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Distorted Keeps Scoring!

Without Walls

Collabs & Gets Culty


The Power Girl Behind the Sickest Animations.

Fresh Daily

Gives Solutions To Branding



Speaks Beyond Chigeria Fa l l 20 14


Great Fall Brews

The Newest

Cult Classics


Reaching Take Over


Resurgence As A Business & Terrorizing Political Threat Athens: New Ren - SEPTEMBER 2014


Editor in Chief Bria Brown Creative Director Joey Shepherd Visual Editor(s) Joanna August, Katharine Marion, Anhia Santana Visual Interns Tyrrice Taylor Copy Editor(s) GF Berge, James Driscoll Contributors Rosemarie Driscoll, James Driscoll, James Elliott, Yarleen Hernandez, Ethan Rosen, Christina Santi Contributing Photographers Lawrence Agaeyei, Quan Brinson, Kyle Deleu, Sandip Kumar, Jimmy O’Donnell, Joanna O’Shea, Hannah Snyder Contributing Stylists Julia Morris, Yulia Noyabrskaya, Jamie McCracken, Chris Pearson, Clarence Singleton Contributing Makeup Artists Bria Brown, Gina Osbourne, Angela Kaeser, James Milligan, Taka Okada, Lindsey Williams Contributing Hair Bria Brown, Ericka Murchison, Lindsey Williams, Yushi Suzuki Special Thanks KOTFW, Fabiola Roman, Jamie McCracken, Without Walls, Vapor Trails Contact General info: PR:

con tents OCTOBER

62 4

Distorted She’s Far Beyond Animation

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inside F E ATUR ES

42 R.R The Man Who Brought ISIS To Become Irrepressible.

12 THE GTW Music, Moral And Life. The GTW Is Incredible FA S H I ON



Fall Pieces We’ve Had Our Eye On From A Distance L IFE STYL E S


6 EDITORS LETTER Bria Talks New Cult Classics



BREW 6 Breweries With New Fall Beers



HOW TO Build Your Brand: Fresh Daily Talks Beat Haus & Building

RAVANA We Are Neither Good, Nor Evil.

28 47


WARRIORS How Gangs Are No Different From Having 14 Siblings

70 Ritual Yoga Yoga’s Dark Side



APPLE Planting Seeds For A

NOT FRUITS Harajuku Street

Sea To Shining Sea.

New Cult.


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here is warmth in our American cult classics. These films, novels, artists and creative works unbridle an energy that revives us when we think about them. There is a dark, twisted and riveting pleasure that fulfills us when we think about Donnie Darko, A Clockwork Orange!, Fight Club, and 1981 is something that doesn’t compare to anything else. Google’s definition of a cult classic defines it as something that is popular within a society. For me it is something deeper than that. A cult classic is something that was once underground, a sprouting bud eventually taking over and making a dynamic bloom throughout the culture. Before creating this issue, I had a time of deep obsession with learning about our American cult classics. I decided to study what really makes something a paradigm for our culture, and not too long afterward began questioning what would we consider cult classics in

this new millennium. Stepping outside of books and film, I fell into finding other things that were artistically molding our people and questioned the power of “us.” How can we create something as culturally rich as the thinkers before us? Can we remain as, if not more, intellectually, strategically, and artistically deep as our influencers from the ‘70s, ‘80s, and ‘90s? This issue is comprised of things my contributors and I believe to be the new cult classics. These are brands, artists, collectives and events that will not be forgotten because of their epidemical influences upon their community. Despite how dark some of these pieces or people may be- they will remain engraved in our memories, in this new American culture. That darkness is the beauty. cult clas·sic Noun: something, typically a movie or book that is popular or fashionable among a particular group or section of society. /’klasik/ Adjective: 1. Judged over a period of time to be of the highest quality and outstanding of its kind.

Bria Brown,Editor-in-Chief


Beat Haus First off, how did Beat Haus start?  It started in a basement at producer Chuk Le Garcon›s old house. What were the inspirations behind it?  The only event I’d ever been to that was similar was Coalition of The Illin’. I took my friends Jinesis and Black Spade to go see the homies Ohbliv and Suzi Analog.  Josh Hey and Sir Froderick were on that bill as well.  I was just in awe that such an event existed here in NYC & it set something off in me.

Brand The Vibe

The Haus That Beats Built


By: Jame s El l iott P h otograp h e r s : K e v i n O r n e las & M ar z ia Gam b a

ising from the depths of an innocuous basement, and then taking over the Converse Rubber Tracks, Beat Haus rapidly became a name demanding everyone’s attention; not just from avid music fans in search for their next hit, but even corporate entities looking for what’s actually happening in culture. As the brain child of innovative and hungry artists, the community has grown exponentially over its few months of existence. Haus’ popular radio show, events, and blog are impossible to ignore.  Yet as they garner more attention, it requires more maturity and energy to remain on their destine path; something their fearless leader, Fresh Daily, continually makes a priority.  In less than a year, his unlikely project turned into a legitimate powerhouse. but from the way he talks about it, Fresh Daily wastes no time congratulating himself


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and friends. There is too much out there he wants and places he sees this brand going. Beat Haus is definitely special, but Daily is still learning how much.  Luckily, we were able to track the busy brand leader down and get him to field some questions. While Beat Haus continuously expands, he is a valuable source of information for anyone looking to create a label. Fresh Daily is dealing with growing popularity and major companies looking to invest, which is an entrepreneur’s and a creative’s dream. In our correspondence, he discussed the incredible origin of the Brooklyn beat centered event and web series, which is as interesting as it is brief. Thankfully, he talked in depth about growing and running your business; whether friends should be a part of the process or if you should look for help elsewhere. Additionally he shared some personal insight into Beat Haus and the musicians who frequently perform. 

Where did the name come from? We were playing beats. In a house. I just wanted a funkier spelling so we went with the German [spelling] for House. How did you originally conceptualize it? Low key vibes on a grand scale. Unpretentious shit with a commercially viable platform. A creative hub for new guys and heavyweights to listen to each other. A breeding ground for unity, opportunity and community for blossom, a potential launch pad for a new business and line of work for me as an event manager, host, emcee, beat maker and graphic illustrator. When you set out to create Beat Haus what were some of the creative aspects that you wanted to achieve? That helped you separate yourself from the pack? No rappers. No singers. No competitions/battles. No waiting for music to load. Interesting projected visuals for an A/V experience. We quickly realized we did not want to stream our show live. We partnered with a fantastic team of directors and videographers to create recaps for every event. Those recaps ended up playing a very valuable role down the line.


