, needlework, jewelry making, cooking etc.with gusto. There is something innate in the need to make things.

How do paper arts serve to connect us with our history and propel us forward?

It’s a continuation of history to work with paper but also a recycling of the old to use in a new way. We have foregone setting lead type in favor of polymer plates made digitally which open a range of image and type options. Reaching back as you move forward.

Anything you can tell us about your new line of stationary currently in production, or do we have to stay in anticipation a little longer?

We’re actually offering an exciting new line of print-your-own holiday cards at EAST! For 5 bucks anyone can chose from 1 of 4 designs to print her/himself on our Challenge press. We provide paper, envelopes, plates and ink. You provide the strong arms to run the press!

Given what they have to work with, the cast busts its ass with some resulting moments of real excellence and charm. Taylor Gill as prodigious progeny Sarah endows the role with a cautious vulnerability that is often lovely, and Joey Hood's disoriented Jim is affably disarming. It is curious, however, that the performances in this piece can vacillate from genuinely affecting to caricature so mercurially. The relationships periodically seem quasi-formed and in need of a more subtextual history. Often it seems that deeper, more smoldering choices would be more effective, but they are eschewed for laugh-grabbing choices like "hysterical", "awkward", "weird", and "torn". The production's attempts at quirk seem unpredictably disingenuous, and it seems to be on the whole confused as to whether it is a drama with comedic elements or a dark comedy with dramatic themes. With a chimeric script like this, a clearer sense of vision and a more complex root system would've benefited immensely.

Sick is atmospherically engaging. Upon entering a pristine white burrow bathed in homely light, the realization that this place isn't quite right sets in. Air filtration systems stand sentinel, and plastic bedecks the furniture and the entrances. The cast utilizes the space as if it is theirs and has been poisoned, whether it be through reticence to relax or cleansing the space (which occurs frequently). There's a transfixing sense of motion in this still place that can't be impervious to infiltration, despite attempt. In this red alert world, it's the subtle implications that are most satisfying, disturbing, and amusing. With that done well, it's really a shame that the script isn't able to keep up with the atmosphere the production creates.

Ben (Kent) and I spontaneously produced the foundations of all of the songs -- several of the songs on the record went straight to 2" tape as they were conceived, if that makes sense. Then I would try to bring more structure to them by adding keys for bass parts and keys for other melodic elements -- since the guitar is often rhythmic at best. Keys Keys Keys. Piano was my first instrument. I even play guitar percussively because of that. I would add all the vocals and harmonies last to try to bring it all together.

On the technical side: the drums and guitar were recorded live in the same room. We'd run back and forth after rolling tape. Then the basics were transferred into the computer. Overdubs were done digitally but with lots of analog in the signal path. We built up layers and layers with keys and vocals. Then the guitars were too thin. So we added a couple guitar overdubs in a few spots on the recording. Then the drums would get lost. So we'd back up again. We'd run the mixes by good engineers who don't even like our music. We didn't want musical opinions at that point in the game -- just balance advice. I mixed it in the box. But I prefer to mix back out through the console -- it sounds better. A digital mix buss is at best a representation of other virtual tracks. I love analog gear. It far outweighs the fidelity and reliability of digital. But we were ready to be done with this record. You pick your battles. We had it mastered by Jason Ward in Chicago Mastering Service because he rules.

Image provided by Black Cock

Once we all agreed the song was good enough...Jordan and I would add more noise using keys mostly. And the best part...we'd remove lots of my vocal tracks and replace them with Whitney, of course, and Jordan & Ben as well. So even if I handled most of the shaping after Ben and I produced the skeleton of the song, there were important breakthroughs that we made with writing or performances by Ben, Jordan and Whitney that were essential to zipping it up. It's our record.

How do you define success and what is the ultimate goal for this band?

Longevity. Either you created a musical moment or scene so powerful that it spawned several bands to become great (The Pixies). Or maybe you continue to put out great records even though your label dropped you, or your CD sales are down, or your band broke up and you went solo etc. (insert name here) The new model for "making it" includes internet marketing. And the internet comes with a lot of hype. After a couple years the dust settles and a new story is written about a particular band. I think a long track record of creativity is a good measuring stick.

