KENNA

CONFRONT: How are you liking Montreal, so far?

KENNA: I love Montreal.  I haven’t seen it this time around.  But I came here before; I think I’ve come here twice.  I’ve played shows here.  One time I came and…the first time I came here I got scared.

CONFRONT: Scared?  Why?

KENNA: The girls.

CONFRONT: The girls?

KENNA: The girls; a girl.  A girl scared me.

CONFRONT: What happened?

KENNA: She was on her cell phone and she was walking in the opposite direction—I was walking towards her she was walking towards me—we were walking on the sidewalk and she was on her cell phone and I hear her say from like, you know, ten, fifteen yards, “I have to go.”  And I’m like, “Okay, she has to go, I guess she’s busy” and I’m still walking…she hangs up the phone, puts it in her pocket, grabs my face and full on—

CONFRONT: Nice!  I’ll have to remember that one!

KENNA: It was amazing!  I was like, “What just happened?” and she just went right for it.

CONFRONT: And that scared you?

KENNA: Well, yeah!

CONFRONT: See, most guys would be like, “Montreal’s friggin’ awesome!”

KENNA: No, it was amazing and she was cute, too which was really wild, but she was like…she just said “You’re welcome.”

CONFRONT: I’m so going to have to remember that one; that’s great.

KENNA: I was like, “Uh, um…thank you?”

CONFRONT: That’s awesome.

KENNA: So now I’ve just been walking down the street waiting for people to get off the phone…

CONFRONT: We didn’t tell you that that was a Montreal custom?

KENNA: What?  Get off the phone if you see a stranger and make sure he looks like a tourist and mack them, then tell them “you’re welcome”.

CONFRONT: Exactly; we’re polite, you know.

KENNA: Of course.

CONFRONT: I thought maybe we could start out by you telling me a little bit about how you got into music and why you decided to do this as your career path?

KENNA: Because my parents told me not to.

CONFRONT: Wow, that’s such a great reason.

KENNA: (Laughs) Well it’s partly because of that, I think.  I started late—most of my friends started very early—my friend Chad from the Neptunes started when he was three making music.  And then I think I got the bug when I was 13 or 14 and I couldn’t sing to save my life so I started just singing everything I possibly could; at one point I thought I sounded exactly like Peter Gabriel, which I did not.  And then my sister got a piano at home to learn and I ended up being the person playing it all the time because I went from chopsticks to Richard Marx.  And then after a little while you start to learn more complex chords because you’re bored with “Right Here Waiting For You”.  And then you end up doing a lot of unique stuff, and I started writing my own songs and it just kind of tumbled—it was a slow process because over the years I started to learn to play the piano and it was all by ear.

CONFRONT: Okay.

KENNA: That’s how I started.

CONFRONT: Did you ever take lessons?  Because you sound pretty good now.

KENNA: No, I never took lessons; you know what I did is I just, I really…I tell this to people who ask, you know, if they want to sing but they don’t feel like they have a great voice—because I really even now have a pretty mediocre voice.  I’m learning how to sing even now.  But I studied everyone.  I listened to every Sam Cooke record I could, every Marvin Gaye record, Stevie Wonder, and I listened to every Police album and every U2 record, every Talking Heads.  I studied the nuances of every spectacularly-voiced person that I believed had a clarion voice…you know, something that really resounded.  And inevitably you find yourself—when you’ve studied everyone you find out which parts are really you.  So that’s the reason why I have “A” voice now, and hopefully I’ll get to develop it to the point where it’s a great voice.

CONFRONT: Do you mind if I ask you how old you are?

KENNA: Uh-uh.

CONFRONT: (laughing) Okay, how old are you?

KENNA: I’m against ageism.

CONFRONT: O-kay…

KENNA: (laughing) Just kidding.  I’m 29 as we speak…

CONFRONT: You look like a baby, though.  I thought you were 20 years old.

KENNA: I’m twenty twooo…no, I wish.

CONFRONT: I…so…understand.

KENNA: I so understand, too, but thank you for saying that.  ‘Cause my Mom gave me nice skin.

CONFRONT: I feel the same way.

KENNA: You look really young; how old are you?

CONFRONT: I’m thirty.

KENNA: Oh, yeah; you look young.  I thought you were way younger.

CONFRONT: You’re my new favourite person.  Great review, by the way!  We are going to be giving you a great review.