At what point did the potential for growth become noticeable? When we outgrew the basement and went to Dub-Stuy’s backyard, then outgrew that and had Converse sponsor us at their Rubber Tracks Studio. All over the course of a year. Also, when a few people/companies I spoke to about the concept picked my brain and then essentially STOLE ideas from me. I had a eureka moment where I realized I was sitting on something with the potential for exponential growth and the less I say and the more I actually DO will speak volumes. Did you go after big brands or did they come after you? Either way, is there a specific way to move to go about it the smoothest or correct way? It’s all a learning curve. I never expected it to get this big and it’s still not even where I really want it to be. I have a fantastic relationship w/ Converse as an artist. They’re an amazing company who make fantastic products and support dope music. I reached out once I had something solid under my belt to pitch them. These other new brands ask for a sponsorship decks, social media numbers, etc. It’s all very interesting. Most companies aren’t fully in tune with the culture, they want to see numbers and content and stuff like that before they give you anything. You could come to them with a totally original concept and show them media of it and why it would work and essentially they’ll be like “How many Facebook likes you got though?” Although, really, NYC runs more on WHO you know and less on WHAT you know, so, I mean, there›s THAT. In a city of 13 million people all looking for a come up and everyone moving here to do the same thing, how do you flourish? We›re all smart, but networking & maintaining relationships is how success stories are made here. Now that you dream has turned into a much bigger reality, how do you stay focused on your original goals? I.C.E, baby. I. C.ontrol. E.verything. I have a fantastic crew of people who work with me. Ultimately though, I set the tone, book the acts, push initiatives and they step up to bat and consistently body every task super efficiently. This is my vision that we share and

I›m forever indebted to the individuals in my team. I›m not the most detail oriented, punctual, organized person but I have other strengths. Where I may be faulty, they are strong and vice versa. Keeping your eye on the prize is significantly easier when you have a support system. Should compromise ever be a part of your regiment as a brand leader? It is better to bend than break. Working with corporations sometime you have to

Compromise Isn’t As Much A Part Of The Regiment As Acquiescence. wait 30 days for a check, you might have to go through like 5 people to get an answer. All these stipulations to do what you do will have you contemplating simpler times. Then you see the check and what good it does for your movement and the culture and realize these steps are measures to ensure your success and it’s all a learning curve. Compromise isn’t as much a part of the regiment as acquiescence. To be able to go with the flow and be open as opposed to compromising has been a large part of leading a brand. Name one mistake that you made on your road and how you were able to overcome it? Wanting to please everyone. A big part of what we do is exposing relatively unknown producers to a physical fan base. They may have a decent size following online but the general collective of fans of this genre/ subculture hasn’t actually seen them live. The music may be wonderful but are they charismatic, entertaining live performers? 65%- 70% of them are. A lot of them have no idea how to work a crowd or make the music people love so much, it translates in real life on a stage. Some are naturals. Some show up with an iPod or laptop and ask the crowd what they want to hear. That’s a nightmare for us in regards to quality control. The screening process has gotten a bit tighter and we’re booking producers by music we actually like and acts we’ve seen live. We still take calculated risks on

booking new guys but we’ve just become smarter. We started a private, smaller side series where newer acts can play a set that sort of acts as an audition for bigger stages w/ budgets and allows us to throw events more frequently. Where do you see Beat Haus going in the near future?  Becoming a huge platform for a burgeoning scene on the East Coast and being a NYC rite of passage for producers, beat makers, DJ›s passing through. Taking the show on the road to different states & even countries. We›re launching an online radio show/podcast and record label as well! Anymore big name sponsors and collaborators?   Yes. Who has been your favorite performer and why? I don’t have favorites, but I really personally enjoyed Dibia$e, Iman Omari, Melo-X, Go-Yama, Chuk Le Garcon, Bae Bro, Noah B and Lakim. A lot. Guaranteed dope sets from those guys. Every time. How many friends should you employ in the building of your dream? Did you? Employing the most trustworthy, knowledgeable and hardworking people closest to you is great. However, that won’t cut it. Try not to hire your artist friends.  There’s always hidden egos, conflicts of interest, personal agendas, etc.  Unfortunately, the more favors you do for the people closest to you with no recompense, the more they feel entitled to your generosity. If you want success, hire people you can trust to execute an order quickly and effectively without questioning it. Not yes men, but people who add insight while fulfilling their hired role.  There are 4 of us working together, the newest partner, I’ve known 10 years, the other 2 I’ve known less than 5 years. The common thread between them is they are exemplary in their field of work  I reached out to them for and execute initiatives I launch immediately and effectively. Thank you for the opportunity to speak on this little event series I started with my friends. Much obliged and humbled.

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Music Is What Makes Time Travel Possible B y: C h ri st i n a S a n t i Ph oto G R AP HER : L awr ence Agyei

With his nostalgic take on modern love and emotions Chicago artist James “the GTW” King takes us in his Delorean for a spiraling trip back to the future. He recently spent some time in NYC to propel his musical aspirations a bit further and we got the details on his new album Chigeria. The new kid on the block with the old sound tells us what it’s like being Nigerian in America, making cult-driven music, and what that all means growing up in Chicago’s callous climate.


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t’s a Sunday afternoon when my phone rings and I’m met with the bass-filled voice of 24-year-old singer/songwriter/producer and sometimes rapper the GTW (“Greater Than Wealth.”) A voice that I usually hear overlaying falsettos on ‘90s bass and percussion-heavy rhythms. I express my surprise at the contrasting pitch in the GTW’s singing and speaking voice and he gives off a confident chuckle. He has just left church and he sounds refreshed and filled with so much positive energy. He exudes an easy-going nature but it’s clear from the first few moments that he is a well of knowledge. These are the traits that are juxtaposed throughout his music. His charisma makes it easy to get lost in his powerfully evocative lyrics and his creativity vibrates through the soundboard. James King is the 2014 Marty Mcfly, taking the wistful joys of his childhood and romanticizing it for those of us in the future (present day) to enjoy. If you shift through his catalogue you can easily be taken back to the 90s and have that whole I guess you guys aren’t ready for that but your kids are gonna love it moment; but in reverse. It’s enriching to have the ability to speak to James at the end of his church service because that is where his musical journey began. “I started singing in church at like 16,” the GTW humbly professes. Though, he reveals that making music for himself started earlier, “[I] started at like 13. I was rapping a lot more at that time.” Ultimately, it was his participation in church that helped to cultivate the type of artist he is today. He admits that he has a fondness for hymns and the renaissance

musicality of his church. Shifting away from the Southern gospel sound of music, the baroque style of song worship has permeated its way into his melodies and is what influenced him to start producing at the age of 14. If my ears are correct, the GTW is already going 75 miles per hour in his DeLorean, when his musical abilities hit full throttle (and they will)... you’re going to hear some serious shit. Did you know you wanted to pursue music as a career back then or was it just for fun? The

first song I ever recorded was professionally done. I went to the studio. It was never one of those, ‘oh, I recorded with my friend in a basement and that’s how I got into it,’ moments. I literally heard a lot of the songs I liked on the radio like the Black Eyed Peas and cool stuff like that at the time. I wanted to record something of quality. So, I went to the studio and recorded a very clean, quality song. After that I started playing around in my cousin’s studio and different places. The first place I recorded was in a studio and I pretty much had to get the change from my dad. Yeah, my dad fully funded that studio investment. Were your parents all for the idea of you making music? I think all parents would initially think that music isn’t a solid strong hold, as far as, supporting [someone] financially. Especially with my parents being Nigerian and coming here when my mom was pregnant with me and [still] got her Masters. She had a job and paid for school, you know, did everything. This type of work is different. She’s not really used to people making money off music

unless you’re on TV or really super famous. My parents are supporting me now, which is awesome; encouraging me as far as topics I should speak on and how I could express them. They’re still telling me, “Hey, get a job!” but you know… How do you feel you blend in your Nigerian culture into your music and image? And is it an important part of who you are as an artist? That’s everything for me; I try to make it as clear as possible. I want my culture and upbringing to be in everything that I put out. At least in the art world people want some things to be really subtle and leave it up to people to figure it out. People are dumb sometimes. I’m dumb with some things. I need things to be very clear. If I need things to be very clear, as far as, what something is about then I know others are like that.

if there’s no substance behind the meaning it will just float away With the album Chigeria it’s very clear. You would have an interest in what it would sound like but you have an idea that this is a clash of cultures, two different cities together. It plays an influence with the beats that I made but I am [also] influenced by other types of music. Being Nigerian, makes Portuguese House music more acceptable; it makes Samba rock music more acceptable to my ear. It may be weird but I accept it.

