Look for a new drawing among the vast portfolio from Ed Tillrocks’ drafting table in Building 9, Booth 103, at the Grand National Roadster Show, January 27-29, 2012 at the Fairplex in Pomona, California.

Tillrock will be unveiling “Vintage Curves” a 20” x 24” pencil drawing featuring “The Queen of Cars” Genevieve Chappell and a 1940 Indian Motorcycle. Ed is a master of graphite and has built a second career drawing cars and motorcycles. This past year he accepted a personal challenge to add people to his compositions. You may agree he has the talent for that sort of thing.

Genevieve Chappell will be at his table signing prints. With only a limited number available, they are sure to be a hit.

As artists and subjects go, there must be a certain chemistry involved. We find that runs true here. Genevieve likes to surround herself with talented people. Ed’s artwork is amazing, what at first looks like a nicely executed black and white photograph soon reveals itself as an incredibly detailed pencil drawing. Ed appreciates Genevieve’s modeling skills. She has the talent to set-up the exact pose that presents her form as an important part of the composition. Not only that, she is fun to draw, and now a great friend.

They met on Facebook. “Isn’t it where everyone meets these days.” Quips Genevieve. Genevieve is a TV Host, Spokesperson, and model from Southern California. Ed is from the Chicago area and they met “eye-to-eye” at SEMA this past year. “She stands tall in her heels and met my 6’4” frame perfectly.” Ed jokes.

So what’s in the future? They are looking at giving back to the community with a print for the Annual Cruising for a Cure and auctioning it off with 100% of the proceeds going directly to the City of Hope.

If you can’t make it to the Grand National Roadster Show and want to purchase a print or see more visit the Ed Tillrock Pencil Specialist store online or visit www.EdTillrock.com for more information.

Thermos’, croquet balls, lunchboxes, and bicycle reflectors inhabit Paulys World. Paul uses these items like most artists use a brush or canvas. Kitchen appliances, and lamps are transformed to nostalgic and humorous works of art perfect for the grandkids rooms, garages and living rooms. Whimsical men, women and little creatures are created with a unique touch.

What was once trash or nearly thrown away are now happy new editions to the family unit. Robbie, Rudy, Stella and others have wide open arms offer a welcome hug and thank you for rescuing them from certain landfill destination! Maggy, a playful pup made from a relic coffee pot and lunchbox wags his tail and lights up, literally, when you plug him in. Paul has a whole series of “Art with Function”. Lamps, kinetics, and more are featured in the series.

Nostalgia abounds. One for the road shares vintage bicycle parts entombed in a special frame. Carl’s First Harley also reminds us of homemade push cars and skateboards. Those frames hold more than the vintage imagery of our past. Paul re-started making art after he retired from wearing a uniform for 25 years at the water company. He first started making custom frames for local area artists. The progression led him to fill his frames as well. You can’t help but pull a smile between your cheeks when you see his work. And see it you can! Starting in March you can find him on the 1st Sunday of each month at the San Clemente Art Fair, the second Saturday of the month you will find him at the Art Fair San Juan Capistrano and the last Sunday of the month he is at the Hollywood Farmers Market as well as a variety of shows and events in between. In the meantime, visit his Facebook page at: www.facebook.com/paulysworld Like the page and you will be informed on new works as well as exhibitions.

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Rumors were running around last year, if the show will go on, since John moved the racing headquarters to Indy, but the museum and RaceStation store are here and the show proved a great following with the mountain of toys that were donated. The 14^th annual event, boast over 25,000 spectators, each bringing a toy for the California Highway Patrol’s CHiPs for Kids Toy Drive.

Highlights of the show include two batmobiles, autograph session with the John Force Racing drivers and other celebrities including our very own Genevieve Chappell! Fans started showing up more than two hours before the start of the show and stayed well after the 4pm closing time. Thank goodness for the great southern California weather!

There is no doubt that the work shown here has a strong focus on the cars. Works such as A&W, Snake Eyes and Starfire are very much portraits of customs and hot rods which Keith excels at. But, what I like about this new body of work are the more cultural and historic inspired pieces such as Little Surfer Girl, Black Widow, Hellbound, and Amoco. The latter piece actually features his ex’s legs!

