Betty X Unmasked: Uncensored Interview
Pick up the last of The Sinner June issue, bring it to the next show and have them signed.
Thanks to Guitar Doug and Chuck and Terri Foster for their continuous and steadfast support. Your professionalism and love of the Seattle scene inspire me.
Thanks always to all The Sinner staff and Matthew X Goad.
Interview for The Sinner by legendary Guitar Doug.
In the interview below, Betty X lets loose like never before on an array of topics in here first interview in well over a year. This is truly the ultimate uncensored look into the mind of Betty X for fans of Betty or the casual reader with an interest in music or the performing and visual arts.
Betty X is one of the most recognizable names in Seattle rock today but remains an enigma to many. Her reclusive nature has made her a local cult celebrity and she has gone even more underground over the past year, while working on her upcoming album entitled Religious Reich, which will be released in early fall.
She has also been working on her side project called Satan in High Heels, while at the same time immersing her self in advanced college level art courses. On top of this, she is working on a couple of film projects that she will be disclosing specifics about soon online.
Most interviews with Betty X have focused on her latest projects, but there is much more going on beneath the surface than most know. The goal of this story was to try to get behind the public image to the real person behind Betty X.
I believe the interview below is the most candid interview ever done with Betty. She is rather vague about herself in most interviews and incredibly private, so the interview below is one for the books and for Betty X fans in Seattle, and across the globe. She always keeps the public at arms length which is probably why she has been able to handle being in the public as long as she has.
There is much about Betty X going on beneath the surface than most understand which we will examine in this piece. For instance, Betty is an art school graduate with a stellar academic record, and the results of her Cornish education can be found in everything from her stage presentation to her album cover artwork. Her music, websites, promo posters and public image, are all part of a large artistic project known as Betty X. This project incorporates many mediums of art, music and technology.
This formula for success is reminiscent of the work of David Byrne, founder of The Talking Heads, who put that project together while an art major at Rhode Island School of Design. Like Byrne and the Talking Heads, the music is just one aspect of the overall artistic presentation and message.
When describing her craft, Betty prefers the label performance artist over rock musician, and explains why below. From what I gathered doing this story, Betty seems more interested in art than music these days, and is constantly looking for new ways to incorporate art into her project.
For those who don't know, Betty has been around the Seattle music business for some time. Her project called Salon Betty, which existed from 1993 - 1997 was very popular at the time, and is still known around the club scene today. That too was a performance art based visual and musical endeavor. Salon Betty was a totally different show and concept than her current project known as Betty X, and she explains the point of that particular project below for the first time. Even as she works on her project, she is performing a separate show or character she has created called Satan in High Heels.
The secret to the success of Betty X is that she is a one woman promotional machine and publicity wiz, who is militant about keeping it fresh and never becoming predictable or overexposed. She is definitely one to study and for the newer performers trying to break into Seattle rock, and trying to make a name in a business saturated with competition. You would probably find it impossible to find a more well known Seattle performer in relation to the actual number of shows she performs each year. Love her or not, there are few have not heard of Betty X in this town.
Betty X, Satan in High Heels, Salon Betty, must be taken as a whole involving many smaller artistic concepts to fully understand. They are not so much bands in the traditional sense, as concepts incorporating many aspects of the music, art, performance and the visual arts.
I now bring you Betty X
Unmasked for the June 2008 issue of The Seattle Sinner Magazine.
We hope you enjoy the interview below.
GD: If you were able to devote all your time to two social causes what would they be and why?
BX: I'm a big advocate of Animal Rights and Civil Liberties, particularly where it affects the arts. I especially would like to see more arts education in public schools. Right now due to the No Child Left Behind program, generously brought to you by the Bush administration, there's little to no time left for children to study art or music at school. That's not good.
I'd like to see the National Endowment of the Arts actually be supportive of artists with extensive fellowship grants again. Jesse Helms fucked up the NEA in the early 90s after the Robert Mapplethorpe scandal. But then again, don't expect the government to fund the revolution of free expression.