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Though this is a blending of Chicago and Nigerian it’s worldlier? Yeah. It’s more of world music that I’m really influenced by. Chigeria is pretty much the story of what I’m going through. I’m taking different pieces of my experiences and turning them into songs. What would you say the feel of the album is? The feel of the album is warm, very gritty. I wanted something very direct and straight to the point. I would hear old songs like from the mid-90s and it gave [me] that warm feeling. That’s what I’m trying to come up with in this album, at the same time keeping the sound gritty and keeping the soulful element of everything. It’s not really electronic, everything is more of an organic sound. There are a couple of electronic songs here and there. I’m just trying to keep everything gritty and happy. Even my sad songs are happy. In terms of Chigeria and your


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experience as being Nigerian and living in Chicago, how do you feel about what’s happening in Chicago – the use of the Chiraq term musically – and how the media is perpetuating that? I think as far as Chiraq, there are a lot of musicians in Chicago that are awesome. Everyone would want to latch on to something to get noticed. I feel like that’s more so what the “Chiraq” term has become. The meaning is not based off of real substance; if there’s no substance behind the meaning it will just float away which is a good thing pertaining to violence. If anyone still uses it - some people probably do it’s more of a latching onto a wave that people are familiar with whether that wave is still relevant to people outside of Chicago, I don’t know. Chiraq has become a “let me jump on this because we think everyone is watching” thing. I don’t really support jumping on waves. When it comes to the GTW it’s just more so finding people that

you identify with. That’s what I do and then create something with them and eventually people will find out about it. As opposed to using something that’s deemed as negative to people on the outside of it. The Chiraq term is a term and I’m never really associated with that in any way. I listen to drill music and I like it. When it comes to the music we can push ourselves to say something a little more. It takes an extra 30 mins for me to write a song that’s not the same. In the end it’s cool. Do you think as a musician, since you have a voice that can potentially touch many people that it’s necessary to be political? It’s necessary sometimes. When coming to Chicago, I don’t tell people what to and not to do. Honestly, it’s like dude this is my life. If it’s cool to you and you want to stop doing that wild whatever then go ahead. And if it’s lame to you, cool. I just want people to see what I’m doing and what my friends are doing and what our

record label AUDA – a label I co-run with some friends out here – is about. Just to show people that if you’re Black you don’t have to pop guns, you can sing about anything really. If I go to the laundromat and come back and something got under my skin, I will write a song about that. Being Black, we don’t need to be told by the media this is what we should be doing. That’s what it is living on the South Side; the idea that this is what I have to do because this is the culture. I started out rapping, then I was beating on tables. I can venture out and do what suits James King, not what I think my high school mates dig but what fits me. All it is, is giving people an alternative to what they wouldn’t normally see. And also giving them a feeling and a visual, music and audio. Also, giving them everything so they can take it and they can see there’s a culture behind it because they can taste it and feel it. My shows are a crazy mix of people and that’s awesome. It’s mostly the art world. It’s cool to see different groups of people mix up together and that’s what I think Chigeria is about. It offers an alternative of people you can hang out with that you never once thought you would before. I have friends who only see white people when they come downtown or once a week or on TV, that’s just weird. You can actually meet this guy from the Southside who is making this music or this college kid from Columbia. Or this kid from the Southside who is making this music who only cares about what’s in his area. That’s kind of what I am. The Internet opened all that up. To see them all in one place is breaking cultural barriers down. That’s another asset to music and another is putting my feelings out so that people can feel it and gravitate towards what I’m putting out. If one of your songs could solve one world issue what song would it be and what would do it? “Chigeria” – the title track – is a collection

The Internet helps and I understand that but at the end of the day reality is where its at. of things. I was reading poems about why human emotion leads us to want to get over on people. And why we want revenge and different things. One of my close friends died, ‘so should I make this song about violence?’ It’s kind of weird so I forced it for six months. I wrote this song last week, it’s pretty much about not being able to get ahead because I’m trying to get even. It’s a song about everything that’s going on in Chicago. How our emotions and our pride gets the best of us. It’s me being upset with everything that’s going on and that has happened to me. I can’t speak about violence for everyone else but I can speak about if from my eyes. It’s a song of me singing to myself if I were still in the mindset I was in during high school and the territory that comes with lower income populations. It’s a song of my comparing and contrasting my friend who has just passed with myself and how I would’ve reacted to his passing if I were still that kid. It’s me telling myself that story of trying to retaliate and this is where I am. And it’s a moment of “I can’t get ahead if that was the case.” It’s crazy. That sounds intense. What’s your recording process like? For certain songs it’s very strenuous, it takes long. For some songs it’s like I have to get this note right, AHHHHH! For other songs it’s really easy and I can one take it. Do you only write in the studio? I write songs on the train or the bus. If I have an idea I’ll write it on my phone. For “Calling Cards” I was in Brooklyn and was like “I can’t spell my future without you” and after that wrote the whole song. That’s literally how it is one line can lead the whole song and

I’ll write about it. Especially with a song like “Beach Pools.” That record is a compilation of my friends’ stories with their exes. It was a song for them even though I may have had the same problems with my exes, it was for [my friends]. I just have fun, gather, and write everything down. The recording process is the easy part but the fun part is the writing and the production. All my beats are done before I even write to them. It’s kind of hard balancing production and songwriting. I can’t just think of a song and write a beat for it. I have so many tracks that if I think of something it will be to the melody of a certain beat that I already made. Do you enjoy social media? I’m not really an online person. I was last year. I was taking in so much information with all this new music and meeting new people online that I’ve met from traveling. Now, I want to see what my friends are doing. If my friend has a new video out or puts up a new song, I see that. I follow so many people and even when I filter it out, I’m just in this is the stage where I want to just see my own world like the sanctuary of my own room where I’m usually just chilling. When it comes to social media we’re in this “fast food” climate. How do you make your music stand out or is that even a thought of yours? The Internet helps and I understand that but at the end of the day reality is where its at. I can go and listen to Anita Baker right now. I was listening to her before the Internet. How was I able to do that? The music wasn’t trendy, it wasn’t about “let me sing or rap about my brand.” It was about this

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is what I like, this is what my husband did to me, this is what my girl did to me and what my friends think and other stuff. That is what resonates with people and stays around and this was before the Internet. Listen to all those old school guys like Lionel Ritchie. That’s what I look at in my mind and that’s where I’m at in the time period. You can play an album twice and not care that soundcloud is going to take you to some other random artist that you’ve never heard of. That’s awesome but to sit and soak in music from an artist that you like that really helps me to finish up my project. It’s not about how you want people to see you it’s more so about what you’re saying as opposed to how progressive you are. That’s the done deal. I throw random stuff in my beats, that’s not why I want people to like me. I want it to be a moment where someone is like, ‘I just broke up with my boyfriend and he got with my sister’ and I have a song for that. Like when Michael Jackson had that one song “You Are Not Alone.” I went to read the YouTube comments and someone said, ‘I was about to slit my wrists and this song came one and stopped me.’ I just want to be there to help with people’s life situations while still making it as creative as possible. This is how I feel, this is how I deal with this, this is where I want to go, where I want to be, and that’s Chigeria. If there were any era you could go back to for the musical experience what would it be? It would definitely be the mid-90s. There was a lot of good music coming out then, the So So Def era, the whole Atlanta Bass and Miami Bass were the only kinds of music making me feel warm. It was not like this is a cool thing. When I was a kid the beat alone, I’d vibe to. It was a warm aggressive chill and the vocals on it – “Virgo Apple Pie,” one of my favorite tracks the beat on that was so smooth. “My Boo,” by Ghostown DJs and “Summertime,” by

Do you have any dream collaborations?

