UBATUBA Ubatuba's Organic Creations Light up the Night
16”X 20” POSTER LaceFace
AGE The Best of the Best at AGE January 2014
Texture and Form come to Life
Issue 12 Content
Ubatuba Photography by Kenny B Photography
p.16 Meet us at the art opening! Jennifer Levine will be your guide to Alex Ubatuba’s Colorado multimedia extravaganza. Prepare to be dazzled by his “Illuminating Offerings”.
p.24 Keep your eyes peeled for Casto. This young gunner has some serious skills and an interesting glass education background. Check out the full interview for the whole truth and nothing but the truth.
p.34 Couldn’t make it to the January 2014 AGE show? Don’t worry we have got you covered. Check out our epic recap of the best and brightest glass from the American Glass Exposition!
p.60 Highly committed to the glass craft, this self described “tool junkie” has become a big fan of hollow sculpting. Fischbach’s literal interpretation of the the word “heady” adds a fun and playful element to his popculture inspired creations.
p.66 With so much drama in the LBC it’s kinda hard being GooseFire Gallery. To be fair, there is no drama in Long Beach and the only “hardship” this incredible shop/gallery endures is constant praise. Gallery curator and co-owner, Dustin Abrams shares the full story.
p.74 Rude boys & girls take note: Fans of ska, 2 Tone and punk rock will love the debut album from landlocked beach fanatics Lowdive. Climb the ladder already and jump in the pool!
Product Reviews 34
p.78 Let us be your personal shopper. If you are in the market for a recycler or extractor then bust out the monocle because you’re in for a good read.
Studio Spotlight : Cobra-Kai
p.82 Hops and Hoobs invite us into their dojo for a insightful Q & A. Learn about the birth of CobraKai and find out what these two have in the works for 2014.
Underneath the Covers
p.90 This isn’t a story about dutch ovens....we are talking about cover songs here! Some of your favorite hit songs may have been originally written and recorded by someone else.
ISSUE 12 POSTER: LaceFace
UbaTuba's Organic Creations Light up the Night
16”X 20” POSTER LaceFace and Adam Reetz
On the Cover... Selection from Alex Ubatuba’s Denver Colorado show. Photography by Kenny B. Photography
AGE The Best of the Best at AGE January 2014
Lacey St. George as seen at
AGE Las Vegas
Texture and Form come to Life
As seen at AGE in Las Vegas HOTBREATHMAGAZINE.COM
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ISSUE 12 CONTRIBUTORS Photography ARey Photography Kenny B. Photography Grayson Kilmer JSP Dash Carlisle Writing Jennifer Levine Julian Bonilla Adam Villareal Kevin Dankman Dash Carlisle Chuck T
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KENNY B PHOTOGRAPHY
INTIMATE PORTRAITS: ALEX UBATUBA, “ILLUMINATING OFFERINGS”
t was a chilly evening and the stars glistened in a unique light against the Colorado night sky. It was not cold enough to make your breath float in crystals in front of your face, but you definitely needed a heavier coat to stay warm. The street on the North end of downtown Denver was quiet before we turned the corner. We heard music and saw folks in flat-billed ball caps milling about outside as we walked towards the open door. The inside of Knew Conscious Gallery was dark but had a warm glow of vibrant pastels stretching out from organic and otherworldly glass sculptures. We entered Alex Ubatuba’s world...