However, one of my favorites is Olympic Drive-In. Not only was the Olympic LA’s FIRST Drive-In Theater. It opened in 1934 shortly after the World’s first drive opened in Camden New Jersey in 1933. Olympic Drive-In opened with “Handy Andy” starring Will Rogers and closed in 1973. The site is now a Cadillac dealer. Keith chose the subject of the fond memories going there with his parents, and his brother, and echoes Santa Monica’s and West Los Angeles’s rich hot rod history with the name and decal Quincy Automotive and Engle Cams on the 392 powered ’32 pick up.

Another favorite is Honolulu Hauler ’32 Ford sedan delivery show rod is a sample of his model box art. The color pallet, composition and scale tell a great story. I can hear the bamboo shaped zoomies echoing off the giant surf as the buggy pulls up to Kelbo’s for a pineapple burger before hittin’ the waves.

You’ve heard it from me before, that a picture must tell a story. Yet not give the complete story away. Good art, in my opinion, allows each viewer a chance for them to make their own story from the work. When they are able to bring their past experiences into it, then they will connect with it more. And I certainly connect with Keiths work. I never got a chance to go to the Olympic Drive-in but sure had some good times at Hwy 39 off Beach blvd, and Stadium Drive-in in Orange.

Want to see more of Keiths work? Visit KaucherKustoms.com or his Facebook page.

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You can review more of the show at www.BlacktopMagazine.com. Genevieve and I were invited to join Dennis Gage and company at their table at the swanky SEMA Awards Banquet. It has become a tradition for us to shoot a “Dennis’ Angels” photo at the banquet’s red carpet. The banquet features the SEMA Hall of Fame Inductees as well as other industry awards. After the awards the audience was entertained by SINBAD. He had the crowd going with his experience with cars as a kid and into young adulthood.

On the last day of the show Genevieve and I visited some of our favorite booths to do a quick photoshoot. First stop was at Chicago Pneumatic. The Gasoline Girls were there and showed us a cool 1922 piston powered air drill. Deltran’s Battery Tender had a display of several U.S. and European trickle chargers. Then we saw the Foose designed Challenger for Barret-Jackson as we were headed over to the Hotchkis booth. There was a cool So-Cal Speedshop speedster at the Ford display. In Restoration Row we stopped at Rare Parts to see their new rear ball joint for the Chevy Quadrasteer. Remy had their brand new OEM line of VEGA GM 140 Manual Steering Gears great for your hot rod! Packard Industries manufactures restoration parts for your early car from engine components to steering and suspension. You can get Packard brands through Kanter Products catalog. Goodmark too was on hand with new sheet metal and bumper products in an newly expanded National distribution network.

We had to head over to OPG to see the GTO-R Raybestos sweepstakes car in their booth. This 1964 GTO was built with 700+ horsepower by Hot Rod Chassis and Cycle. OPG also debuted their new Cadillac mirror. Genevieve had to give it test while touching up her lips. Then off to the EBC Brakes booth. The High-Carbon blade rotor is new for 2012.

We hope you enjoyed this little tour of the 2011 SEMA Show. Look for these new product to hit the shelves soon.

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This year there were some new items added to the show. One of them was the Cars for Sale Corral. Our friend Craig Hoelzel of Flying Deuces promotions put the corral together. There were over 50 classics, customs and hot rods under the roof with anxious sellers and hungry buyers swarming the shiny paint and chrome.

Meguiars added to their bevy of vehicles in an invitational show under the new Hangar building at the fairgrounds. Out front was the beautiful green custom built by new OC favorite Chopit Kustoms. Inside was everything from model T’s to David Washington’s 1962 Nova doorslammer dragster.

This event is open to all makes, models and years and estimated 5000 cars were in attendance, which made the cruise strip at times a stand-still. And that is what has made this show so cool. Debbie Baker and Ross Kroenert created the show with a cruise route running through the show. You get to hear the sometimes un-streetable cars roar and roll by.

There are vendor booths along the cruise route as well as inside building 10. A model car contest was also a big hit in the vendor building. Legends were there as well. Gene Winfield had a table and a couple of cars set up, George Barris was along the cruise route with his Barrietz girls and the batmobile. His son Brett was inside manning the memorabilia/apparel table too.