I want to be the Wes Craven of Pop and Soul. Corina that whole label of So So Def wasn’t just about the drum patterning, it was the type of vocalist they’d chose to go over it and the chord progressions that stuck with me. It’s almost like a curse and while I have other chords to play with those resonate with me so much. It’s been like that since I’ve been making beats for the past ten years. That era is where I’d love to sit. I’d love to have been in Atlanta or Chicago at the time when ghetto house music was growing. Chicago and Atlanta are one and the same: Kanye was born in Atlanta and moved to Chicago, Ludacris born in Chicago moved to Atlanta. In that time a lot of people were going back and forth between the two. Are you a reader? Not as much anymore. I read articles. The last full novel I read riveted me, it was a biography on Nelson Mandela. After I finished reading it two days later he passed away. That weirded me out for a while. But I’m going to get back into novels because as a kid I started on a novel I haven’t yet finished. You started writing a novel? Yes, I started writing. It was about a girl inspired by Wes Craven. That’s my thing still, I want to be the Wes Craven of Pop. With the way he put things together not so much scaring people but the way he set the scene and mood – I want to be the Wes Carven of Pop and Soul music. If your musical aspirations could be put into a book, what book would it be? The Pilgrims Progress by John Bunyan. It’s the story about someone that carries his burdens on his back and he journeys to see where he could let go of his burdens.

As of late something with Dido, her voice inspires me and I would love to do something like that. The whole acoustic sound of the 90s with the vocals of Natalie Imbruglia. I would love to collaborate with that kind of sound now because the level of soul in their music and the chord progression is so different than what’s going on now. Now it’s cool music but back then it was the words they said and how they said them really would stick. That’s what makes the 90s era the best music to me though I love the 00s. All across the board people were listening to everything. In the 00s I stuck to R&B, rap and a little bit of Pop. In the 90s everything was good, the look, the feel, everybody. It didn’t matter what color you were people would be into it and getting Grammys for it. I try to be in that mindset. Like that Cher mindset, she makes music when she wants to make music. Anyone from today whose music you love? I think FKA Twigs is awesome, but it’s so many people, the Internet does that. It’s so many people I can’t even name just one. It’s like, ‘Thank You, Soundcloud!’ I like DJ Spoko out of South Africa he’s in a group called Fantasma, which I dig a lot. I like Rochelle Jordan, she’s really tight. There’s a lot more. You can’t really ask me that question it’s whatever I like on soundcloud. What are you doing with this album? With Chigeria, I have a story right now that I want to just share with the world, have fun and travel and meet the people I’ve always wanted to meet. Learn, have different experiences, grow and bring the bubble I created along the way.

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P h otograph e r: J oa n n a O'shea Hair: Yu shi Su zu ki M ua: Ta ka hiro Oka da Stylist: Yu l ia Noya brskaya

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Nana Judy Leather Pant Crow Philosophy Shirt Crow Philosophy Shirt Nana Judy Jacket Anvy Skirt


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Credits: Popeye Statue in Hamburg, Germany Berlin McDonald’s Bluesbrother’s coffee shop in Amsterdam TK Maxx

By: James Drisco l l

Culture As The Great American Export 28

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ithout fail in every single one of the 20 countries I visited this past year I found a McDonald’s. Sure you might have to actually search for them, as some countries tend to be less proud of accepting the large chain - there always going to be located in massive transit areas like train, bus, and plane stations.  It goes without saying the Big Mac is an internationally favored treat.  Forbes reported in 2013 that McDonald’s placed over 18,000 locations around the world.  It dominates the competition - with KFC taking second with just over 11,000.  Whether we like it or not, it’s undeniable that McDonald’s is one of the best recognized symbols of the United States worldwide.  More importantly it reflects on a trend that’s been building over the last 300 years, but catapulted to the forefront in the last 50 years.  America’s greatest export is not our tobacco or corn, but the very way we live our lives on a day to day basis. Try to not let that go to your head and start screaming “We’re number one!”  The ridiculous patriotism is not exported to other places. In 2013, the USA became the world’s third largest exporter behind the European Union and China.  We also became the world’s 2nd largest importer.  Most economists will agree that an export economy will always bode well for said country.  However, in the case of the United States, they don’t always factor in is the export of culture worldwide.  Does this have any true value? Yes, and you can actually put numbers on it.  Part of what made us the third largest exporter is the licensing for American music, television, and movies worldwide. Royalty and licensing fees accounted for $130 billion of exports in 2013. Hollywood and hip hop are some of our biggest selling commodities.  Meanwhile, there’s plenty of places in the world where illegal downloads continue to feed the American culture to people. This is in stark contrast to how much royalty and licensing the USA imports…only $42 billion. Therefore, from one perspective, the USA exports three times as much culture as


it imports.“Oh you live in NJ? That’s like a sewer right?”  The derogatory comments to the state I called home for five years before moving to Europe never cease to end.  Thank you Ted Mosby and How I met Your Mother, because of you everyone in the world thinks New Jersey is this godforsaken place ran by mobsters and filled with dead bodies - which I can neither confirm or deny.  More so, the fact that most foreigners I’ve talked to with automatically reference the show, or other shows, proves how much culture really breaks borders.  I’ve lost count of how many times I’ve heard horrible things about New Jersey from people who have never even set foot in the USA. A small, insignificant example of American culture pervading the world is “American Parties” or “Solo Cup Parties” on Instagram or Facebook. Check out how far some foreigners go to get a semblance of American life…red cups are always present – why do we always use red cups? Popcorn, marshmallow treats, and flags frequently make the guest lists. Cowboy themed parties are almost always aligned as American themes, mostly because “the Cowboy” was a true red, white, and blue concept the entire world enjoyed. The culture breaking borders is everything; movies, TV shows, phrases, advertising, commercialism, celebrities, magazines, music, slang, and a way of life. It boils down to

Hollywood and Hip Hop are some of our biggest selling commodities the very things people wear every day. The denim blue jeans, invented in the 19th century became a highly fashionable after James Dean popularized them in movie Rebel Without a Cause. As denim jeans took hold in the USA, they spread all over the world. Along with the blue jeans, sneakers began to spread in the 1970’s. As these items became popular in the USA, they garnered wearers worldwide. This past fall, I couldn’t go into a single U-Bahn Station in Berlin, Germany without seeing a Converse Tennis Shoe add telling me “Shoes are boring, wear Sneakers.” American fashion brands are some of the top selling and most fashionable in the world. Computer software and video games represent another facet of American Culture. In fact, the greatest and best selling video game character of all time, Mario, is described as being an Italian plumber in New York. In addition, much of the computer software used throughout the world is designed and built in the USA by companies like Apple and Microsoft.