GD: What is the biggest misconception the public has about who you are as a person?
BX: For some reason fans think that I'm a 7-foot tall Amazonian bitch. As anyone that's seen one of my performances knows, I'm rather tiny and petite and that is a constant shock to most people who meet me for the first time. Often, women that are petite are expected to be dainty little dolls, that aren't supposed to curse, spit, and get into bar fights. Basically, the exact opposite of what I am. But yeah, it's true that I am a bitch, however.
I don't fit into a stereotypical role model for girls or women in rock (at least not these days). This fucks with people's minds. They cannot comprehend anyone not fitting into a preconceived mold. I don't like to be treated as a "lady" or someone's "little princess." I don't like to sing classical goth opera metal vocals. Personally, I cannot stand that style or genre of singing
I have no latent desire to be a Barbie Doll or a prom queen dressed in black lace dresses. I'm a tomboy, raised around grease and motors, artists and musicians, and all-round American kitsch. I never got the impression there was a "right" way for a girl to behave.
GD: What do you feel the biggest misconception about you as an artist is?
BX: Some people assume that I'm into the fetish and goth scene, because of the dark themes my music explores. The fact is, I have never really been into that world. I don't like to be pigeonholed into one particular lifestyle or way of life.
I'm attracted to eccentric, authentic, real people. I don't subscribe to group-think or the dress-to-impress club scene. I think that' s total bullshit.
I've always been a loner, but the closest scene I identify with is the art scene and the Seattle rock scene. In the early grunge era, I admired the musicians talent and ability to be down-to-earth, not pretentious like the glam rockers from L.A. or the Seattle bands that emulated that over-the-top full of themselves crap. In my first band, Salon Betty, I liked to poke fun at the fetish world and glam bands by dressing in garish wigs, makeup and black PVC clothes. unfortunately, my jokes went over most peoples heads. It's good to laugh at pretentious behavior and it's even better to mock yourself.
I have fond memories of drinking at The Comet with Chris Cornell, Eddie Vedder and others. Seattle had a no-nonsense, laid back rock vibe that I sorely miss. Sadly, those days are long.
GD: Is there anything you do not like about the way you have been covered by the press? How do you feel when your looks are the focus rather than the substance of your work?
BX: Yes. It's sexist. Especially in the rock/metal scene, where women are regarded as nothing more than a novelty...brainless puppets propped up on stage to look pretty. I rarely encounter that in the art world.
I write all my lyrics and co-write every song, as well as the concept of the albums, down to every minute detail of the lighting and stage props.
GD: At what age did you first show an interest in performing on stage, and were you encouraged in that direction by anyone?
BX: I was a born prankster, always playing jokes and making people laugh. Halloween was my favorite holiday and I'd go all out on costumes and Halloween pranks.
In college, I studied fine art, namely video and performance art. Artists such as Diamanda Galas, Karen Finley, Cindy Sherman, Klaus Nomi, and Laurie Anderson were a major inspiration to me artistically. My first foray into performance art and music started in the early 90s when I was living in Prague. I had this dream about creating a punk cabaret project.That's when Salon Betty was born.
GD: What do you feel is the biggest obstacle you deal with as a rock musician in a field that is overwhelmingly male?
BX: Mastering peeing while standing standing up when on tour.
GD: How is new technology helping you?
BX: I've always liked the freedom of D.I.Y. publishing. With Salon Betty, we were one of the first bands to play a live show via the Internet on iMusic (the first Internet based record label). Technology is making it easier every day for artists to reach the masses. With the Internet we can run our own label, distribute via online vendors like Amazon and reach an international audience through videos, live internet feeds and via MySpace, Facebook, etc...Having a big corporate record label is rapidly becoming more and more obsolete.
GD: What do you make of the Seattle arts/music scene these days?
BX: There's new blood moving into established communities that want to force the nightlife and artists out. The spirit of art, rock n' roll and freedom of speech is disappearing in Seattle. The Noise Ordinance that starts in June will make matters even more difficult between clubs and condo owners.