Ubatuba has been blowing glass since uses his art to build his community via 2000 but has been creating art all his collaborations with friends. The show life. He was always encouraged to create on March 8th, Illuminating Offerings, art, so when he took to lamp working his was a collaboration between Alex surrealistic visions finally had a voice. His Ubatuba, gallery owner Kurt Redeker, visual influences jewelry designer “His visual influences range range from Jason Burruss, space anomalies DJ Soulacybin from space anomalies to to sea forms and music duo to invertebrate Erothyme. Inside sea forms to invertebrate structures. The the gallery space structures.” unifying theme of the lighting and these assemblages sounds permeated he asserts is “life underneath the your senses by creating a breathing surface, the internal glow of the habitat of Ubatuba sculptures. universe”. His mission is to incorporate this interior world with his outside life Ubatuba uses freestanding multimedia as much as possible. To this end he works of sandblasted glass, LED
programmed lighting, plastic inserts and box-shaped bases made of wood. The true beauty of the assemblage components is the grace with which each delicate stem grows effortlessly into bulbous and seemingly gravity-defying huge glass shapes. The forms have an imprint of delicacy yet are structurally sound enough to withstand the harsh cold work of sandblasting. As a glass artist, this shows impressive craftsmanship. Ubatuba attributes this level of detail and workability to the use of lamp working versus the most traditional furnace work. He explains, “We can work more detailed in boro(silicate) because they’re limited in soft glass with the weight and tools. I have experience in welding, which is a similar process to lamp working. Using boro with this experience allows me to go bigger than other blown glass”. The sandblasted surfaces of the independent parts diffuse the LED lighting into soft pastels. The LED lights are programmed to oscillate slowly as to fade from cool to warm colors and back again. This lighting gives the sculptures movement but also allows them to own the space and really create the effect of a surrealistic atmosphere. To walk into a room with Ubatuba’s work is to have a visceral experience. The collaborative effort of his friends’ different mediums makes the shared space that much more poignant. I would love to share with the reader when to next see an Alex Ubatuba show, but thematic with the mysterious encounters he creates, he prefers the more organic experience of surprise. In his own words, “I prefer to have my work and events pop-up out of nowhere and share it with a community of friends… Makes the nights much more interesting and chill”. This being my first Ubatuba show, I’m not sure how things could get much more interesting. It was an honor to share an evening in his world and a greater honor to meet the man behind the glass. -Jennifer S. Levine
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casto Interview by: Julian Bonilla Photos by: Grayson Kilmer
hen you hear of creepy creatures and sea monsters only one glass artist comes to mind: Casto. This guy is unstoppable! His art always seems to amaze me. Casto’s glass art has been seen in many places like the the Hard Rock Cafe, Chicago Glass Project, and Champs. I got the chance to interview Casto and found out how he started glass blowing and what’s next for young artist. You ready? Let’s get this interview started... What is your Glass Artist name?
Casto How long have you been melting glass?
I have been melting glass for about ten years. I started when I was 17 and haven’t stopped since. How do you compare glassblowing from the past to the present?
Well I think it’s growing faster and faster. More people are starting to appreciate the craftsmanship and artistic abilities now, more than they ever have before.
How exactly did you start blowing glass?
My mom collected glass figurines a lot when I was growing up so from a young age I was always fascinated by glass. One of the things I remember the most is my mom used to hang glass crystals in the windows and they would shoot rainbows everywhere. I was always intrigued by that. So from my mom collecting glass and my dad buying glass (for my mom), my dad met a glass artist by the name of Lewis C. Wilson. My parents asked me if I was interested. This was when I was 14.....I said “no”. Three years later, I had already dropped out of school and was doing nothing but graffiti. My mom came to me and asked again, so I said “yes” this time. In exchange for yard work Lewis Wilson gave me classes. I fell in love from it since that day...never turning back. Since then I have studied at Penland and Murano and have continued to grow as a glass artist.
What led you to manifest your interest and presence into glass blowing?
I think being around my mom’s glass collection is really what did it. She had 100’s of different animals. Who or what has been your biggest inspiration?
I have three biggest inspirations: Talking to Lewis that first time and just hearing the knowledge he was cramming down my throat was so unbelievable to me. That was the first one. Then going to Penland for 2 months where I took an innovative sculpture class that completely flipped my world upside down! There was just so much knowledge and art going around that place that it was life changing. Third would be going to Murano and seeing the glass mecca of the world. What kind of torch do you use?
Major minor all day everyday.
Favorite place that your glass has taken you?
Murano, Italy Do you have goals in glassblowing?
Yes I have lots of goals. A few of them are to move forward into huge glass installations. I really love doing large projects. I have done a few but I need to do lots lots more. Another one of my goals is to open a school one day for people to learn glass and other mediums. I really want to make an impact on glass art history and culture I want to benefit future generations to come and provide something for future glass lovers to build upon whether it be a school a sculpture or technique. I want to make an impact . Do you blow glass at home or at a studio?
At a studio What other glassblowers do you hang out with from time to time?
Well my shop mates of course...and when I go to a show I try to hang out with everyone. When it comes to glassblowing what is your favorite kind of technique to use?
Sculpting, hands down. It’s funny because I sculpt figures better than I draw them. I use my left hand to sculpt where in everyday life I use my right hand. It’s just weird and intriguing to me. I love it. Frit, you gotta love the frit. Oh and gold and silver fume for sure. Any favorite projects you’ve worked on?