Meanwhile, as Americans continuously send facets of their lives overseas, we also import much of the world’s culture, but make them our own. Take for example Saint Patrick’s Day. Celebrated in Ireland for nearly a thousand years, the saint’s feast day and holy day of obligation rarely saw anything like parades or parties. However, as Irish immigrants and descendants in the USA and other countries began celebrating Saint Patrick properly, festivities in Ireland followed suit. The Republic of Ireland even began a campaign in the 1990’s to promote the celebration as a showcase of Irish culture, it wasn’t until the USA and other countries with Irish immigrants began celebrating with larger emphasis on parties and parades that Ireland also adapted its celebrations. While the Melting Pot continues to export plenty of items worldwide, the most relevant item for many people is our culture and way of life. As one the world’s largest traditionally immigrant nations, culture is not only our greatest export, but also are greatest import via people. The immigrants in our nation come here wanting to become American. But just like our fathers and their fathers before them, they always keep a couple of things from the motherland. Our acceptance and assimilation of other cultures to make something truly unique is what completely sets us apart from the rest of the world. We wouldn’t be Americans otherwise.

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B y: Rose mar i e D ri sco l l

The Driscolls Driscolls The and the the  and Warriors Warriors 30

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How a family from rural Ohio got the heaviest rep in New York.


n college, I took a class called “Classics in Film.” It was then that I saw the cult hit TheWarriors. Based on the historical account of legion of Greek soldiers trying to get home from Persia, The Warriors follows a small gang from Coney Island on their way back from a city-wide powwow in the Bronx. The movie bristled with neighborhoods that I had never heard of, a more diverse cast than nearly any movie I’d seen, tough guy stances and bare chests under pleather vests. Man, I was totally sold.But where did this connection with city youths, navigating the urban landscape come from? I grew up in rural Ohio, about as far from Coney Island as a person could get. I spent most of my free time reading books in our huge, verdant backyard or running with my brothers and sisters through woods and cornfields. When I started college, I moved to Jersey City, an urban satellite of New York City. I saw real graffiti for the first time in my life. I was shocked by the pavement, which seemed to completely encase the ground. I felt nervous going out at night: the whole metropolitan area looked as dark as Gotham. I made my sister watch it with me later and then asked her, “How do you join a gang? It looks like fun.” A week later on family vacation, we introduced the “Warriors! Come out to pla-a-ay!” chant to the rest of the family. And the family picked it up, too.  A word about the family: there are fourteen of us, brothers and sisters from the same parents, who grew up mostly in the same house (except that the oldest three had left for college by the time the youngest two were born). There’s also three in-laws and three significant others who were all on this vacation with us. “Why’d you waste Cyrus?” we asked each other. “Can you count, suckers?” “Wa-a-a-arr-i-o-o-ors,” we yelled at teenagers riding their bikes, “Come out to pla-a-a-ay!” “Come do shots with us!” they yelled back. You see, we’re not an outwardly intimidating bunch. We’re Irish, with waxy white skin, and our median height is probably around 5’6”. The only sport any of us ever participated in was track. Very few of us could be counted on to win in a fight, and none of us have ever been involved in one. Why did the arbitrarily violent urban wasteland world of The Warriors appeal to all of us so much? To answer that question, I looked into why kids join gangs in the first place. I dug up studies from various child psychologists and sociologists. Short and Strodtbeck suggest that gangs provide a way of solving social adjustment problems, which a bookish girl like me usually faces in middle school and high school. Decker and Van Winkle also point out that gangs appeal to heterosexual boys by providing opportuni-

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ties to impress and be with girls and young women. I don’t know how that might feel for a boy, but as a heterosexual girl who didn’t get a lot of tail in high school, this would have been important to me. Family history or tradition, they write, can also influence youths to join gangs. The closest we can claim is a (probably apocryphal) story of a great-grandfather bootlegging gin across Lake Erie during the prohibition. But my hometown, Youngstown, Ohio has been ruled by warring mafia factions for years. You may have heard the phrase “Youngstown Tune-Up,” which is assassination by car-bomb. Youngstown’s congressmen, mayors, and cops have all been arrested for taking mob money. No one even batted an eye until an 11-year-old was killed by a bomb planted for his father in 1962. In comparison to these decades of corruption and violence, the Warrior’s journey back to Coney Island is a cheerful day trip. But my family was never involved in anything like that. My parents were originally from Cleveland, and lived in a few different places before settling in Youngstown. Plus, we’re Irish, not Italian. Which leads me to Vigil and Long, who say that adolescents join gangs for social relationships that give them a sense of identity. The Warriors are made up of ethnically diverse and not apparently wealthy kids – indicating a level playing field. The census lists my hometown as having fewer people living below the poverty level than there are in New York, and my force-fed Catholic school education intensely multiplied my perception of wealthy peers. I was surrounded by white, upper middle class kids. Everyone had a driver’s license and a car. Every-


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When I started college, I moved to Jersey City, an urban satellite of New York City. I saw real graffiti for the first time in my life. I was shocked by the pavement, which seemed to completely encase the ground. I felt nervous going out at night: the whole metropolitan area looked as dark as Gotham. one hung out at each others’ McMansions after school. This dates back to the Anabasis, in which Cyrus the Younger, a member of the Persian royal family, hires an army of Greek mercenaries to seize the throne from his brother. Cyrus was killed in the battle. The movie opens with an explanation: “Theirs was a story of a desperate forced march. Theirs was a story of courage.” Maybe that’s what we were up against in Youngstown. Maybe New York City, arguably the media capital of the world, is the big meetup in the Bronx. And maybe my whole life will be that Anabasis, that journey home. That journey home is what makes the Warriorsidentifiable from Ohio or from Ancient Greece.

N Athens: E W NewRRen E-N A I S S A N C E SEPTEMBER 2014 33

Neuport P hotograp h e r : Kyl e D el eu


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G roomi n g: Lin d sey Wil l ia m s

Stylist: Chris Pea rso n

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Tavik Shirts & Jeans Nike Sneakers Rock Jewelry "Minimal" Cross Chain & Bracelet Tavik Full Look Tavik Full Look Nike Sneakers


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Tavik Jacket & Trouser Dr. Marten Boots Rock Jewelry Bracelet & Ring Model's Own Watch & Hat

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By: E than R osen / I mag e s V ia Imgur .Com


n July 9, 2014 30,000 Iraqi soldiers began to withdraw from Mosul. These soldiers, many of whom had been trained by the United States in the use of M-16s, Humvees, and tactics, ripped off their uniforms and retreated toward the nearby Kurdish city of Erbil. Some wore civilian clothing under their uniforms that day, allowing them to blend in with the civilian population as they fled the city. Others fled in their underwear as children pelted them with rocks on the way out of the city. Over the next few days, militants from the Islamic State of Iraq and al-Sham (ISIS) marched their way southeast from Mosul and east from Fallujah, capturing Sunni-majority towns as the Iraqi army buckled in front of them. Foreign observers, particularly the Americans who had shed blood to train the Iraqi soldiers, stood by stunned as they watched the Iraqi Army simply collapse in the face of