But along the way, every creative person can be distracted by rent, bills and the job that pays for those things. You'll find out that band x wants to get their song into a commercial because band y made $10K on this or that. You can't hate on that. We all see the old standards dying: CD sales, a big tour bus, and advance from a label (what is that actually?). But it seemed like that was Bob Seger's job. Now bands are trying to mix instrumental versions of their songs before they even have a fan base. And to check if we're on the right course with our music, we're left trying to measure things like MySpace hits , Bandcamp downloads and YouTube views. Maybe that's not how things shake down in the end. Those things can be hyped and manipulated. But shitty music is still shitty. And hopefully bands are thinking about that and not taking the hype too seriously.

Ultimate goal: I have a studio. I know a lot of talented people. I plan to explore all the musical ideas I can in this band (and any other project). What is my lame excuse otherwise? And of course, if we get some recognition from fans or media along the way and maybe even a buck or two...I wouldn't complain. Black Cock should be big in Japan!

Thank you for speaking with Austinist.

[Black Cock MySpace]
[Tia Carrera MySpace]
[Woodgrain MySpace]
[Eagle Claw MySpace]

Mainly people rarely know what you mean when you tell them you’re a printmaker. This is sad because so much of the books, newspapers, commercial art and advertising we come in to contact with everyday is done using a printmaking process.  The other problem is the confusion between giclee and art printed from an inkjet/laser printer being called a “print”. I did a demonstration for a high school class where a kid told me he could get my 11 layer hand printed work out of his ink jet at home. I was incredibly insulted but the truth is many people don’t understand the difference. The printing technology has high jacked much of the terminology originally used by printers. Those who are marketing inkjet/laser printed work as fine art prints are adding to the confusion.

What excites you most about the future of printmaking?

Despite how long printmaking has been around we are still finding new processes and new ways of using it. It is also great seeing the different ways artists are trying to make the printmaking mediums greener through changing the chemicals used or by recycling old plates to create new works. There are just a lot of exciting things going on in the field.

Where else can we see or purchase work from the Women Printmakers of Austin?

Right now we are participating in E.A.S.T at our new studio at the Pump Project annex on Shady Lane so we have framed and packaged work for sale. We also have a beautiful book of all our previous trades we created in honor of our 14th anniversary last year which is available for purchase all the time from our website as well as at the studio. Many of our artists have portfolios of their work on our website and can be contacted for sales through that venue. In addition we have a couple of shows each year where work is available to view and purchase. People interested in our upcoming shows, workshop, etc. can sign up on our website to be notified.

Helping Schmidt achieve his vision is a cast of great depth. For an actor, Chekhov is dessert. It is a chance to work on text that was the laboratory for most of our modern acting theory. So, it is no surprise that the cast list of this show reads like a Who’s Who in Austin theatre. It should also be said that this is an Equity Member’s Project Code, which means that each of the Equity cast members in the show (four in total) have agreed to forgo their usual salaries to participate. Everyone on that stage is out there for nothing but the love of making theatre. Leading the way is Babs George as Ranyevskaya. As formidable as she is fragile, she has an infectious laugh that’s surprisingly heartbreaking. Her identity is so wrapped up in her homestead that she really (forgive the cliché) can’t see the forest for the trees. In spite of the fact that she still has her brother Gaev (Ev Lunning Jr.), her daughter (Robin Grace Thompson), and her foster daughter Varya (Liz Fisher), she feels that if the orchard is cut down, it will eliminate the very witness of her existence, and threaten the memories of her husband and son. It’s a tremendous performance. Matching her in turn is Matt Radford as Lopakhin. He wears his new fortunes with obvious unease, and in spite of the power it affords him, he remains a bit of a misfit in the changing social order. Radford is at his best here, reserved until the flood of triumph that comes from buying the estate at auction and becoming the owner of the land where his forebears were slaves. But it doesn’t seem to bring the desired happiness—Lopakhin cannot seem to make the expected proposal to Varya, as if neither she nor he really feels deserving of that kind of happiness. As Varya, Liz Fisher has a quiet desperation about her. As she points out, she cannot be the one to propose, and so she buries herself in the management of the house. The rest of the cast is a tight and clean ensemble. Dirk Van Allen is the sweet and doddering Firs, trying to keep everyone warm in their coats. Ev Lunning Jr. hopelessly loquacious as Gaev. Sarah Gay (Dunyasha), David Boss (Yasha), and Noel Gaulin form a low-brow love triangle. Playing the staunch governess with her usual comic precision is Bernadette Nason. Simeonov-Pishchik, played by Rob Matney, is the charming leech of a neighbor. Robin Grace Thompson is optimistic yet grounded as Anya. A special mention goes to Nigel O’Hearn as the tutor Trofimov. His presence onstage was magnetic, and we hope to see more of him.