The organizers have already made plans for next year’s event. If you are in the Southern California area on Saturday Sept. 22nd 2012 make it a point to at least attend the 13th Annual Cruisin for a Cure. Visit their website at www.CruisinforaCure.com for more information!

What do you think? Compelling enough to pass the eight grade and move on. What’s that? You need a visual aid? How’s this?

Now that you have seen his work, you surely must believe my essay to be compelling.

The first thing I notice of a Weesner piece is the soft color palette. Not that the work is all 50’s pastel. He uses the full palette of color. A red car for example is not a blotch (technical term alert) of cadmium red, but the entire range from a violet red top to a warm red orange below. Best seen in the Gearhead magazine cover.

The images are portrait-like in nature but his use of color and line give so much more of a story. As if seen through the bottom of a bourbon tumbler, the figures sway back and forth, calling me in. For one more sip.

Art is in essence a bunch of hocus-pocus magic. We (as artists) attempt to turn a blank canvas into something that will fool the viewer into thinking it’s something different. Modern artists like Rothko, Pollock and Stella throw that in your face by making the paint the object. Weesner’s influences from N.C. Wyeth Loomis, Sargent and Hopper do the same in a stylized realist fashion. I like art that looks at life in an interesting way and tells a variety of stories. In my opinion pieces should tell just enough of a story so you can finish it with your own experiences. That concept connects you the viewer to the work like nothing else.

Keiths work does that. My favorite for that is “Bad Stretch of Road”. Here the title may be criticized as telling too much, the equally spaced pieces of the story may tell a bit too much, but it’s what’s behind the doors and in the shadows that can tell you more. I’ve been looking at that piece for days and it wasn’t until I was talking to Keith when I noticed the dead hand in the bottom left corner on the rooftop. DAMN! More of the story comes out.

And many more pieces do that as well, Repair, All Nite Café, Creeping DeVille, Strip T, and Strong Mixture appears to be other chapters in the story. Then there’s the portraits of the ladies like Femme and Siren who, like people watching at Disneyland, have their own dark mysteries. Then there’s the fun sci-fi pieces like Downtown Hell, The Drop and Union City that evoke a melancholic Jetson’s juxtaposition.

So what did I do on my summer vacation? I cruised through a dark part of town, met some very incredible characters, tasted the sweet nectar of bourbon on a ladies hip, and saw a glimpse of the future, and I liked it.
The End.

Be sure to visit his website at www.KeithWeesner.com and be compelled to write your own essay.

One of my personal favorites is the annual Crusin’ For A Cure -The world’s largest one day charity car show, supporting CITY of HOPE’s Prostate Cancer Program.

This year the charity will be celebrating its 12^th year of success on Saturday, Sept 24, 2011 at the OC Fair & Events Center in Costa Mesa CA.

President Debbie Baker is responsible for founding this terrific charity event. She is a vibrant, strong woman who shows no indication of slowing down anytime soon.

I caught up with Debbie just 15 days away from the event.

The growth of this event of the past 12 years has been tremendous. Did you ever think it would grow as fast and as big as it has today?

It grew fast! We saw a significant growth within the first two years and it continues to grow rapidly!

Who has been your biggest (A) inspiration (B) support in the entire process?

Inspiration – every man that I save.  Support, our Vice President Ross Kroenert (he is my right arm) and the more than 150 volunteers.

In regards to individuals and/or companies- have you been surprised at how many want to volunteer, support and help you?

It is heartwarming and fuels my fire. I believe everyone wants to help because they all realize we are saving lives.

What is the best compliment you have received because of this work?

I receive calls, emails, letters and notes all year round from people all over the country saying thank you for saving my husband, father, brother, etc.

What would you like the world to know about your charity / show?

It is truly the largest single day event in the nation that we call the Save Your Life Car Show.

I believe it is important to make people aware of how the money and donations are handled, please explain.

Cruisin’ For A Cure is a registered non-profit California organization. All of the individuals that organize the show, handle show day logistics, and generally help make this event a success, are doing this voluntarily in addition to their “day jobs”.  Unlike many other automotive fundraising events, none of the money goes to a car club, promoter, or ”administrative overhead”…. There are none!