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a rag-tag militant group. A foreign-backed professional army, supplied with Humvees, Abrams Tanks, and other sophisticated weapons surrendered a city of over two million people to a measly group of militants. How did 700 militants route an army tens of thousands strong?  The answer lies in understanding Haji Bakr.  The former military leader of the ISIS transformed a rag tag group of Islamists into one of the most formidable forces in the Middle East. As the United States withdrew from Iraq in 2011, the ISI (later adding ‘Greater Syria” to become ISIS’) lay in disarray.  Years of American and Iraqi anti-terror campaigns left the group with few tribal allies.  With the death of Abu Musab al Zarqwai in 2006, the ISI lacked a proper leader, and suffered as Iraq’s major power brokers aligned with the Iraqi State.  Subsequent leaders failed as the American withdrawal created the best opportunity in years to seize control.  But then Abu Bakr al-Baghdadi took the reigns and met Haji Bakr.  Haji Bakr, (real name Sameer Abid Mohammed alHalefawi), remains a mysterious figure. Why the commander of Saddam Hussein›s Air Defense Forces surfaced in a feared

radical Sunni group is unknown, but he shaped the ISIS to its current form. As a military commander, Haji brought an attention to detail and an understanding of operational logistics.  The ISI required stability in finances, bureaucracy, organization for supply lines, and most importantly a propaganda machine to encourage recruitment.  Haji revamped the rag tag rebels into a professional military force. By the end of 2011, the civil war in neighboring Syria was escalating. ISI historically used the deserts of eastern Syria as a rear base.  Fighters and weapons frequently crossed the border.  The ISI wanted to secure their positions to continue smuggling assets into Iraq.  Haji Bakr firmly opposed sending ISI fighters into Syria, but significant pressure from al Qaeda leader Ayman al-Zawahari forced his hand. Led by Abu Mohammad al-Jawlani, the contingent met significant negativity from the Syrian locals.  Their reputation proceeded them from the Iraqi Civil War.  al-Jawani was not up to the challenge and broke off from the ISI.  He reincorporated his forces into Jahbat al-Nursa, or the al-Nusra Front.  They still remain the official al-Qaeda affiliate in Syria. As dissent and desertion struck in Syria, Haji cracked down.  He and al-Baghdadi authorized a wave of assassinations against political opposition, including leaders of the al-Nusra Front. Haji bullied the ISI military council, and authorized official ISI movements into Syria. He promoted Abu Ayman al-Iraqi and Abu Ahmad al-Alwani, two former officers in Saddam’s Air Defense Forces, into the ISI military leadership. ISI was changing, and Haji Bakr was at the helm of these changes. By the end of the year, ISI was beginning to re-emerge as ISIS. Moving into Syria was not motivated by revenge.  The brunt of his strategy revolved around capturing the significant oil and gas deposits that sit between eastern Syria and northwestern Iraq. Capturing these wells would give ISI significant stocks of oil with which it could pay for expanded operations against the Iraqi state. At Haji›s command, ISIS troops began fighting Syrian Rebel groups for control of eastern Syria.  As rebel infighting broke out, the ISIS targeted specific groups, allowing the Syrian Army to take key territories back from rebels in the southeast.  Meanwhile, the Assad regime quickly became on ISIS›s hottest customers for the low cost oil produced by as ISIS engineers.  As the Syrian regime recovered its losses, Hajikept his eye on the bigger prize, Baghdad. Haji used this income and his military background to convert ISIS into a regular army.  Attacks on Syrian or Iraqi forces would be chronicled in great detail, as fighters were forced to submit regular reports on people fought, enemies killed, vehicles destroyed, ammunition used, and other wartime stats. Camera enabled devices

[He] transformed a rag tag group of Islamists into one of the most formidable forces in the Middle East. were widely distributed to fighters, and ISIS began running Twitter, Youtube, and Facebook accounts aimed at distributing both raw footage and high quality productions to potential Jihadists. Foreign fighters and foreign money flowed into the coffers.  Haji›s data-driven approach sought to use these new resources as efficiently as possible. Statistically, Tunisians were found to be the most effective fighters, while Saudis were the least effective. ISIS began focusing its recruiting in North Africa while using its networks in the Persian Gulf to funnel money. Regular financial reports were built, and ISIS began recruiting professionals and technocrats to run its finances, oil wells, and even engineers for captured dams. By the end of 2012, ISIS was becoming a significant threat to Iraqi Army forces in eastern Iraq. Throughout the US occupation of Iraq, Fallujah was one of the largest challenges facing the Americans. The city seemed

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hell-bent on resisting anything that the Americans and their Iraqi allies threw at it. Death remained a constant. Throughout 2013, Fallujah residents were subjected to relentless propaganda from ISIS. Footage showing ISIS fighters valiantly executing ‹Safavid› (the term Safavid refers to the Safavid Dynasty, a 16th century Persian empire). It is used as a slur against Iraqi Army soldiers, implying that they work for Iran. They also accused the Iraqi Army of committing atrocious crimes against the citizenry. Fallujah is a Sunni City.  The Iraqi Army is composed primarily of Shiites and works for Maliki, a Shia Prime Minister.  ISIS sought to paint them as foreign invaders. The oil income and the propaganda efforts helped ISIS pay off local tribal leaders and prepare to seize the city. On January 3rd, 2014, American policy makers were still nursing their New Year’s Eve hangovers. Meanwhile, ISIS culminated its efforts by seizing Fallujah from the Iraqi Army. After months of disciplined attacks and propaganda, the Iraqi Army capitulated to a smaller force of ISIS fighters, just as they would later in Mosul. Haji’s strategy broke the back of the Iraqi Army.  The local population turned, and the ISIS replaced the Iraqi State with an ‘Islamic State.’ ISIS began running bus routes, policing the streets, punishing criminals, picking up and disposing of garbage, distributing food, and ensuring food safety. There was even an ISIS Consumer Protection Agency and an ISIS Corp of Engineers. For many young Jihadis around the world, the ISIS victories in Syria and Iraq were inspirational. Fighters from North Africa, the Gulf, Central Asia, and even Europe and the United States


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flocked to Iraq in increased numbers to undergo sixty days of training (split up into thirty days of military training and 30 days of ideological training) before joining ISIS on the front lines. ISIS was now a state with an army. Haji Bakr was killed in late January 2014, likely killed by a rebel group known as the Islamic Front in Tal Rifaat, a town in Syria’s Aleppo Province. Haji did not live to see the ISIS make headlines in western media for weeks at a time through its monumental territory seizures in Iraq throughout June and July. Today, ISIS controls a territory the size of Belgium, and it continues to expand through crafty alliances with local leaders and shear military might help. Haji Bakr may not have lived to see this, but his spirit lives on in the strategy ISIS uses on a daily basis. As the world looks for ways to coordinate against ISIS, al-Baghdadi may go to bed at night wishing for the wisdom of Haji Bakr, the man who made him and his organization what they are today.