My favorite and most hated project was the chandelier I made for the Hard Rock here in New Mexico. It was so spontaneous and happened so fast. They came into the studio, said they wanted a huge chandelier and I went for it. They gave me a week and I got a few of my shop mates to help with adding
loops so i could tie the glass piece into the structure. Damn near impossible task (LOL). The chandelier was about six feet deep and nine feet across. Well over 800 pieces of glass made in 9 days. I loved it. I didn’t really sleep or anything...just constant torch time on this project. Designing the structure and designing the glass was my dream come true. Sad to say it fell due to an improper hanging (that was not my fault). I still got paid but to know that it would no longer exist was a nightmare...but I did what I love most and I created a beautiful chandelier. You’re still pretty young, who do you see yourself collaborating with?
I would love to collab with Ghost and countless others. Everyone is just slaying the game right now and I want to collab a little with everybody that has a vision.
What’s in store for Casto in the rest of 2013 and 2014?
It’s a secret shhhhhhhh!!! Any upcoming shows or events we should know about?
I will definitely be more a part of the show side for the next few years. I never really went to many so expect to see me at all of them (hopefully). Any thanks you’s, shout outs, piss off’s or HOLLAs?
I’d like to give a shout out to Team Greymatter run by Doug Harroun. Jones life. My beautiful parents for sure. Dougie from Hitman. Scott from Honna Lee and to Julian for my first interview for a magazine. Mad love! And to everyone who has helped and supported my art through the years. I love you guys and I wouldn’t be here without you.
888.546.3111 Call For New 2014 Catalog 32
Images by ARey Photography
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LaceFace & Adam Reetz
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HB GLASS SHOP SPOTLIGHT Elbo and Coyle
JSP Article by Dash Carlisle
High Priority & GooseFire Gallery
salty ocean breeze drifts down East Broadway as High Priority Glass and GooseFire Gallery prepare for another busy day of work. Customers from all walks of life are drawn in by the clean décor, the impeccably crafted Americanmade glass art, and the unanimously positive customer service. Some of the inquisitive window shoppers have never set foot in a smoke shop. These lucky newcomers, perhaps unknowingly, have found themselves in one of the best smoke shops in the world, a prototype business model that continues to propel heady lamp work into the fine art realm. The interior is tastefully adorned with collector-worthy treasures featuring
an all-star roster of heavy hitters. The High Priority Glass opened 3 ½ focus at High Priority is American years ago in an effort to give Long glass, and the staff, many of who are Beach a doorway into the progressing glass blowers, are the Antique Road art scene. A serendipitous influx of Show wizards of glass knowledge. choice glass art needed a home, and Regardless of High Priority “None of this would have your budget quickly evolved or preferred into a mixed use been possible without delivery gallery space. Matt Abrams and Jeremy device, there is The shop/gallery Abrams.” something here hybrid outgrew for everyone. the consolidated -Dustin Abrams If Shangri-La space and High can be any Priority gave earthly paradise, then functional birth to GooseFire Gallery. A fine glass art enthusiasts have found their art anomaly, both businesses proved borosilicate utopia in Long Beach, successful serving as an entryway California. into the burgeoning Long Beach art scene. GooseFire Gallery and gallery
pioneers, Easy Street in Brooklyn, NY were launching a bi-coastal attack by changing the perception of functional glass art one gallery opening at a time.