This world of characters is expertly contained by Rommel Sulit’s set, which has the wonderful feel of being simultaneously inside and outside. Buffy Manners’ costumes, always gorgeous, give special thought to the changing status of the characters, and Adam Hilton’s sound design that really creates the sense of time and place. He takes the phrase “breaking string” and run with it.

The short and the long of it is that every artist in this collective should be proud of their contribution to legacy of Chekhov. This production captures all the felicity and heartbreak that one hopes to get from his drama. It almost certainly takes considerable time to translate a play like this, but here’s hoping that Schmidt and Breaking String will bring us their next offering as soon as they can. Браво!

Photo by Che Torres from MySpace

What’s the Deal: Stumbling across this local Austin band is probably the easiest way to discover them. There is only one show listed in their upcoming show section on MySpace and their EP is currently sold out. But, stumble their way, and you’re likely to be pleasantly surprised. They pull off their mix of shoegazy rock and western-influenced, atmospheric and somewhat psychedelic instrumentalism with class and confidence, which is especially impressive taking into account how young they are. Like, high school young.

“Three Coffins” starts with crickets and the music of a balmy evening and builds into guitar and bass thrums in a way that could be the score to a turn-of-the-century western. Then, the instruments spend the next nine or so minutes rising and falling, building and breaking.

What’s The Deal: They’re playing the Mohawk the day before Thanksgiving for the 101X Homegrown Live concert along with Mother Falcon and Hotel Hotel.

Other Tracks Worth Checking Out: “On A Broken Horse”

Chief Rival [MySpace]

Last Chance by Nicholas Henning, 48” x 72” Oil and Sharpie on wood

I begin my pieces in one of two ways. The first is by coming across an image or design that reminds me of something or someone personal and adding imagery to it layer by layer until I am satisfied with the composition and combination marks. I project the images onto wood or paper and decide which material and technique would best suit it.

Alternatively, I might start with a story and basic idea of the imagery that I want to use to tell my story. In this case, I have to do a lot of searching through my collection of images to find what I need. If I don't have what I'm looking for I'll search online, at the library, on the street, or at the grocery store. I used to work much more slowly, but having the larger studio space at Pump Project has allowed me to work on multiple paintings and ideas at once. Typically, a piece takes between a week to two months to complete.

As someone who has worked then both solo and among a community of fellow artists, what do you dig about Austin's art scene? Also - be honest - what frustrates you?

The most exciting part of the Austin art scene is the almost overwhelming number of interesting artists here who are willing to take risks and make work that is different from anything you'd find in other cities. However, the most frustrating part is that as a result, it is sometimes difficult for artists to receive attention for their work, either from the galleries and media, which are overloaded with artists seeking exposure, or from the public, which can become apathetic about the art scene due to over-saturation.

What is your favorite part about E.A.S.T?

This will be my first year participating in E.A.S.T. as an artist, as I had a studio in my former home on the west side until August. But as someone bouncing from studio to studio it was always great to meet the artists, see their studios, and receive insight into how some pretty amazing artwork is produced.

What can visitors expect when they visit your studio?

I'll have a few of the pieces I have finished since moving into my space displayed, some works that are in progress, and my supplies and equipment, which allow me to produce work.

Last question: Inquiring minds want to know Nick where the name "Pump Project" came from. Do tell?

Pump Project is in a large 1950s warehouse which has been converted into studio space for 30 artists. On the ground floor of the building is a rather large water pump.

After E.A.S.T., be sure to catch Henning's work at Birdhouse Gallery (1304 East Cesar Chavez), where he'll be showing the second weekend of January.

Images from MySpace / Facebook / provided by entity.

It’s all related. It’s like this: I’ll be writing in my journal saying everything in words and then realize that It would make so much more sense if I drew what I was feeling. For example, how do you say in words what it feels like when you’ve been skirting the truth for too long? When I see it in my mind and feel it in my heart, pictures come of veils, covering yourself to hide what you don’t want others to see, but then you can’t see either and you get tangled. This is so clearly an image to me, a series of pictures, that I’m sure I’m not able to explain it well.

When I am able to express these thoughts and emotions through pictures it’s not only therapeutic (because I can explain myself better) but it also increases my artistic vocabulary. So those emotions and concept can find their way into my “just for the sake of fun” work as well. It also works the other way, sometimes my characters from my whimsical fun work seem to find their way into the cathartic pieces. For example, I have this rather devious character “Devin” who is from a completely ridiculous story. Somehow, I tend to imagine him as the villain even in pieces that are supposedly more serious. It’s probably my own subconscious telling me not to take myself so seriously.