H o w Appl e Us e d a C u lt C l ass i c Nove l to Be com e i ts Ow n Cl an

B y CAthens: h r ist inNew a S an Rent-i SEPTEMBER / I m ag e v2014 ia Ni kopi 47


he alarm on your iPhone goes off alerting you that it is time to start another dreary Monday. You groggily reach over and tap snooze with your index finger, because you spent yourSunday night watching too much TV. Thirty minutes later...shit, you overslept. Now you’re running late. As you frantically hop out of bed, you hit “play” on the iHome that houses your iPod and hope your iTunes radio station plays a song that will get you pumped for the day. Shower, dress, and answer a few text messages. Finally, dart out the door to catch your train. On the train, en route to work, you answer a few group chat messages you failed to respond to the night before. You send your beau a kissy face emoji in place of  a “good morning” text. Then you open up your social media apps to send off a few tweets, update your Facebook status, scroll through Instagram and read some of the latest articles on your feed; all before you get to your destination. If you work in a swanky and hip place, you probably arrive twenty minutes late.  Finally, you sit in front of your iMac and start your day. Looking back, Apple is at the epicenter of your quotidian life and makes it seem all the more simple. You’re a part of an elitist group of people, who subscribe to a brand that represents affluence juxtaposed to minimalism. Apple’s gadgets are not just cleverly designed technology items but they have also become socioeconomic and cultural signifiers. Is there another company that can create a news frenzy following a keynote address for a new product? Or a technological brand whose consumers line up to shell out hundreds of dollars every six months to have the latest version of a product – which is often minutely distinguishable from it’s previous adaption? The Cupertino based tech company has morphed into a luxury brand that is now a worldwide cult, where its creative and imaginative marketing can have more power than the technological efficiency of its gadgets. Typically a cult classic is a film, novel, or other work, which has a small but devoted fanbase. These fans are often proud of the exclusivity and become angry when the object of their devotion becomes a mainstream success. Apple created a following that urges everyone to become part of its greatness. Just think about that snobby prick who refuses to exchange texts with anyone whose message box isn’t blue. Or the continuous arguments about how much better Apple products are from people who do not necessarily use them to their full potential. So when did Apple become this cult leader? Think back to the iPod campaign featuring their now infamous white headphones over dancing black silhouettes and how many people bought into the gadget because of those adverts. Guided by the genius Steve Jobs, some would say Apple was


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Like most cult classics, Apple was an obscure failure at the time of it’s premiere. destined to be the number 1 brand in the world from the gate. Like most cult classics, Apple was an obscure failure at the time of its premiere. Steve’s vision was hard for anyone else to grasp, and his erratic attitude led few to believe he could do his job well. He’d be the perfect bad teen heartthrob in any John Hughes film. Steve housed the wit of Ferris Bueller and the asshole nature of John Bender - characters we all hate to love. These things showcased themselves in the work and dedication Jobs brought to Apple. We can pinpoint the marketing genius that made Apple an iconic success to about thirty years ago (January 24, 1984). It was during this time that Jobs’ quirky little computer company launched a new product, the Macintosh. It would later go on to become the machine that changed the world from a marketing stand point, despite it being a bust at the time. With the gall of the prettiest, most popular girl in school, the Macintosh was announced to the world through a single advertisement that was screened during the biggest advertising day in America each year the Super Bowl. This was a bizarre commercial, the first of its kind, and it was as if Apple had brought  a page of George Orwell’s novel Nineteen Eighty-Fourto life. 1984 warns against the dangers of a totalitarian society and highlights the danger of absolute political authority, “Big Brother,” in an age where technological advancement was the biggest commodity. Conceived by the Chiat/Day agency, the commercial was directed by Hollywood film producer Ridley Scott, known for the movie hit Blade Runner.  If you watch closely the Mactintosh commercial is eeriely similar to Blade Runner in its directorial aethestics. The commercial features an athletic female hero who comes running down an aisle wielding a sledgehammer and wearing red shorts and a white tank top adorned with an abstract image of the Mac on it. She runs past a row of conformists who are intently taking in the words of “Big Brother.” As she draws closer to the telescreen, she spins around and chucks her sledgehammer into in to save the world from the hypnosis of totalitarian rule. At the end of the commercial a stream of text appears and a confident voice declares, “OnJanuary 24, Apple Computer will introduce Macintosh. And you’ll see why 1984 won’t be like ‘1984’.” At the time of its release the commercial received mixed reviews. In retrospect, it was a deliberate step to place Apple’s brand

as Winston, the protagonist of 1984  and their rival, IBM, as “Big Brother.” At the time IBM marketed computers as business tools and debunked the need for a personal computer. They took over the information technology industry with their Microsoft software and developers created programs that would only be compatible with the very large and grey business confined machines. Named after a Californian apple, the Macintosh was here to play. It contrasted IBM’s boxy, text only screens, with a curvy build and a bitmapped screen where one could draw pictures and edit them. The Macintosh like Winston and the hero(in)es of the youth of cult classics were a radical challenge to the traditions placed onto them by society. As 1984 opens, Winston’s character is frustrated by the strict control of the Big Brother Party. The Macintosh commercial can be a symbol for how Job’s felt IBM’s rigid use of technology was stifling its potential. The Party prohibits any form of expressed individuality, sex and free thought, things that usually drive a people towards innova-

tion. Ideally, Jobs felt IBM was doing the same thing. 1984 is one of the most famous Dystopian novels.  As such, its aim is to depict the worst society possible as an effort to convince people to shy away from things that can lead to the degradation of society.  Orwell’s novel takes place in 1949 during the beginning of the nuclear age in a place where every individual is monitored through a telescreen. The time period was way before the television became a part of the home setting. To readers this seemed logical that thirty-five years later this could be plausible. To run the advertisement in the year of the novel and during the highest television ratings times in America was a bold move for Apple. Though many were baffled by the originality and audaciousness of the commercial it proved itself to be the protagonist of a coming-of-age flick who was ready to fight to win the girl of his dreams. On that Sunday in 1984, Apple showed the first signs of becoming a world cult. History proves to us that when power gets

knocked down another comes to take its place. Ironically, Apple seemed like a brand that was here to celebrate and give life to individuality.  In 2014, Apple markets itself with the idea of being for the content creator with commercials that focus on videography, music making, and art. Its ability to promote technological individuality comes secondary to its luxury branding and so its cultural impact drowning out the creations. We are stuck with followers who idolize the Jobs behind the machine and fetishize the company’s journey to success. Fast forward to present day and the commercial is revered, as the best of all time. The commercial was rebroadcast in 2004 for the Macintosh’s 20th anniversary. This time it was modified so that the female athlete adorns a set of white Apple earbuds. Now, in 2014 you cannot walk down the street without seeing an Apple product.  Perhaps Orwell predicted correctly, only this time with Apple as Big Brother.

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RAVANA P hoto g ra p he r: S an di p K u m ar A rt ist: Kat h ar i n e M ar io n

It can be fairly agreed that no one is either all good or all evil. Ravana, the hindu deity considered to be an evil God- is a leading muse for this school of thought, as some considered him to be benevolent and even worship him while others consider him one of the most evil beings in Hindu biblical literature This piece represents the transitioning between good to evil, inspired by Ravana the almighty and semi-evil deity.

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Photographer: Hanna h Sny d e r Hair : Bria Brown Styli st: Cl are n ce S i ng l e to n New Ren 52AnAthens: Mak e up: ge l a Ka ese r - SEPTEMBER 2014

ot Fruit

Fruits created an entire wave for putting Harajuku street style on the map. This is our mini tribute to them & their creation of a great cult classic. In Chinatown, NYC with Misfit Marti.