Seattle is becoming a neurotic, disturbed "nanny" state of politically correct fence-walkers and finger-waggers. Fuck that shit. When you go to a dive bar and are told "no making out" or "no making noise" it's really the last fucking straw.
GD: Is there anything you would like to see changed to help it become more interesting?
BX: There's a distinct lack of identity nowadays. New people have moved here and have brought a competitive, nasty attitude with them. We have bands tearing down each others posters, and causing an ugly unprofessional attitude all around. This needs to change.
GD: What are your political leanings and have they always been the same.
BX: I'm closest to left-libertarian, even though I've always felt there are no perfect "-isms". Democrats are pussies and republicans are assholes.
GD: Who will you vote for President in 2008 and why?
BX: It's another shit sandwich this election and I'm not eating it. I'm voting for J.R. Bob Dobbs. Seriously though, I haven't decided yet, but it sure as fuck isn't going to be some crotchety old fucker with a hard-on for oil and the bible.
GD: You refer to yourself more often as a performance artist rather than a rock musician. Why?
BX: Good question. This is something I feel very passionate about. I think it's important that people know the difference between the two.
Performance Art is often a misunderstood genre of art. It's often confused with the performing arts, such as music, dance, vaudeville, cabaret, circus and burlesque. Performance art, however, is derived from conceptual avant-garde themes and visual art.
When I first started painting I was absolutely in love with the medium, the texture, the smell of linseed oil and old English turpentine, but I wanted my paintings to move; to tell a story. That's when I started to break out of the traditional medium and started to build props, add lighting, music, poetry and sound to my work.
I refer to myself as a Performance Artist because I approach my work visually and conceptually, rather than from a conventional musical standpoint. The vision and concept is first and foremost, before any of the traditional rules of music theory. The music is just one aspect of what I do. I prefer to delve into the interdisciplinary arts. In addition to the music, I also make installations with video, mixed media collages and lighting.
I love the whole genre of performance art, especially the Dadaist movement. I'd love to see this genre flourish and continue.
GD: What is your formal schooling in the arts?
BX: I graduated cum laude with a BA in Arts from Cornish College of the Arts, studied art and the Czech language at Charles University, Prague, and currently finishing a BFA in Video/Performance Art. Eventually, I plan on getting an MFA in video and film art.
For the most part, I am a self taught vocalist and pianist starting at a very young age. But I did have some private lessons in jazz in high school and college and studied piano under Bern Herbolsheimer at Cornish College. Also, I studied under Robert Campbell -- video artist that worked with Bill Viola and has footage featured in NIN's Fragile Tour and with Liabach -- Claudia Hollander, David Nechak, Janice Giteck and Matt Groening.
GD: Mapplethorpe set off a firestorm by placing a crucifix with Jesus in urine and calling it art. Is that art in your view?
BX: Mapplethorpe was the photographer known for his high contrast homoerotic photos that initially pissed off Jesse Helms. It was Andres Serrano that made the controversial photo of "Piss Christ" and yes, it is art for multitude of reasons, the least of which being that it was submerged in urine. I personally saw it on the Banned Art Show tour in Seattle and it's beautiful.
GD: Should the taxpayers fund this?
BX: Should taxpayers help fund the arts? Of course, otherwise we as a society forfeit our rights to artistic expression and free speech. If artists are forced to rely on private funding, some very talented individuals may never get the opportunity to get their work out there.
GD: What can fans of the band expect in coming months?
BX: The new album, Religious Reich, was originally slated for a spring release, but it looks like late summer or early fall is more realistic at this point with a small national tour to follow, kicking off here in Seattle around Halloween.
There has been some talk of releasing a compilation of remixed material at some point before then. Not promising anything though.
GD: What about any side projects?
BX: Not much going on with Satan in High Heels and other side projects at the moment; been too busy with the new album. Maybe one secret summer show. However, Hate and I do have an idea on the back burner that's pretty fucking cool. Can't say much more than that at this point.