Thus, you can be assured that your donation goes directly to prostate cancer research. That is why we have all participants make their entry check out to the CITY OF HOPE.  We simply log in the vehicle information for the show and forward the check to the City of Hope

What’s new and exciting for 2011 event?

We have a new area (in the main section of the grounds) with Cars for Sale. We also added 3 bands to the back area – in over flow car lot.

Walk me through the process (what goes through your mind (A) upon waking the morning of the event (B) When you lay your head down to go to bed the night after the event.

I am so excited now, I am counting the days, not the hours yet, praying every night and morning to please make the weather DRY, DRY, DRY and about 75 degrees, and make this the biggest and best yet and let us save lives and test more men than ever.

What can our readers do to help you?

Support the event by being there and take advantage of the free screening, buy tickets for prizes, and have fun.

Is there a specific area where you still need a bit more help or assistance?

We can always use more donations.

How many men were tested in 2011?

A record 1,466.

How many that were tested in 2011 were notified to go see their doctor for additional tests?

Last year 143 men from the 1,466 tested.

Approximately how many lives have been saved because of this event over the past 11 years?

2000 to date – that we know of.

Anything else you’d like to add or share with us?

All those you attend, can feel good about knowing that they are making a difference. Together we are getting the word out that September is National Prostate Cancer Awareness Month, and we are all here for the same reason, to save our men from prostate cancer from a simple 5 minute fill out the papers and do the blood test, and then they can enjoy all the hot rods, and cars, music, vendors and their friends all day and for many, many years to come.   I am already working on next years’ event, Sept. 22nd same place, same time.

I strongly believe that you get out of a thing what you put into it. Hence the success that Debbie Baker, Ross Kroenert and her wonderful team has experienced throughout the years with THE LARGEST ONE DAY CHARITY CAR SHOW IN THE WORLD – Crusin’ For A Cure!

Please join me along with your other favorite TV personalities – Carson Lev, Fireball Tim, George Barris, Barry McGuire, Rich Evans and more.

To check out images from past years click here

Check out some video coverage click here

How did you get into photography?

I’ve been into it since I was a kid. I think I was 10 years old and my grandfather gave me one of those 126 Kodak Instamatic cameras — I’m dating myself here. There was no such thing as Photoshop or digital technology back then. There were pro cameras, everyone shot with film. So my grandfather gave me one, I think for Christmas, and even then, as a kid, I took pictures of everything. Sunsets, family members, friends — even the cats were subjected to mock photo shoots.

When I got a little older, about 14, my grandfather bought me my first 35mm film camera, a Pentax K1000. I wasn’t quite eighteen when I realized I was ready to start developing that hobby. I’d look at fashion magazines and the photography was really sharp and clear and that’s what I wanted. I was in high school, I had a job — photography was very much a hobby — but I had an interest in achieving that crisp, sharp image. I’d soon learn there’s only so much you can do with lamps and lights from Home Depot.

I bought a used strobe lighting kit from a camera store in San Francisco called Adolph Gasser that’s been around for years and years — still is. So I got that and taught myself how to use it. I couldn’t use the K1000 with that kit, so I bought my first professional 35mm camera which was a Nikon FE2 and eventually I upgraded to an F3 after that. I pretty much taught myself how to use strobes. I read a lot of books. I studied. Shooting film meant I had to practice my lighting, make sure it was right — because you have to get it right in the camera. There was no real opportunity for post manipulation in those days.

At the same time, I was doing a little print work in petite and swimsuit modeling. This happened in tandem with photography, but I didn’t have enough money to pay a photographer to put together my portfolio, which was really expensive in those days. That was another reason to learn how to use the strobes, so I could put together a mock portfolio I could take with me on interviews and “go sees.” I was an only child, so I could nerd out with my camera for hours. That’s how I learned to shoot other people and to understand lighting. So I started with family and myself, moved on to friends — I’ve always known a lot of musicians — and eventually I was shooting promotional pictures for bands in my grandparents’ garage.

What other aspects of learning photography with film help you now?