Coyle & Joe Peters
A melancholy gentleman clutches a black case as he approaches the counter. He accidentally knocked over his roommate’s prize glass and read online that the folks at High Priority might be able to help. Today he is in luck, as one of the employees assures the customer that it will be an easy fix. The staff of High Priority is a proverbial talent pool of local glass artists. They appreciate a good challenge, and if it can be fixed then these multifaceted glass blowers are your best bet. An in-store consultation is required for all potential repairs, so plan accordingly. Due to the building’s historic status, flames are in violation of fire code and all repairs must be completed off-site at a proper glass blowing studio. High Priority Glass and GooseFire Gallery reside in an old firehouse in Long Beach. That’s actually where the name GooseFire originates. Goose, a Russian wolf hound, is the the owner’s canine companion. For those lucky enough to visit the LBC shop and gallery, you’re in for a unique experience. This tight-knit beach/art neighborhood is very accepting and open minded. On any given day at High Priority you will encounter young glass aficionados talking shop, baby boomers coming straight from dispensaries, curious first-timers and everyone in between. The rest of the world can shop High Priority Glass online. The site offers the same incredible selection you will find at the physical store. Despite
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Coyle & Ben Burton
certain international and product restrictions, HPG can ship virtually anywhere in the world. One thing is certain, there is increasing global demand for American-made glass art. South Africa, Australia, Spain, Canada, and England love highend glass work and top the list of international buyers. Functional glass prices climb as the top-tier American glass artists continue to push the boundaries of the medium. As legal change sweeps the States, other artists are sure to cash in on the growing demand for sculptural art glass. A new wave of artists will usher in the next level of functional possibility and aesthetic evolution. HPG and GooseFire Gallery will undoubtably play a formative role in the next chapter of the functional glass art story. Glass artists interested in selling their work at High Priority Glass are encouraged to send photos and prices to highpriorityglass@gmail. com. Those interested in displaying their work in GooseFire Gallery..... get in line. Landing a solo show at GooseFire is pretty hard to come by these days. The upcoming year is already booked, and with each new exhibit comes a step in the fresh direction. The art gallery platform creates a unique competitive landscape amongst artists. This type of competition breeds imaginative innovation. On April 20th, GooseFire Gallery and Chris August Carlson will present The Sherlock Show, a thematic homage to the preferred glass shape of detectives, ship captains, and anyone else sporting a monocle. The sherlock is an icon, a masterful blend
ETR & Coyle
of form and style. The elegant and simple sherlock shape is the universal gateway into modern functional glass art. GooseFire and Carlson, a sherlock virtuoso, will host a total of fifty accomplished glass artists each displaying their unique sherlock creations. Attendees can expect to see works by Carlson, Jason Lee, Banjo, Salt and dozens of all-star artists. Visit goosefiregallery.com for the full line up. Visit High Priority Glass & GoosFire Gallery 2740 E. Broadway Long Beach, CA 90803 562-343-5522 goosefiregallery.com highpriorityglass.com
hotBreath music Review
eorgia-based ska band Lowdive makes a splash with its first album, a perfect companion for a warm summer night Here’s the thing about ska music, it never stopped being cool. Sure, ska, has enjoyed its highs and lows in the American music mainstream — bands like Sublime and No Doubt have given it commercial viability in the past that it might never reach again.
when you think you’ve got Lowdive figured out, they start shredding some guitar riffs or changing up their arrangements and you realize, there’s more to Lowdive than the typical ’90s-influenced ska band. Lowdive is at its best on songs such as “So Glad,” the album’s second track that is bright, catchy and bound to make listeners move. “Rum” is another standout. It’s breezy and would sound perfect in a Captain Morgan commercial. “Ska T P” cranks up the volume a bit, and shows Lowdive’s rock chops. Make no mistake, this is a good thing.
It’s Breezy And Would Sound Perfect In A Captain Morgan Commercial.
Charts aside, ska is viable at least every year. When the weather starts to get nicer, when the cold subsides for spring and summer, when people want to dance to a slanky groove, you can never go wrong with throwing on some ska jams.
Because ska has proven itself to be a timeless genre of party music, local music scenes across the country are full of capable musicians looking to cash in on weekend drunks who never stopped being fans of Sublime, Reel Big Fish, Less Than Jake and the like. While channeling those bands and playing a reasonable cover of “Santeria” can get a band a good ovation on a Saturday night, that’s not Lowdive’s mission statement. And “Rude Girl” proves it. They’re making something original, fun and with a flavor all its own. ON THE WEB Get more info on Lowdive and hear their music at: • lowdivemusic.com • lowdive.bandcamp.com • facebook.com/Lowdivemusic
Ska is, at its essence, party music. It’s the soundtrack to a good time. Cracking open “Rude Girl,” the debut album from Lowdive, it’s pretty obvious this sextet is all about a good time too. It only takes listening to the first song — a ditty titled “Tumor,” a not-so-amusing subject that Lowdive turns fun — to make it clear that these guys are a blast. Because if you can entertain people with a song about a tumor, then you’re doing something right. Lowdive hails from Athens, Ga., and consists of Jay Rodgers, Tonka Green, Dede Giddens, Josh Perkins, Scotty Nicholson and Colin Hatmaker. They’re veterans of the Athens music scene who are also longtime friends. By honing in on the ska grooves of the ’90s, adding some reggae and rock elements, plus a few surprises, the band has managed to become a popular choice for music lovers within their hometown scene. But “Rude Girl” proves the band is capable of more than just making a bar-full of locals dance. The album is slick and diverse, with quality songwriting backed up by on-point musicianship. Lowdive is smart enough to mix punchy, uptempo ska songs with slower grooves every once in a while. And just
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HB PRODUCT REVIEWS bridges as well as being peppered across its body. Beyond the sublet pop given by the opals, you’ll notice that every joint or weld in the piece has been executed flawlessly giving the recycler a visually striking level of clarity.