KENNA: (laughing) Cool.

CONFRONT: You mentioned your mother; are you close to your family?  Have your family ties influenced you?

KENNA: Absolutely; maybe not musically as a direct influence; but my parents, my family, they’re very angelic people and my dad is a very powerful, beautiful man.  If I could be one tenth of my dad I’d be a great person.  I’ve said that a bunch of times and it’s the truth.  And I think that the influence of being cultured is in my music and having a lot of worlds to combine from childhood, from being an Ethiopian kid in America, to being an Ethiopian kid in America in a melting pot city like Norfolk, Virginia; it’s a port city so we have a lot of people from all over the world.  So, it definitely makes an influence on what you make as an artist because you’re exposed to a great deal.  And, being able to handle that as a child teaches you how to handle it in life.  Whatever, that’s just my own theory.

CONFRONT: It’s a good theory.

KENNA: I’m no PHD.

CONFRONT: No, it’s a good theory.  I read, actually in all the influences that you mentioned one of them that I read about was U2 and that you really discovered that you really liked music from listening specifically to ‘Joshua Tree’.

KENNA: Right.

CONFRONT: What was it about that specifically, that got you into music?

KENNA: ‘Joshua Tree’ was the first album I ever really listened to, from front to back.  And, it’s an album that represents a journey; you know?  And it’s the journey of the search for truth; a search of one’s self, a search of the world to find truth, and I felt it had passion and it had intensity and it was a yearning to understand.  And that probably began my search of who I was and what am I doing and what am I going to do with my life.  And all those things that kids, you know, “I wanna be a fireman!” you know, when you’re a kid and you don’t even know what that means?  This was the beginning of me asking myself the questions of “What does it mean to be this or that or to do this and that and to be a part of changing the world?”  That’s what ‘Joshua Tree’ was for me and that’s the kind of thing I try to apply to every record: is it a journey from beginning to the end?  And does it at least allow people who are willing to go on a journey to embark on it with me?

CONFRONT: Do you have other influences outside of music?  Artistically, what are some of your influences?

KENNA: I’m a big ‘Op Art’ type of fan.  I’m really into Basquiat and Warhol and the irony of that kind of art.  I’m really into pop culture as a whole I really think it’s so comical but then again it’s comedy minus the humour.  I think that for the most part, if it’s art it’s that.  And I’m also into a lot of the ‘Graf’ movement, like I’m a really big fan of Jose Paula and Futura and Neckface and WK Interact, these kind of like graffiti artists who have turned it into proper art.  Banksy, for example…is really amazing; look him up: he is so amazing.  His graffiti is turned into art and now they’re auctioning it; Sotheby’s is auctioning it.  He’s doing really well: a piece of his goes through and it sells for $75 000.  Really, really amazing and it’s social commentary, very ‘Op Art’.  I’m also into designers and people who make gear and clothing and people who make things that people will want to represent.  That’s always very interesting to me because I feel like my music is something you can wear, and I want people to be able to wear it proudly.  Kids truck concert gear because they want people to know they’re into a certain band.  At the same time I try to make not just the gear or my name is not as important as the symbols that surround it and your ability to be a part of that movement as a whole.  It’s not me, I’m not the movement; I want my double-K symbol…and the front of my album is the fingers and I want that to be a new symbol of peace, a new symbol of journey.  I want to make things that allow people to feel like they’re barrelling down the road and finding themselves as they do it.

CONFRONT: How do you go about making that happen?  It’s not an easy task to undertake.

KENNA: It’s not really a decision; it’s a frequency in your heart and you can’t quantify it; I can’t calculate it for anyone, I can’t tell you how it happens.  I just know that when kids come to the show and my friends come to the show they are there because they started a journey.  Everything else is just life by example.  My example is of a person who is willing to take a risk and fail and get back up and do it again and maybe fail again, and then getting back up to do it again.  It’s not as much getting to the destination as much as it is being able to be stronger with every failure.  And I feel like that’s how you do it: just being unabashed and very clear about: “This is me, all of me as is; accept me if you want, if you don’t, cool.  I don’t need you to.  I’m going to do this and if I fail miserably then you can point fingers but at least I’m doing something.”

CONFRONT: Has the journey you’ve undertaken been going the way you thought it was going to go?  Let’s say when you were 14 years old and you discovered music; is this now, at 29, what you thought it was going to be?