Back in those days, you did what you could. That’s how I ended up dabbling in the darkroom, developing my own film and my own prints, eventually. That was such a different thing from just shooting. But you end up thinking so much about every aspect of the photography process and that’s a great lesson. When I first started shooting in digital format, I felt reluctant to learn Photoshop and I think deep inside I still feel that way on some levels but for the most part I’ve put those thoughts out of my head. It’s harder than ever to make a living at doing photography now. Everyone is a digital photographer now so this new technology is both a curse and a blessing.

However, you still have to know how to light a subject well. That was something that helped me with digital about starting with film. I had that basis and when I began shooting digital it was like an epiphany — you can do so much more. So I’m glad I had that background. So finally after getting my digital camera, I decided to buy an early version of Photoshop. It’s like a marriage: you can’t have one without the other. But I did feel like I was cheating at first. It was a little too easy. I had to learn ways to make photos look natural.

When did you realize that photography would be a career for you?

I’ll be honest: I’ve always had a day job. I’m not shy about saying that I’ve never completely supported myself doing this. I had my first job at 15, I think it was at Mrs. Field’s Cookies. I saved my money so I could buy my strobe lighting kit and my first Nikon. Back in those days, it was really expensive to do photography for somebody on a budget, working at the mall. You had to pay for the film, pay for the processing, pay for the contact sheets, then do all the developing. I ended up buying my own film in bulk and would roll it myself. I did what I could to save money because I financed it myself. And I kept working. I’ve never had anything handed to me; I’ve worked for every damn thing I’ve had.

And my grandfather always drilled into my head: “This whole photography thing is great, but you need to go to college, you need to have something to fall back on.” That’s good advice. It’s very practical, very sound. So I always had a day job and I dabbled in photography on the side. As much as I loved it and would have enjoyed to make a living out of it full time, I kept working. Having that corporate background helped me with my photography and dealing with people in general, it helped me become more confident.

Working in the fashion industry for many years helped me get to know people — I worked with a lot of designers and one of them decided she wanted to move out to Los Angeles and start her own company. At the time I was going through a life transition and she asked me if I’d move to L.A. and be her office manager. It wasn’t until I relocated to Los Angeles that my photography became a career. I had been published in a few music magazines and local Bay Area publications, but it wasn’t until I got to L.A. that things really took off.

Shortly thereafter, I struck up a friendship with a photographer that worked in the same building as I did. This guy had a great studio and he was doing well, mostly shooting kids and doing head shots for actors, but because he was in L.A., he was getting agency referrals and had a revolving door of clients. I showed him my portfolio — which was all film — and he told me, “man, you have a good eye. Why aren’t you still doing this? This is just a travesty!” But I told him, “dude, I have to work. What am I going to do? I don’t have the résumé to get into Mademoiselle or Vogue or Glamour.”

His response was: so what? He was the one who talked me into getting one of the early model Nikon digital SLR cameras, the D100 — 6 megapixels, tiny LCD screen, I shot with that thing for years. I used his studio and he used my lights which worked out great for both of us.

How did you get into cars and pin-ups?

At around the same time I was starting up my photography again, Myspace was coming on the scene, the beginning of social networking sites, so I created a profile and put some pictures up. I was just having fun with it, really, but I met a couple of pin-up models early on, one of them was Kim Falcon, one of my favorite models who is now the spokesmodel for Gretsch Guitars. Another person I met during that time was Angel Jagger — one of the most talented hair and makeup artists I know. Angel and I ended up working together for many years and most of my early work and pin-up styling happened under her direction.

I met all these people through Myspace and I discovered this hot rod culture, and there were pin-ups involved, which I liked, having been a kid in the 70s. I took to it right away. At that time, it wasn’t hard to get into some of those early car culture publications. You could be a pretty crap photographer and get in. I didn’t approach it that way, of course. I just thought it looked fun. Kim and Angel knew someone who did the hiring for one of the car magazines that had pretty good distribution. I didn’t think anything would come of it but they took my feature and they wanted me to submit more. I was pleasantly surprised. I decided to get artistic with it then, to use my knowledge and the influences of shooting with film.

Angel and I started recreating the classic look, making sure the wardrobe and styling were period correct. At that time not many people were shooting girls with cars and modern pin-ups. It all snowballed from there. I kept my day job and I shot pin-ups and car features on the weekends and I just kept submitting my work to various publications. It was nothing I could support myself on at the time by any means but it was great supplemental income and exposure for me as a photographer.