In The Market Jacket - Vintage Top - Espresso Jumpsuit -Vintage Socks - Ozone Shoes - Model's Own Neck Choker- Model's Own Current Obsession: Disposable Cameras & The Color White

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In The Arcade Leather Jacket - Vintage Top - Kay Frank Pants - Chaus Shoes - Soda Glasses - Vintage Rope Belt- Stylist Own Current Obsession: Disposable Cameras & The Color White


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Cap - Alpha Industries Sweatshirt - Claire Bee Pants - Claire bee Dress - Bysimplyme Shorts - Lisa Perry Bra - Wacoal Rings - Stylist's own


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D i storted P h otograp h e r : Ji mm y O ’D o n n e ll Hair : E r icka M u r c h i s o n M ake up: B ri a B ro w n Wardrob e : Y u lia N oyab r skaya

Anhia Santana was a fan girl when she began drawing. It started off with cartoons of the Rugrats- the psychedelic pastel combinations then took off to become fan art of B2k and Lil Bow Wow. Art was a medium of communication between her and her father who got separated from each other years before she became a teen. In 2010, she stepped further into her psychological interests by putting down the books and picking up the pencil, birthing Distorted- a branded image that would later evolve into a socially artistic movement. Her art has become ink for fans and acknowledged by some of the Hip Hop greats like Erykah Badu, Action Bronson and SZA. Distorted is considerably a new cult classic- and she’s got very vivid ideas on what has played a role in the creative world around her. She considers herself the adulterated Lisa Frank- we’d like to say she’s producing the toothsome perverse version of Frank’s work, and it’s contributing to a new paradigm for Distorted’s generation.

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“My hands and my brains pull out a bunch of shit which is inside me & [I] just put it on whatever project I’m working on.”Distorted on her art.


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“It’s kind of like cutting yourself open and allowing people to see who you are, for real. I think that brings you to be able to guide a movement.” – on her movement.

“You don’t need drugs as much. You can do drugs, but you can do art as well. Make something out of it. “ – On the new age culture.


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“He wasn’t the best figure, as an artist though, he was amazing….I used to always do art, and he sparked that.”on her Dad.

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“I do trippy stuff.”




U A L Y O G A 70

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Yoga has become a cult ritual. Without Walls is the new athletic brand that is bringing fashion to fitness, keeping us cute in the cult madness.

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Photographer: Jimmy O'Donnell Hair: Ericka Murchison MUA Gina Osbourne Styling: Jamie McCracken & Bria Brown

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Athens: New Ren - SEPTEMBER 2014


Autumn ABV

With Fall here, all things pumpkin come to mind- particularly the brew. We’ve found 6 different companies that are brewing something special for our beer connoisseurs and new-comers. Check out these fall crafts to meet your Autumn and ABV needs. Writte n by Ya rl een Hern andez

Brooklyn's Sixpoint Brewery will release a brand new hop beer called SENSI for the autumn season. SENSI is the third brew to be released as part of Sixpoint's signature Mad Scientists' "Cycliquids" series. The hops are added to the beer within a day of being freshly picked, according to a press release by the brewery. "This is the ultimate farm-to-table beer for our fans" said Shane Welch,


President of Sixpoint Brewery. SENSI: ABV-4.7%

IBU-49 Style-session IPA Body-Medium

3 New Jersey Bridge and Tunnel Brewery in Queens, NY is releasing new beers in September and October according to owner, Rich Castagna. This brewer takes pride in reflecting New York City's rich culture in his brews. "Most things I do have a reference to Queens' history and New York," he said. Made with spruce pits and local honey, Bound by Chains, a Vanilla Porter style, has an interesting back-story. "Harry Houdini is buried close to the brewery," said Castagna on why he chose the name. Another one of new brews is Surf Varanasi which is made with a Chai Milk Stout. In addition to the fall beers mentioned above, Bridge and Tunnel Brewery will also release its Fall Pumpkin Ale made with locally grown pumpkins and spices. "It's a big hit," said Castagna. "50 lbs of fresh Pumpkin for a 50 gallon batch."


Bound by Chains: ABV-6%, IBU-40 Style-Porter Body-Light-Medium

Surf Varanasi: ABV-5.8% IBU-26 Style-Stout Body-Light-Medium

Fall Pumpkin Ale:, ABV-7% IBU-25 Style-Pumpkin Ale Body-Medium

Beer Company in North Bergen is once again featuring their Scotch Ale brew-- Weehawken Wee Heavy--named after Weehawken, N.J. "The mayor of Weehawken loves it," said Paul Silverman, Chairman of N.J. Beer Company. "This is our way to celebrate something from N.J.," he continued. "We always sell-out of it. We try to keep it all Jersey." Silverman describes it as a "delicious, dark, flavorful, cold weather beer" with its malty and caramel flavor. "I encourage people to drink local," he said.

Weehawken Wee Heavy: ABV-9% IBUStyle-Scottish Ale Body-Medium-Heavy

4 Heartland Brewery in Manhattan will release brand new recipes for the Oktoberfest lager and the Wildflower Wheat in September for the fall season while also releasing their traditional Smiling Pumpkin Ale. Heartland’s Smiling Pumpkin Ale is made with honey-roasted pumpkins, ginger, nutmeg, cinnamon and cloves. This season’s Oktoberfest will feature a higher malt concentration than ever before, according to Ann Fonseca, spokesperson for Heartland Brewery. The Wildflower recipe is made with local New York ingredients like honey and wheat. The Oktoberfest is “bigger and bolder” while the Wheat is “bright, floral, effervescent,” according to Fonseca. “Though we do both of these beers yearly around the harvest season, both of these recipes are new and improved,” said Fonseca.

Oktoberfest: ABV-8% IBU-15 Style-Amber lager Body-Medium

Wildflower Wheat: ABV-5% IBU-15 Style-Wheat Body-Light, crisp golden ale

Smiling Pumpkin Ale: ABV-5.5% IBU-20 Style-Pumpkin Ale Body-Medium

5 Brooklyn Brewery will release their regular fall beers-Brooklyn Oktoberfest and Brooklyn Post Road Pumpkin Ale--sometime in August. Made with Willamette and American Fuggle hops, wheat, Dickinson Pumpkins and nutmeg, The Pumpkin Ale perfectly captures the essence of the season. The Brewery’s Oktoberfest is malted specifically for Brooklyn Brewery in Bamberg, Germany, according to the brewery’s website. This brew is made with Bavarian Heirloom Munich and Pilsner malts, and Hallertauer Perle and Mittelfrueh hops.

Oktoberfest: ABV-5.5% IBU-25 Style-Marzen/Oktoberfest Body-Light-Medium

Post Road Pumpkin Ale ABV-5% IBU-24 Style-Genuine Pumpkin Ale Body-Medium

6 A great way to celebrate fall’s delicious bounty is to give The Bronx Brewery’s newest brew a taste. The brewery is releasing a brand new harvest blend--Autumn Pale Ale--early this fall. Made with a variety of fresh apples--like Idared, Crispin, Gala, and Macintosh from Soons Orchard, New York--the new brew has “a slightly acidic, fruity and tannic finish,” said Chris Gallant, General Manager/Co-owner of The Bronx Brewery. Enjoy these delicious local, brews responsibly! Cheers!

Athens: New Ren - SEPTEMBER 2014


N E W86 Athens: R E NNewARen I S- SEPTEMBER S A N2014 C E

Athens: New Ren - SEPTEMBER 2014


Athens 6  

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