KENNA: No.  And I’m thankful that it’s not, because what I thought it was going to be would have made me a different human being.  I wouldn’t be the same person that I am.  I wouldn’t be as contemplative about it; I wouldn’t be thinking about how I’m affecting others and I would be very self-consumed and self-interested I think, if it had happened the way I thought it was going to happen, which was: “I made an album and then all of a sudden it BLEW UP!  And then I was EVERYWHERE!  And I was on BIG STAGES!   And GIRLS LOVED ME!”  Just everything that anybody who makes music and sees Michael Jackson or sees Bono or sees Michael Stipe or Dave Gahan from Depeche Mode and just thinks “They’re so lucky!” But the struggle they went through to get to where they are, each one of them…I don’t know their journey, but I do know that if I’d gotten all that all at once I probably would not be a very good person.  But the struggle has made me realize and be thankful and grateful for what it is I do have.

CONFRONT: You’re pretty young, though to have discovered that.  How long have you been on tour?  Your first album came out in 2003?

KENNA: Yeah.

CONFRONT: So you were 25?  You were pretty young to have that realization.  Why do you think you managed to get there before so many people?

KENNA: I think that a lot of it has to do with my family; a lot of it has to do with friends that keep me balanced and keep me grounded.  A lot of it has to do with having to struggle to make something new, and to make something that isn’t categorizable and the battle to be an artist who makes a mould instead of fits into one.  That battle alone humbles you because for the most part you’re getting rejected a great deal, and as you get rejected you have to tell yourself “I know what I’m doing is right” and you have to be strong about it but meanwhile you’re still being “put in your place”; it’s very adult-to-child conversations…and then you start to realize, you get to a point where people are starting to see things the same way as you.  And as time goes by the things you might have seen as a vision in the future are becoming the present and an awareness comes around it and all this time that you’ve been building something now people recognize you as the person who pioneered it or as part of a pioneering movement, and everything that you’ve struggled for is justified.  And even though that’s true, you know that you have to be thankful for the people who helped you to get there because it took a long time and there’s no way you could have done it yourself.  Some people really do this selfishly, and I think lately I’ve learned that the secret to life is giving and as much as I’m giving it’s probably the healthiest that I’m going to be.

CONFRONT: You mentioned before, Chad from the Neptunes.  How did your relationship with Chad get started?

KENNA: We grew up together.  He lived, probably one neighbourhood over from where I did.  We both went to the same high school, to the same college; we would run into each other pretty much constantly in the hallways and in the auditoriums wherever there was a piano he would be there to show me how poorly I played.

CONFRONT: Nice friend.

KENNA: Yeah, he’s great.  He’s like “Hey yeah, that’s great, that’s great…is this what you were trying to do?”  No, he’s great.  And he’s my band.  You know it’s like I got to him; I come with songs, I come with melodies, I come with keyboard parts or guitar parts or whatever it is I need to make the record and he will bring out beats and sonics that make me feel like I’m the Buck Rogers of music.  And then I’m not afraid to wear that white suit and (laughs) kill the Klingons.  But that’s a whole other thing.  Star Trek, Buck Rogers.  They should have just fused them together into one show…Buck…Trek.  That’s my show: Buck Trek.

CONFRONT: Start listening to astronauts, that’s great!  You’ve collaborated with a lot of other people as well on your record that I saw.  What did you learn from the collaborations that you’ve done?

KENNA: From each person I brought to work on the record…they were people that I respected for what they did, for who they were as people as well, and I think more than anything else I learned really how to work with friends and challenge my friends and challenge them to do more than they’ve ever done before as well as they would challenge me to do more than I would normally do.  You learn to be a little more versatile and more flexible if you work with your friends.

CONFRONT: You performed at Live Earth, right?

KENNA: Yeah.

CONFRONT: Somebody who’s working on the magazine as well is writing an article right now on the aftermath of Live Earth and all the comments that have come back being negative.  As a performer, how do you feel about the general apathy that came after Live Earth, where everybody was like “Yeah, that was a great show but nothing is really being done specifically” and the movement they were trying to start is unfortunately is at a standstill now.