What’s your favorite thing about photography?

I’ve always been a people person. I enjoyed working in the dark room and staying up late like a little mole, shut away for hours — and I still do that with Photoshop just in a different environment now — but I really like people. I like to interact with people and make them laugh and that’s why I have continued to do it. I like having that connection — getting to know the girls and getting to know the guys that own the cars, I still enjoy shooting bands and musicians too.

Now I’m shooting for Traditional Rod & Kulture and I’m finally making an income — but I’ve still got my day job! But I’m really happy with what I’m doing now. I’ve come a long way. I’m always looking at ways I can improve my skills as a photographer. I never want to get to that point where I feel I’ve learned everything I need to know and I sit back and think, “I’m so great, there’s nothing I need to learn.” I’ll never be one of those people. I’ll always work to improve my skills and become a better artist.

Hot: people, when you bring creative people together and they’re all into the project; laughing and making other people laugh; travel; friends, the ones who have been with you through thick and thin, and my family; fashion, everything from couture to the more traditional looks. I want to go back to film and do some black and white inspired by George Hurrel.

Not: braggarts and blow-hards, I don’t like big egos, negative people and Debby Downers; bad 80s movies; car problems; bad fashion, though now that I’m older I’m more forgiving; badly built customs on cars, people that don’t respect the cars they’re working on; GWCs, Guys With Cameras, the ones that are only out there for T ‘n’ A.

We sure did.

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This summer I discovered the thrill of Speedway Sidecar Racing. “Extreme Sidecar” as the guys and gals in the sport call it. For those not in the know, Speedway Sidecar Racing is a part of the Speedway motorcycle circuit where the sidecar rigs are set-up with 1000cc Superbike motors, run 118 octane race fuel, are geared to run up to 100mph in first gear and have NO BRAKES! The “monkey” or “swinger” crouches down on the opposite side of the rig from the sidecar wheel (on the inside of the track) and literally drag their butts in the dirt moving forward around the turns allowing the rear wheel to ‘drift’ around and then slide back to give the rear wheel some traction on the straights. They race similar to Speedway motorcycles in four laps with four rigs at a time, although the sidecars go in the opposite direction – turning right – on the dirt oval track.

I first met some of the racers at a local “Bike Night”. They invited me and the boys out to a practice session in Victorville, CA. I was amazed at how all the teams got along like family. And some literally. A great camaraderie among the competitors giving tips and advice on how to either run the race faster or pointers on new go-fast goodies for their bikes. There is an absolute drive to help each racer perform their best, all in an effort to elevate the sport and keep their passion of racing alive.

The Driggers Racing Team is a family affair. Uncle Scott and his nephew Shawn have been racing since 2006. In 2008 they had a near fatal crash, hitting the wall at turn 3 at Industry Speedway at near 100mph. Scott was in the hospital for months ending his season. In 2009 Shawn went back to racing this time with his beautiful wife Missy (and mother of 5) as monkey. In 2010 Scott joined back with the team on his new rig with his son Casey as monkey. Casey, 16 years old, is the youngest speedway sidecar racer! This season they are poised take the championship away from the two-time champ Joe Jones.

High-octane fuel, hot chicks and flying dirt, I had to share this with Genevieve!

With one mention to her the ideas came flowing. I had already been signed on to help the Driggers Team get sponsored. We decided that a web-based video program would be a great outlet for the team and help build awareness of the sport. The focus of the video series would be on the Driggers Racing Family, but as we found out, the other racers, included a paraplegic, two other women racers, and a new Harley-Davidson powered team were among the circuit. And the fans. The fans went crazy for the sidecars. Racing side-by-side on small dirt ovals the monkeys were in peril as they bumped each other as if gladiators from the Roman era.

We have a pilot teaser video of the series: “High-Octane Family” for view at the Driggers Racing Team website: www.DriggersRacing.com. The show features outtakes from a recent race at Industry Speedway with racer interviews by Genevieve, and fan interviews by racing enthusiast Julie Owen. The team is currently looking for partners to help produce the series, for marketing opportunities please contact Blacktop Branding at Campaigns@BlacktopBranding.com or call 949-584-5669.