Fish Bowl Glass Recyclers by Chuck T
Given the alarming portion of my income that gets earmarked for my glass collecting, I understandably spend a large amount of time perusing available glass. Despite my collection continuously growing, it took a considerable amount of time before a recycler actually made its way into my home. In that time I had the pleasure of using a wide array of different options and water testing even more. After months of searching, I actually wound up adding a duo of recyclers from Matt and Steve of Fish Bowl Glass. Having seen the quality and attention poured into every piece they make, I was absolutely ecstatic to learn that they had begun producing recyclers. The first addition to my collection was a surprisingly understated tripod recycler with a double feed. I say understated because it’s near impossible to appreciate its fine details at first glance. Upon a second, third, or fourth glance you’ll notice the pile of opals that have been tucked into its feet and
While this was not the first double recycler I had the pleasure of using, I must say it is the first to truly impress me in terms of function. Its diffusion is provided by a bottom mounted four hole disc. The draw created by this setup is unlike any other piece I’ve come across. Most disc percs that I’ve encountered give a really chuggy pull as the water drops and rises again above the perc. Within this piece though, the draw fluctuates ever so slightly between the two feeds creating a uniquely smooth, fluttery pull. This mild diffusion yields a wonderfully delicious vapor while minimizing reclaim. Topping everything off is one of Fish Bowl Glass’s vented domes. It may seem a small feature, but these domes are my absolute favorite! The added airflow allows for a superior percolation with less stress on your lungs...plus they are their own carb cap! For all the fans of low temp vaporization, these are a god send. Simply drop your concentrate onto your warmed nail and place your thumb over the top (I’ve actually started using a marble) and the vent allows the vapor to be cleared while holding a steady low temperature. It may be a simple twist, but it really is the fine details that matter.
My second addition was an absolutely gorgeous single feed recycler adorned with smooth slime horns, several subtle opals, and one rather striking marble. Powering this beast is Fish Bowl Glass’s unique shower head percolator. I was admittedly a bit suspect at first being already familiar with the absolute slew of bubbles this perc creates. I was certain that the hit would be undeniably smooth, but tasteless...boy, was I wrong! The water return functions so smoothly that the stream of bubbles erupting from the shower head don’t have the opportunity to drop and break within the first chamber. Instead, they rise to the top of the water and gracefully slide across the surface into the feed arm, only popping once they approach the mouthpiece. For those familiar, this is specifically the end goal of a recycler design. Despite standing nearly a foot tall, this piece retains a rather compact air chamber, which only enhances the flavor provided by its flawless recycling.
Beyond the stupendous vapor quality it provides, the only portion of the recycler that pulls any noteworthy reclaim is near the bottom of the water return. This is only more evidence of how well this piece performs and allows me to clean the piece out in a matter of minutes using nothing more than a few ounces of alcohol.
BIZ-E-BEE Extractors by Kevin Dankman
One thing that stood out to me for both recyclers is just how well balanced and stable they are. I anticipate electric nails becoming more and more popular as time rolls forward and both of these pieces have supported everything that has been thrown at them without the slightest sign of trouble. I’ve yet to have one so much as wobble and the joints look no worse for the wear after weeks of daily use with a drop down adapter and electric nail. If you’re in the market for a balanced blend of function and appearance, Fish Bowl Glass recyclers are the perfect complement to your collection without spending hundreds of extra dollars for hype. Pure function combined with both a gorgeous aesthetic and sturdy construction guarantee that you’ll be quite hard pressed to find my table without a Fish Bowl recycler!