KENNA: I think that apathy reigns right now, in general.  I think that we are so desensitized.  The Information Age is such a bombardment of knowledge that it gets to the point where you turn off.  Not only that, it’s such a marketing machine that it takes marketing machines to get you to pay attention and then you realize that how many times has it been that you’ve seen something, a million times, and you know what it is but you don’t feel anything from it so you don’t respond to it and it fails miserably.  Live Earth is a great concept and it would have all the right meaning behind it and all the right intentions, and I think that it comes down to the people.  On a lot of levels it comes down to the people.  It comes down to the people who are actively pursuing it and are interested in helping the world, or seeing a show.  I said it onstage, I was like: “You know that you’re a part of history, right?” And people, when I said that, applauded but they didn’t know what that meant.  They didn’t know that that moment was a moment of change and if they had chosen to make that change and take that pledge that they had created then they would actually see a cleaner world.  It’s a long answer to say that I’m not upset that Live Earth was created, I’m happy that it happened, I’m happy that I played it, I’m happy that I was a part of that history.  And I’m happy that whoever did decide to change their life—I mean I did; it changed me.  I wasn’t a big environmental buff before I was on that.  I went home and my roommate—I have a place in LA—and my roommate has always been environmental about everything, and it just annoyed me.  And then I came back and I was like, “You know what?  This guy’s been using bio detergent and picking up everything plastic that I throw away and putting it in the right places and using environmental lamps, and everything in our house is that way.”  And I went home to Virginia and I did the same thing, and I changed that.  And out of 2 billion people, if only 1 per cent of those people actually do something, then it’s literally helping.  That’s it and that was a long answer.  I hate long answers; and I’m good at those long answers, though.

CONFRONT: It actually makes for a better interview, so that’s good!  What do you think that should be done for those changes to take place?  Or is there even anything that you can do?

KENNA: I honestly don’t know that answer.  I really don’t know.  It really comes down to the fact that people are so desensitized that they don’t even know what matters, anymore.  We’re so bombarded with fear tactics that we’re even desensitized to the fear aspect of it.  Like, the world might be destroyed because of our actions every day?  “Yeah, I don’t know.  It’s possible.  But who are these scientists, anyway?  I’ve never met them!” It’s like, they’re just like “Sure, yeah!”

CONFRONT: Ironically a lot of those people—and I don’t mean this in any finger-pointing way—but ironically a lot of those people are the same people who are uber-religious and believe in God without question—not that there’s anything wrong with that, but—

KENNA: Yeah, I believe in God without question

CONFRONT: So do I.

KENNA: But at the end of the day, it’s like that story—that Katrina story—that they use, it’s like one they’ve used old biblical versions of it, and it’s the guy, and the helicopter comes, and he says “No, I’m waiting for God”, and then a boat comes by, “I’m waiting for God”, and then he’s just right at the tip and almost choking on the water and another means of rescue comes by and he says “No, no I’m waiting for God to save me,” and then he drowns and dies and goes up to Heaven and he’s like, “What’s up?  Why didn’t you save me, God?” and God says “Yo, I sent a helicopter, a boat and the other thing and you didn’t want to use it!” Yeah, whatever.  The fundamental religious sect of the world is another version of fear.  No disrespect to God or to spirituality, but I just don’t agree with the fear tactics that religion has thrown into the mix.

CONFRONT: One final question on the subject.

KENNA: Yeah?

CONFRONT: I don’t really know how to phrase it without making it sound like I’m pointing the finger of blame, which I’m not.

KENNA: No problem.

CONFRONT: How do you react to what people are saying about the carbon footprint that was left by the festival itself?

KENNA: That’s something…I went through that…I asked all those questions before I did the show and they did as much as they possibly could to make that an eco-friendly concert series.  I mean, there was compost out of this and they did as much as they possibly could.  It’s really funny that the people who would come to an eco friendly concert would be that irresponsible as well.  The people who put on the event and were attempting to make a point of the event are not to blame for how twisted up society is and their mindset of “Thanks for the concert; uh, we’ll do what we can!” I mean, it’s not their fault.  We have to prioritize.  We have to start thinking about what’s really important and what really matters, and what matters is that any and all individuals—if you only reach one person, that’s one person who’s changed and if you meet a million people or two million people out of two billion, you have one per cent of those people doing right then you have affected change.  And it’s probably those two million people—just count those two million people and all the change that they’ll cause and the things that they’ll do on behalf of that same subject…does it end up being worth the entire Live Earth concert?  Yeah.  But if you look at it from the whole “Oh, two billion saw it and only two million did anything!” It’s glass half full, glass half-empty; I mean, it’s like, you have to look at it in the most positive way possible: we are trying.  We are trying.  And all those artists came to show their support for that attempt.  And all the actors and the Al Gores of the world and everybody who participated in it were there to show the attempt for us to be aware of the issue.  Don’t say you never heard about it!  That’s the other thing: at the end of the day if you know about it and you did nothing, then you did it to yourself.  And that’s more important than anything: that people know that they’re part of the problem.  And if they want to deny and something goes wrong, guess what: We did the Live Earth for you!