Since I’ve been rushing a bit to get ready for the show, my new stuff doesn’t show it as much, but I do love creating imaginary worlds. When I’m drawing a scene I’m trying to get inside the character's heads so that I can draw from a place of sincerity, of understanding what’s going on. So a big question that plays into that is: so where is this scene taking place? When I’m really being diligent I ask myself about a thousand questions like: where is this taking place? Is this earth? Is this close to where they live? Do they like where they are right now? Does the environment like them right now? What time of day is it? Shouldn’t the telephone be melting a bit since it just got touched by zombie slime? As I think through the answers the place becomes clearer. Sometimes I get carried away with world building and go down a trail that I wasn’t expecting. For example, when I was drawing scenes from a story about a cupid fairy I spent a crazy amount of time imaging and drawing little houses nestled into dead trees, murals that decorate their houses, merfish that invade their houses when the river rises, an interesting root that someone might use as a bench to sit on. I think JK Rowling once said that an author ought to know absolutely everything about the world they create in their books, even if it’s never mentioned in the story. I think the same is true for illustrations. Even if you can’t see it in the picture the fact that in this world, clouds tend to be shaped like famous generals is going to affect the psyche of the image somehow, and I want to be able to draw that.

Did you dream about inhabiting alternative worlds as a child?

I played so many imagination games with my brother and sister, surely there were a few that involved other worlds. I mean, don’t all kids build forts out of pillows in their living room and pretend that it’s the frozen tundra of Siberia, or make home movies about zombies who haunt a golf course? I think I was more of a world traveler than an inter-dimensional voyager. I remember pretending to be a parrot in the rainforest, a merchant at a Persian market, Pocahontas, etc.

What comes alive when you do this kind of work?

My characters. Or at least that’s what I hope for. I want to put so much life on the page that you can’t help but wonder what’s going on and what’s going to happen next. Because if you don’t believe it, then you won’t think it’s important and won’t bother to take the journey. So what comes alive? The art, and then hopefully the viewer. Hopefully your realm of possibility becomes a bit wider and the world shimmers a bit more around the edges with the thought of what all is out there if you can just pay attention!

So let’s see—how is it that I came to love your work? I recall the love started out, as love sometimes does, on a bumpy path. I got here in September of ’91—I think that was just after KGSR took to the airwaves. I really dug the station. So a few years later, when SEVENTEEN magazine asked me to do a piece about cool radio stations across the country, I contacted you to see about writing up a little something about KGSR. And your response was a very curt (to my ears) no, because, you said SEVENTEEN wasn’t your demographic. Between the lines I also thought I heard some (in retrospect possibly non-existent) snobbery, some suggestion I was an idiot for not getting that, a fool for asking in the first place.

Jody Denberg

But my god! How difficult you made that! Because I have to say that, despite your rejection of me, I could not deny what prompted me to contact you in the first place—you, Monsieur D-berg… you put together a fine radio station! Mighty, mighty fine. Far too fine for me to sustain my grudge for long.

So I kept on listening. And I realized, with a few exceptions—like, go ahead and shoot me but I am just never going to get SRV— that maybe 90% of the time, I just adore your taste in music. I’d get so into it that as Select-a-Set weekends approached, I’d submit lists not just because I loved the songs, but because I wanted to see if I could get your attention. Pick Me! These entries shouted. Look at how similar our tastes are! (And once, you played my Select-a-Set early on, to kick off a whole weekend, and I felt totally chosen. I can’t even remember the whole set now, but the theme was “math” and I’m thinking maybe it included Aimee Mann singing One is the Loneliest Number, and Elvis singing Less than Zero, and perhaps Nick Lowe belting out One’s Too Many (and a Hundred Ain’t Enough.))

On the other hand, I must confess that for years—like about sixteen of them—I just could not get behind you and that Beatles fanaticism of yours. I had a nickname for you then—I think I called you “The Other Fifth Beatle.” And that tagline? KGSR, Where the Music Comes First? I changed it to, KGSR, Where Jody Denberg’s Belief He is the Other Fifth Beatle Comes First. (As you can imagine, when-- during this time of my nickname for you—I heard you sing a Beatles’ song at the wedding of mutual friends, I about peed my pants.)