The high contrast graphics and customer friendly packaging makes this stand out on the shelf. It looks inviting and interesting, and from a sales perspective it is everything you expect it to be. Once I unwrapped it and felt its weight I knew we were not messing around with this one. The clear flawless glass was obviously Schott or Simax, not the standard cheap China clear. It felt good, proportionally weighted, shaped and very well aligned. It is obvious they make each one with precision and care. The provided accessories make this a working man’s extractor. Work smart not hard, they allow you to do that with a great finger tightening system and replacement screens. They definitely thought out the best screen retention ring. Glass tube extractors for home use have been on the rise as many people are attempting to make their own essential oils from their garden. The heavy duty construction and accessories put this high on the desirability scale. The truth is simple, if I were an extraction artist this is an extraction tube I would use. The high quality of the glass and all the accessories make it a great choice for the home extraction enthusiast. For more info call 559.323.0420
A triple Klein Recycler by Kevin Dankman
I look at the product like I look at a car. Each one is different and judged on its own qualities. I broke it down into five separate points to discuss. “Wow” is what I said when I saw it for the first time, I guess that is a good rating for curb appeal. I admired a few different versions of the TKR before writing this and they all had the same style and flow. A sexy long stem slightly laid back from the 14mm joint. Clean seals all around with a very heart like construction. Based on the Klein bottle, Mr. V has gone all out making these beauties. From the gentle twist in the center, to the matching twist in the tubes that extend to make the base. It looks like a winner for sure, I could see many color combinations and collabs that he can, and I am sure, will do. The moment I had it in my hand, I knew this was a great piece to have. It fits in the hand well and is very stable. The balance is great as your fingers can easily wrap around it and between the three klein tubes as well as resting in the crotch of your thumb. The mouth pieces were all on the smaller size but very well fits the mouth almost like a nice
hand pipe. Honestly its feel was similar to a very nice sherlock with a little extra! I am huge on function and this thing is all function. You can see your heat source clearly no matter using a dome with nail or a domeless. There is little to no drag on the draw, and it produces an unexpected chugg as you draw and the recycling action is one even Hamm would be proud of.
was clear. YES! The style, function and originality make for a great daily driver and decorative piece for my coffee table. If you would like to see more of Mr. V’s works visit www.vglassart.com or attend his upcoming show at Goosefire Gallery June 7th, 2014. For more information visit his website at www.vglassart.com
Recyclers are definitely a sought after item these days and score high in the trend appeal. Technical seals and recyclers have both been a very hot topic in the collector’s scene. This new take on the recycler is a very compact way of deploying the original recycling technology Hamm Brushland made popular. Mr. V’s triple klein is a winner for sure in the store and at the next event you attend. I always think of one big thing when I evaluate something: in the end I always ask myself, ”would I want it as my daily driver”? The answer here
By Adam Villarreal Photos by Alex Reyna aka ARey Photography
Hoobs & Burtoni Collaboration
HotBreath Studio Spotlight
n an inconspicuous office park near the 405 in Garden Grove, California, big things are happening in the world of functional glass. Home to Cobra-Kai studios, Cobra-Kai, is one of the premiere shops in southern California. Owned and operated by Steve Hops and Adam Whobery, Cobra-Kai has served as a hub for collaborating artists. The current team working at Cobra-Kai includes names like SakiBomb and N3rv Glass. These guys consistently push the sculptural limits in artistic glass pipe making. Hoobs & JOP! Collaboration
V: You guys have been here a couple years now. How did Cobra-Kai get started? What’s the back story? Hoobs: Well Steve had been living here a couple years and we linked up to make a piece (coughs).
V: What was that piece for? Hops: Just for fun really. Hoobs: Yeah our first piece, he wanted to make this hot rod piece. I ended up going to his studio which was pretty close to my shop and we met, talked about the piece for about a week and worked on it for about a week. It ended up turning out really super bad ass. We ended up getting a full spread in High Times with that one. It was really one of the coolest things that either of us had worked on up to that point. Right after that we both ended up in a situation where each of us needed a new shop and we ended up starting this. We’ve been here for about two years.
V: Why Cobra-Kai? Hops: When the shop started we both felt that we needed a symbol, a banner to represent our crew and our efforts. Individually we were solo artists but together we were Cobra-Kai. We had a vehicle that we could pour our energy into and watch grow. I think also there are elements we wanted to express from the symbolism. Cobra–Kai was the bad boy dojo. They had the discipline and they were a tight knit group who lived by their own code (but also knew how to have a good time). We never wanted to be the darlings of the industry or anything like that. We just wanted to make sick glass and have fun. We really didn’t care about politics or what people thought.