CONFRONT: Yeah, exactly!

KENNA: By the way, and you came to the show, and I saw you there.  And you threw shit on the ground and I saw you leave in your big F-150 and I saw you toss litter and when you got home you threw every Coke can and bottle that you had in the trash.  Don’t tell me I didn’t tell you about it, you came to the show.  So hey, what else can you do?

CONFRONT: That’s a pretty valid point; nobody thought that out.

KENNA: What else can you do?  I work with these casinos, funny enough.  And people are like “You’re working with casinos?  They ruin peoples’ families!  The people jump off buildings because they lost all their money!  I can’t believe you’re doing that!” I’m like, “It funds my foundation.  And guess what?  If I don’t have a casino, somebody else will.  And if they have that casino, guess what’s going to happen?  People are going to jump off buildings, ruin their families, and they’re going to spend all their money on the wrong things and then those guys are going to get crack and hoes. So if I want to go dig for water with your dirty money, I’m going to clean the water with that money; I will.”

CONFRONT: People are so quick to take responsibility away from the person that’s doing those actions and then blaming it on the enterprise.

KENNA: Yeah!  You threw the trash on the ground, you didn’t recycle and you drive an F-150 truck!  We told you at Live Earth that that stuff is bad!  We gave you pamphlets!  We even sang to you about it!  What more do you want?  If you’re going to go and do what you do, then it’s your fault!  I went home and changed, you guys went home and changed; my manager changed—we’re trying to figure out how to do our tours—it’s so hard for us, I don’t have money because I’m a new artist but they gave us packs on how the artist can tour green, and my friends have done that: Like, Linkin Park they went out and did an entire green tour.  And for every person that came, they planted a tree!

CONFRONT: I didn’t know they had done that.

KENNA: Yeah!  For every single person that came to their show, they planted a tree.

CONFRONT: That’s awesome.

KENNA: I think all of Justin’s tour was green, right Jay?

JAY (friend): What’s that?

KENNA: Wasn’t Justin’s tour green?

JAY: Was it green?

KENNA: Yeah.

JAY: I believe so, yes it was.

KENNA: Yeah!  All of Timberlake’s tour was green.  Kelly Clarkson’s tour was green.  We can only do so much.  We live by example, we do our very best, and if people choose to be dumbasses that’s on them.  But I know a lot of great people who went to that show and battled for those good things and because of that tour, because of that concert series they actually became more avid.  And I know a lot of people who didn’t think of it at all—like myself—who changed for the good as well, and worry about those things.  So, to answer that again with a long-assed answer, to each his own; at the end of the day, if you know the truth and you don’t act on it then it’s your fault, not Live Earth’s.

CONFRONT: Three questions that are very short-answer questions…

KENNA: Yes, no, yes.

CONFRONT: Actually it’s not “yes, no”

KENNA: Oh.

CONFRONT: First and last album purchased?

KENNA: Kings of Leon.

CONFRONT: That was the first?  The last?

KENNA: The Editors; the new Editors record.  I bought that, too.  I bought a lot of records, but I bought that one last.

CONFRONT: First and last concert ever attended?

KENNA: First and last concert ever?  Wait!  First and last record that I’ve purchased?

CONFRONT: Yeah; album, CD, whatever.

KENNA: First album ever purchased was U2’s the Joshua Tree.  Last one was the Editors, but I’d rather say the Kings of Leon because I want them to be heard.  Um, first—what did you say?  Movie?

CONFRONT: First concert.

KENNA: First concert?  I don’t remember…

CONFRONT: Come on!  Everybody remembers their first concert ever.  How can you not remember that?