Thanks to Guitar Doug and Chuck and Terri Foster for their continuous and steadfast support. Your professionalism and love of the Seattle scene inspire me.
Thanks always to all The Sinner staff and Matthew X Goad.
Interview for The Sinner by legendary Guitar Doug.
In the interview below, Betty X lets loose like never before on an array of topics in here first interview in well over a year. This is truly the ultimate uncensored look into the mind of Betty X for fans of Betty or the casual reader with an interest in music or the performing and visual arts.
Betty X is one of the most recognizable names in Seattle rock today but remains an enigma to many. Her reclusive nature has made her a local cult celebrity and she has gone even more underground over the past year, while working on her upcoming album entitled Religious Reich, which will be released in early fall.
She has also been working on her side project called Satan in High Heels, while at the same time immersing her self in advanced college level art courses. On top of this, she is working on a couple of film projects that she will be disclosing specifics about soon online.
Most interviews with Betty X have focused on her latest projects, but there is much more going on beneath the surface than most know. The goal of this story was to try to get behind the public image to the real person behind Betty X.
I believe the interview below is the most candid interview ever done with Betty. She is rather vague about herself in most interviews and incredibly private, so the interview below is one for the books and for Betty X fans in Seattle, and across the globe. She always keeps the public at arms length which is probably why she has been able to handle being in the public as long as she has.
There is much about Betty X going on beneath the surface than most understand which we will examine in this piece. For instance, Betty is an art school graduate with a stellar academic record, and the results of her Cornish education can be found in everything from her stage presentation to her album cover artwork. Her music, websites, promo posters and public image, are all part of a large artistic project known as Betty X. This project incorporates many mediums of art, music and technology.
This formula for success is reminiscent of the work of David Byrne, founder of The Talking Heads, who put that project together while an art major at Rhode Island School of Design. Like Byrne and the Talking Heads, the music is just one aspect of the overall artistic presentation and message.
When describing her craft, Betty prefers the label performance artist over rock musician, and explains why below. From what I gathered doing this story, Betty seems more interested in art than music these days, and is constantly looking for new ways to incorporate art into her project.
For those who don't know, Betty has been around the Seattle music business for some time. Her project called Salon Betty, which existed from 1993 - 1997 was very popular at the time, and is still known around the club scene today. That too was a performance art based visual and musical endeavor. Salon Betty was a totally different show and concept than her current project known as Betty X, and she explains the point of that particular project below for the first time. Even as she works on her project, she is performing a separate show or character she has created called Satan in High Heels.
The secret to the success of Betty X is that she is a one woman promotional machine and publicity wiz, who is militant about keeping it fresh and never becoming predictable or overexposed. She is definitely one to study and for the newer performers trying to break into Seattle rock, and trying to make a name in a business saturated with competition. You would probably find it impossible to find a more well known Seattle performer in relation to the actual number of shows she performs each year. Love her or not, there are few have not heard of Betty X in this town.
Betty X, Satan in High Heels, Salon Betty, must be taken as a whole involving many smaller artistic concepts to fully understand. They are not so much bands in the traditional sense, as concepts incorporating many aspects of the music, art, performance and the visual arts.
I now bring you Betty X
Unmasked for the June 2008 issue of The Seattle Sinner Magazine.
We hope you enjoy the interview below.
GD: If you were able to devote all your time to two social causes what would they be and why?
BX: I'm a big advocate of Animal Rights and Civil Liberties, particularly where it affects the arts. I especially would like to see more arts education in public schools. Right now due to the No Child Left Behind program, generously brought to you by the Bush administration, there's little to no time left for children to study art or music at school. That's not good.
I'd like to see the National Endowment of the Arts actually be supportive of artists with extensive fellowship grants again. Jesse Helms fucked up the NEA in the early 90s after the Robert Mapplethorpe scandal. But then again, don't expect the government to fund the revolution of free expression.