V: So did you guys know after that first piece that you wanted to keep working together? Hoobs: Yeah, after that first piece we realized we had a good flow and made several other pieces. We ended up taking the work to Vegas for the American Glass Expo (AGE) and had a great time. After that, it just made sense. It’s been a good flow for us from the start.
V: Over the history of the shop, how do you think you have influenced each others style of work? Hops: Well, when I first moved out here I fell in love with the hot rod culture because I was living in Huntington Beach. There were all these amazing classic cars, you could see all the love people had for these cars. So I was inspired by the environment around me. I came out here from Philly which has a really different feel. So I started building hot rods when I came out here. Then I met Adam who looked at things very differently from me. I was looking at hot rods as a hollow form and he was looking at it in his style, utilizing a lot of solid rod building. It Hoobs
was really cool to learn from each other during our first project. After the hot rod, watching Adam express his more sculptural approach, making realistic forms and really, well... making me see that things were possible that I had previously thought impossible. Certain seals that you supposedly can’t do and other things like that. Adam showed me that you could bend a lot of the rules. It’s been awesome to learn from a master of the trade. Hoobs: I would say that Steve got me into building the hot rods and that kind of got me started on this classic car thing we have been pursuing the last year and a half or so. I was always stoked on these classic cars as a kid growing up in the area and seeing Steve so excited about them. We both kind of realized that there was something really special going on out here. Glass hot rods were what we wanted to make. It was cool to be recreating these incredible pieces of art made from metal and paint via glass blowing. Hops: A lot cheaper too. Yeah, you can get one of ours for way less. I learned that lesson (laughs).
Hoobs & Burtoni Collaboration
BrandonM, Hops & Hoobs Collaboration
V: When one of you has an idea, what is your process to take it from idea to reality? How do you approach the creative process? Hoobs: I guess Steve and I are both similar in the way we both approach it. We just kind of do, letting it come naturally. Some people have everything down precise. We try to find a flow and just follow it. Neither of us really plan it out as much as other people might (laughs). We are more think and start. Hops: Yeah definitely gotta get the first foot out there and see where it goes. After that it is just solving problems as they come up. How do you want this to fit and what would look best. I will say that when I do want to explore a new topic I will kind of revert back to early school days...kind of like a book report.
Hops & SakiBomb Collaboration
Research your subject, get images, go to the internet. I find out whatever I can about the subject I’m trying to express with glass.The more research you can do, the more you can surround yourself with images, and the better chance you have a recreating something in 3D accurately.
V: Over its history, Cobra-Kai has served as a hot spot for top talent to come through and do collaborations. What has it been like having so many artists come to your shop? Hoobs: it’s been awesome, really fun. Everyone that has come through has pretty much been a homie so we just have a good time. Hops & JOP! Collaboration
Hops: You know I think it’s awesome and it’s awesome that it has been here. Because some studios like to be really private and some studios like the roll through of a lot of people and all the different sharing and open trading of information. I just think that it is super rad that we’ve kept a positive vibe here in this shop about it. We get excited when people roll through. What are they bringing to the table? It’s going to be sick!
V: So Hops I hear that you are leaving the shop. Hops: Yeah moving back to Philly.
V: Seems like the end of an era. How do you feel about leaving Cobra-Kai? Hops: You know I’m going to let Adam answer this one. Hoobs: Well Steve is kind of a piece of shit so we won’t miss him that much (laughs). No, it’s been really cool having Steve as a shop mate for the last couple years. I had never before gotten the chance to work with an artist as talented as he is. Steve has had a big impact on the glass scene over the years. I was always kinda on my own out here and then a bunch of Philly kids moved out here and I started chilling
with them. It has been rad becoming part of the crew.
V: Thanks, you guys have been great! One more question: Do either of you have any advice for your fans? The aspiring lamp workers out there? Hoobs: If you want to do this you need to be ready to work....a lot! It is hard. It takes work. Hops: If you feel like this is your calling, go for it keep pushing.