KENNA: I don’t think it was that important to me.  It wasn’t one of those concerts where you’re like…

CONFRONT: Neither was mine; mine was the New Kids on the Block!

KENNA: Oh, my God.  That’s big.  That’s massive.  I think my first concert was a group called Blackstreet.  Yeah, but I worked those; so I was just there, but that was the first concert I went to.  The last concert that I went to was a She Wants Revenge tour, because I’m on it.  Uh…(shouting) What’s the last concert I went to, Damian ?

DAMIAN: That you went to?  I think it was Wilco.

KENNA: Wilco!  I went to see Wilco!  I went to see Andrew Bird.

CONFRONT: Uh-uh. Finally, we have a section on the magazine called “Daily Urges”; readers can submit bands or artists that they think we should discover or rediscover, and we always ask artists for some of their Daily Urges.

KENNA: Kings of Leon, absolutely, Kings of Leon.  And I kind of love Spankrock.  Santo Gold!  Daily Urge.

CONFRONT: We saw her recently; she opened for Bjork.

KENNA: Santo Gold.

CONFRONT: Yeah, she was really good, actually.

KENNA: She’s dope!  She’s great; she’s one of my favourite people, and we ended up writing together on Ashley Simpson’s album.

CONFRONT: You wrote on Ashley Simpson’s album?  I did not know that.

KENNA: I did seven songs.

CONFRONT: Nice!

KENNA: With her; she’s actually great.

CONFRONT: I really like her, I don’t know why.

KENNA: You’re gonna trip out.  This album, you’re going to realize why you like her.  The last two albums were people helping her create something and she didn’t really know what they were making her do, and she was like, “I just want it to be rock, and I like this, and like that,” and she was young.

CONFRONT: No, exactly.

KENNA: And she came around on this album, and she was like, “I want this and I want this, I want it to feel like this, and I want that,” and finally she was introduced to me and she was like, “Will you help me do that?  Will you help me make that?” and it was me and Chad and Timbaland...

CONFRONT: It should be a good album.

KENNA: It’s a good album; it’s a really good album.  She sounds like Cyndi Lauper meets Siouxie and the Banshees.

CONFRONT: Nice!  I really like her.  I don’t know why everybody was so down on her.

KENNA: Her business people made a really big mistake on Saturday Night Live, and look, I have a computer running.  She Wants Revenge has a computer running, Justin Timberlake has a computer running.  Everybody has a computer running.  Because we want to have the biggest sound possible, but we can’t have 90 people onstage, there’s not a big enough stage.  So she did Saturday Night Live and pressed the wrong button and a background thing that should be background isn’t muted.  And then, boom!  It comes back on and then you’re not, quote “live” anymore and the world goes and crumbles down on you; it’s unfortunate for her.  I wish that every artist went straight to the press people and said, “I have a computer that runs my shit.  I have a computer that runs mine, and I have a computer that runs mine.” If everybody, all of us went back and said “We have computers that run our stuff, so don’t blame the girl for her artistry.”  Then maybe she would be more respected, right now.

CONFRONT: Like Justin was saying when we were talking to him before, they like to build up people just to be able to tear them down, and she got built up so big, so quick because of who her sister was that it was easy to kind of go, “Goodbye!”

KENNA: Who said that?

CONFRONT: Justin.

KENNA: Warfield?  Of She Wants Revenge?

CONFRONT: Yeah.

KENNA: He was talking about Ashley Simpson?

CONFRONT: No; [laughing] Yes, we were having a conversation about Ashley Simpson.

KENNA: That would be wild!

CONFRONT: No, he was just talking about how people like to build up media people…

KENNA: She had a song on her record, called “No Time For Tears” and it says “A million miles that I have come / with signs that say to give it up / you tear me down or lift me up / no time for tears, no time for tears.”  And it’s like, you know, the truth is that we all want to support someone who is an underdog, and we want to lift them up until they’re very big.  But then the minute that they forget for a second or that they make one mistake that reminds us that they were an underdog at one time and now they’re way to big for their britches, we want to tear them down.  But that’s just so unfortunate, because the more we tear these people down, the less they’re able to do these magnificent things.  I mean, I don’t mind; life me up and tear me down; that’d be great, because I’m just going to come back, stronger.

CONFRONT: Nice!

Official Website: http://www.kennakenna.com/
MySpace: http://www.myspace.com/kenna