GD: What is the biggest misconception the public has about who you are as a person?
BX: For some reason fans think that I'm a 7-foot tall Amazonian bitch. As anyone that's seen one of my performances knows, I'm rather tiny and petite and that is a constant shock to most people who meet me for the first time. Often, women that are petite are expected to be dainty little dolls, that aren't supposed to curse, spit, and get into bar fights. Basically, the exact opposite of what I am. But yeah, it's true that I am a bitch, however.
I don't fit into a stereotypical role model for girls or women in rock (at least not these days). This fucks with people's minds. They cannot comprehend anyone not fitting into a preconceived mold. I don't like to be treated as a "lady" or someone's "little princess." I don't like to sing classical goth opera metal vocals. Personally, I cannot stand that style or genre of singing
I have no latent desire to be a Barbie Doll or a prom queen dressed in black lace dresses. I'm a tomboy, raised around grease and motors, artists and musicians, and all-round American kitsch. I never got the impression there was a "right" way for a girl to behave.
GD: What do you feel the biggest misconception about you as an artist is?
BX: Some people assume that I'm into the fetish and goth scene, because of the dark themes my music explores. The fact is, I have never really been into that world. I don't like to be pigeonholed into one particular lifestyle or way of life.
I'm attracted to eccentric, authentic, real people. I don't subscribe to group-think or the dress-to-impress club scene. I think that' s total bullshit.
I've always been a loner, but the closest scene I identify with is the art scene and the Seattle rock scene. In the early grunge era, I admired the musicians talent and ability to be down-to-earth, not pretentious like the glam rockers from L.A. or the Seattle bands that emulated that over-the-top full of themselves crap. In my first band, Salon Betty, I liked to poke fun at the fetish world and glam bands by dressing in garish wigs, makeup and black PVC clothes. unfortunately, my jokes went over most peoples heads. It's good to laugh at pretentious behavior and it's even better to mock yourself.
I have fond memories of drinking at The Comet with Chris Cornell, Eddie Vedder and others. Seattle had a no-nonsense, laid back rock vibe that I sorely miss. Sadly, those days are long.
GD: Is there anything you do not like about the way you have been covered by the press? How do you feel when your looks are the focus rather than the substance of your work?
BX: Yes. It's sexist. Especially in the rock/metal scene, where women are regarded as nothing more than a novelty...brainless puppets propped up on stage to look pretty. I rarely encounter that in the art world.
I write all my lyrics and co-write every song, as well as the concept of the albums, down to every minute detail of the lighting and stage props.
GD: At what age did you first show an interest in performing on stage, and were you encouraged in that direction by anyone?
BX: I was a born prankster, always playing jokes and making people laugh. Halloween was my favorite holiday and I'd go all out on costumes and Halloween pranks.
In college, I studied fine art, namely video and performance art. Artists such as Diamanda Galas, Karen Finley, Cindy Sherman, Klaus Nomi, and Laurie Anderson were a major inspiration to me artistically. My first foray into performance art and music started in the early 90s when I was living in Prague. I had this dream about creating a punk cabaret project.That's when Salon Betty was born.
GD: What do you feel is the biggest obstacle you deal with as a rock musician in a field that is overwhelmingly male?
BX: Mastering peeing while standing standing up when on tour.
GD: How is new technology helping you?
BX: I've always liked the freedom of D.I.Y. publishing. With Salon Betty, we were one of the first bands to play a live show via the Internet on iMusic (the first Internet based record label). Technology is making it easier every day for artists to reach the masses. With the Internet we can run our own label, distribute via online vendors like Amazon and reach an international audience through videos, live internet feeds and via MySpace, Facebook, etc...Having a big corporate record label is rapidly becoming more and more obsolete.
GD: What do you make of the Seattle arts/music scene these days?
BX: There's new blood moving into established communities that want to force the nightlife and artists out. The spirit of art, rock n' roll and freedom of speech is disappearing in Seattle. The Noise Ordinance that starts in June will make matters even more difficult between clubs and condo owners.