But then a funny thing happened. I was getting divorced for the second time, and it was hell. Dear Prudence came on the radio one day during that time, and for the first time in my life, I actually heard the lyrics and freaked out at how they touched me. It was then that I “discovered” the White Album, which fast became the perpetual soundtrack bolstering me through that awful time. And as I listened to Dear Prudence, sometime thirty times in one day, all those years of Beatle-resentment I’d developed courtesy of my brother’s fixation on that band, and his insistence on playing their records over and over and over—which drove me mad—well all that dissipated. And I got it. I really got it. And so we connected some more, you and I, and I came to understand this love of yours, and how it could never die, and I loved it too.

Me & Mick Jones & Tony James at KGSR

Then the other week, I had what now feels like a moment of full circle. I emailed to ask you to let me write about you for a new gig I have, writing a blog for JetBlue about all the cool people/places/things in Austin. And—as you had all those years ago, you rejected me again. This puzzled me, but you were very nice about it. I had no interest in a grudge, and did not take this second refusal personally. I just figured you were busy or shy or something. Now, though, since I heard the news, I’m guessing you knew then you were leaving, so maybe that’s why you said no.

If I have not yet made it clear, let me say for the record, I am shocked—SHOCKED that you are going. And selfishly dismayed, though I know you say you’re looking forward to it. This is worse than David Lee Roth leaving Van Halen. This is sadder than peanut butter abandoning jelly. I don’t care if the new station manager stands on his/or her head and spits purple Chiclets and offers me a regular spot to read poetry on air about my Boston Terriers. IT WILL NEVER BE THE SAME WITHOUT YOU MAN! You ARE KGSR.

So I just wanted to tell you, in public, THANK YOU SO FUCKING MUCH for all the awesomeness over the years. And please know this is not merely retrospective appreciation—I always knew, and never forgot all along, even during that little grudge thing, just how lucky we are to have the station you so carefully and lovingly built.

Oh and one more thing? You know, if you really have to go, I find your imminent departure beautifully timed. Because this is Thanksgiving time, aka time for yet another one of those brilliant KGSR Broadcast Volume compilations you put out to raise cash for the SIMS Foundation. Best record of the year, and another way you gave so much to this town’s musicians.

Here’s wishing that your declared year off from everything will be full of calm and joy and some soon to be discovered heretofore unknown Beatles recordings.

Again, thanks.
Your fan,
Spike

Spike Gillespie is pretty sure this is going to go down as one of the most tumultuous years on Austin radio history. She blogs at www.spikeg.com, KnitBuzz, and-- brand new people, check it out, for JetBlue: JetAustin.

Our upcycled grunge flower kit is our most popular for sure. As far as classes, see above, but we also have been offering a fun class for little ones ages 3-6: Storytime crafts, that's been popular. Also, our Mix & Make happy hours have been a blast!

What are some of the "customized parties" The Wonder Craft can do for groups?

We can do fun make-and-take baby shower items like designing onesies, or help a bride get ready at a bridal shower and make all her center pieces. We can also do Girls' Night Out jewelry-making, or a housewarming party to make tea towels or pillow shams. In addition, if a group comes up with an idea, we can customize a party to make any craft they'd like. That's the benefit of having four multi-talented crafters running things!

What excites you about the Austin craft scene?

We love how diverse it is; there is always someone doing something new and amazing. It's also very inclusive and friendly; everyone tries to help everyone else out. The network is so fun and beneficial to be a part of. Austin also seems to be a major craft hub, teeming with super-talented and influential folks like the Austin Craft Mafia, a lot of local artists featured in Handmade Nationand local blogger Rachel Hobson, a contributing writer for the Craft blog, so it feels like a place that people look to for what's happening in the crafting world. And with Austin being so local- and indie-friendly, people here like and appreciate local businesses and handmade items.

What is your favorite part about E.A.S.T.?

Our favorite part of E.A.S.T. is being able to see such a wide variety of work available right here in Austin. Meeting the artists creates a more memorable experience with the studios than a gallery setting typically does, and overall, it's just a really exciting celebration of art and artists alike!

What can visitors expect when they stop by your studios during E.A.S.T? What is this group sculpture we've been hearing about, and which make-and-take projects can visitors try out?

Stella will be set up like a gallery/boutique featuring work from each of the WonderCraft gals as well as some of our talented pals from the EtsyAustin team, and we'll have a big mixed-media rocketship sculpture people will be invited to add to. Our make-and-take projects will be a variety of upcycled crafts, including our fun cardboard wallets and mustaches-on-a-stick, and we'll have our ever-popular button maker out as well for folks to design their own pinback buttons.

Oh we'll be there, Beth. Making some mean pinback buttons.