To see more of Hoobs and Hops work you can find them on Facebook at:
www.facebook.com/hopsinline and www.facebook.com/adam. whobrey
UNDERNEATH THE COVERS with Dash Carlisle
“Good artists copy, great artists steal.” -Pablo Picasso
“Dazed and Confused” by Led Zeppelin (1969) is a cover of “Dazed and Confused”
by Jake Holmes (1967) Jake Holmes recorded this love song with no drums. The entire song was constructed using only guitars, keyboards, and vocals. In 1967 Holmes opened up for The Yardbirds during their US tour...and his song flew away. The Yardbirds continued on their tour and started working “Dazed and Confused” into their live shows. Their live cover version had long instrumental solo breaks featuring Jimmy Page shredding the guitar with a violin bow. When The Yardbirds broke up, Jimmy Page recorded “Dazed and Confused” with Led Zeppelin. The song was featured on their 1969 debut album but no credit was given to Holmes. More than ten years later, Holmes contacted Jimmy Page asking for “some credit at least and some remuneration” but received no response. In 2010 Holmes sued Jimmy Page claiming to have written and recorded the song two years before the Led Zeppelin recording. The dispute was settle out of court and the case was dismissed.
“The Tide is High” by Blondie (1980) is a cover of “The Tide is High”
by The Paragons (1967)
John Holt wrote and performed lead vocals on this 1967 song with Jamaican band The Paragons. This cheery tune received little fanfare until it was re-recorded and released by American new wave band Blondie in 1980. The Blondie version quickly became a number one hit in America and the UK. The chart topping cover song stayed true to the reggae style of the original recording and helped Blondie maintain superstar status.
“Hey Joe” by Jimi Hendrix (1966) is a cover of “Hey Joe” by The Leaves (1965) The origins of “Hey Joe” are widely disputed. The song (true authorship unknown) was a 1960’s rock standard performed by hundreds of bands in a wide range of musical styles. LA garage rockers The Leaves created the first commercial recording of the song in 1965. One year later, The Jimi Hendrix Experience released their debut single “Hey Joe”. Jimi Hendrix was inspired by folk singer Tim Rose’s slow version of the song. The JHE “Hey Joe” single peaked at #6 in the UK charts but completely failed to chart in the US.
“Don’t Turn Around” by Ace of Base (1994) is a cover of “Don’t Turn Around” by Tina Turner (1986) Written by Diane Warren and Albert Hammond, this B-side single was originally recorded by music megastar Tina Tuner. This catchy ballad was actually covered by many other artists including Kim Goody and Neil Diamond. In 1994, Swedish pop stars Ace of Base released their cover of “Don’t Turn Around”. Ace of Base changed to chorus from a major to a minor chord progression, adding an element of drama and mystery to the reinterpreted Tina Turner version.
“Black Betty” by Ram Jam (1977) is a cover of “Black Betty” by Lead Belly (1933)
Lead Belly regularly receives writing credit for this African-American work song. In 1933, US musicologists logged the first field recording of this powerful song performed a cappella by Texas State prisoners. Lead Belly made his own a cappella recording of the song in 1939. Three decades later, progressive rock band Ram Jam released their own version the song inspired by the Lead Belly recording. Rockers around the world applauded the hit song but the NAACP called for a boycott. According to members of Ram Jam, record labels would not work with the group and were fearful of promoting such a controversial song. Ram Jam never had another hit
“Tainted Love” by Soft Cell (1981) is a cover of “Tainted Love” by Gloria Jones (1964) Ed Cobb wrote and produced the Gloria Jones (B-side) single “Tainted Love” in 1964. The actual single (the A-side for any non-record collectors) was a total commercial failure and never made it in the charts. UK synth band Soft Cell changed up a few things when they recorded their 1981 version of “Tainted Love”. A slower tempo and key change (from C to G) was just the thing Soft Cell needed to re-craft the sixties soul tune. The Soft Cell version was recorded in thirty six hours and quickly became a #1 single in the UK charts. To date, Soft Cell has sold over 1.27 million copies of the single.
“Praise You” by Fatboy Slim (1998) is a cover of “Take Yo’ Praise” by Camille Yarbrough (1975)
Two years before the dreaded Y2K, Fatboy Slim put out his second studio album, You’ve Come a Long Way, Baby, featuring the big beat international hit “Praise You”. Some may argue that Fatboy Slim only sampled Camille Yarbrough’s vocals, but a quick listen to the original 1975 recording reveals greater similarities between the two songs. Fatboy Slim built his entire hit song around the vocal melody taken from “Take Yo’ Praise”, the featured track off of Camille Yarbrough’s first album The Iron Pot Cooker.
AGE Photos Ubatuba Casto Fischbach LaceFace GooseFire Gallery High Priority Glass Cobra-Kai Lowdive Music Art