Seattle is becoming a neurotic, disturbed "nanny" state of politically correct fence-walkers and finger-waggers. Fuck that shit. When you go to a dive bar and are told "no making out" or "no making noise" it's really the last fucking straw.
GD: Is there anything you would like to see changed to help it become more interesting?
BX: There's a distinct lack of identity nowadays. New people have moved here and have brought a competitive, nasty attitude with them. We have bands tearing down each others posters, and causing an ugly unprofessional attitude all around. This needs to change.
GD: What are your political leanings and have they always been the same.
BX: I'm closest to left-libertarian, even though I've always felt there are no perfect "-isms". Democrats are pussies and republicans are assholes.
GD: Who will you vote for President in 2008 and why?
BX: It's another shit sandwich this election and I'm not eating it. I'm voting for J.R. Bob Dobbs. Seriously though, I haven't decided yet, but it sure as fuck isn't going to be some crotchety old fucker with a hard-on for oil and the bible.
GD: You refer to yourself more often as a performance artist rather than a rock musician. Why?
BX: Good question. This is something I feel very passionate about. I think it's important that people know the difference between the two.
Performance Art is often a misunderstood genre of art. It's often confused with the performing arts, such as music, dance, vaudeville, cabaret, circus and burlesque. Performance art, however, is derived from conceptual avant-garde themes and visual art.
When I first started painting I was absolutely in love with the medium, the texture, the smell of linseed oil and old English turpentine, but I wanted my paintings to move; to tell a story. That's when I started to break out of the traditional medium and started to build props, add lighting, music, poetry and sound to my work.
I refer to myself as a Performance Artist because I approach my work visually and conceptually, rather than from a conventional musical standpoint. The vision and concept is first and foremost, before any of the traditional rules of music theory. The music is just one aspect of what I do. I prefer to delve into the interdisciplinary arts. In addition to the music, I also make installations with video, mixed media collages and lighting.
I love the whole genre of performance art, especially the Dadaist movement. I'd love to see this genre flourish and continue.
GD: What is your formal schooling in the arts?
BX: I graduated cum laude with a BA in Arts from Cornish College of the Arts, studied art and the Czech language at Charles University, Prague, and currently finishing a BFA in Video/Performance Art. Eventually, I plan on getting an MFA in video and film art.
For the most part, I am a self taught vocalist and pianist starting at a very young age. But I did have some private lessons in jazz in high school and college and studied piano under Bern Herbolsheimer at Cornish College. Also, I studied under Robert Campbell -- video artist that worked with Bill Viola and has footage featured in NIN's Fragile Tour and with Liabach -- Claudia Hollander, David Nechak, Janice Giteck and Matt Groening.
GD: Mapplethorpe set off a firestorm by placing a crucifix with Jesus in urine and calling it art. Is that art in your view?
BX: Mapplethorpe was the photographer known for his high contrast homoerotic photos that initially pissed off Jesse Helms. It was Andres Serrano that made the controversial photo of "Piss Christ" and yes, it is art for multitude of reasons, the least of which being that it was submerged in urine. I personally saw it on the Banned Art Show tour in Seattle and it's beautiful.
GD: Should the taxpayers fund this?
BX: Should taxpayers help fund the arts? Of course, otherwise we as a society forfeit our rights to artistic expression and free speech. If artists are forced to rely on private funding, some very talented individuals may never get the opportunity to get their work out there.
GD: What can fans of the band expect in coming months?
BX: The new album, Religious Reich, was originally slated for a spring release, but it looks like late summer or early fall is more realistic at this point with a small national tour to follow, kicking off here in Seattle around Halloween.
There has been some talk of releasing a compilation of remixed material at some point before then. Not promising anything though.
GD: What about any side projects?
BX: Not much going on with Satan in High Heels and other side projects at the moment; been too busy with the new album. Maybe one secret summer show. However, Hate and I do have an idea on the back burner that's pretty fucking cool. Can't say much more than that at this point.