FLYNCH Magazine: The Pride Issue

Photographed by Erynn Wakefield

HOWL

AN EXCERPT OF THE 1956 POEM

BY ALLEN GINSBURG

“Set Free” (Graphite and Charcoal Pencil)

Set Free is a depiction of an escape from reality and the developing world of urbanization which comes back to nature and everything unchanged by human impact to be a place where you’re free from the inside and out.

Artwork by Luis Merino

MEET OUR STAFF

Thank you to our wonderful staff for sticking with us and making this issue possible. We wouldn’t be where we are without your hard work and dedication to FLYNCH Magazine.

Erynn Wakefield Co-founder

Theresa Jo Graphic Artist/Events Coordinator

Phin Choukas Music Writer

Abby Dalpe Music Writer

Aliya Bloom Co-founder

Andrew Giraldo Photographer

Lydia Fries Photographer

Cole Heywood Head of Creative Writing/Copy Editor

Ashley Artwick Head of Visual Arts

Lucas Nathanson Co-head of Music and Entertainment

William Thompson Co-head of Music and Entertainment

CONTENTS

Babe Haven

Shot by Jonathon Courchesne

Shot by Andrew Giraldo

Twink Trash

Shot by John Austin King

Paris Osborne

Shot by Kyana Harris

Halle Moné

Shot by Lydia Fries

COME TOGETHER

Studio Credits: Professor Punx Productions

Photos and Write-up by Erynn Wakefield

UNVEILING HALLE MONÉ:

A Musical Journey Unlayered

In conversation with rising artist

As the sun set over the bustling city, I found myself sitting with talented musical artist, Halle Moné. Well, I found myself sitting with her over Zoom… regardless, the sun was setting in both of our respective cities. Located in Boston, Massachusetts, Halle Moné was ready to uncover layers and share their stories of emotional growth, selfdiscovery, and the power of music. Join us as we sit down with the enigmatic singer-songwriter, whose journey has only just begun.

EMOTIONAL GROWTH

We set out to explore the most important aspect of creating music for this rising star. Halle expressed that the emotional growth and understanding that comes with writing music holds the utmost importance. “I’ve learned so much about myself through my songs,” they share with a smile. “Being naturally introspective, it’s fascinating to see how I’ve grown through my releases. Each song is like a new discovery, uncovering layers of myself through my passion for music.”

With a career spanning almost three years, her dedication and determination have propelled her forward, exceeding her own dreams. “I used to dream of having even one song of my own,” she reflects. “Now, it’s wild to think that I’ve worked on multiple projects and witnessed my growth as an artist.”

A MOMENT OF REVELATION

“It was during my college years that I fully realized my passion for music,” she explained. “Being part of an acapella group and dedicating hours to practice and creative competitions made me realize how hard I’m willing to work for the things I’m truly passionate about.”

Moné’s dedication and relentless pursuit of creative endeavors are evident in her commitment to her craft. Halle Moné takes her creative pursuits more seriously than anything else, embodying the idea that passion is the fuel that ignites the fire within.

THE INTERSECTION OF MUSIC AND DIGITAL MEDIA

Studying digital media in college has had a profound impact on Moné’s music career, particularly from a marketing perspective. They highlight the importance of building a brand and the visual aspects of music. “Visuals are often neglected by some artists,”

they share, “but taking the time to plan out the vision for a song can help you connect with new listeners.”

Her time in school inspired them to take the initiative to create her own artwork and promotional materials, amplifying her excitement for each release.

THE SONG THAT STARTED IT ALL: “0%”

Among Halle Moné’s notable releases, “0% (my phone’s dead)” holds a special place in her heart. She recalls the moment of its creation, explaining, “I wrote ‘0%’ during a transitional phase of my life. It was a raw and honest expression of the depression and loneliness I was experiencing at the time.” With just a $30 microphone and minimal mixing skills, Moné poured her heart and soul into the song, not letting her resources limit her creative vision.

Little did she know that “0%” would become her highest streamed song to date, proving that authenticity and the power of storytelling can resonate deeply with audiences, regardless

Photos by: Lydia Fries

Interview and Write-up by Erynn Wakefield

of industry standards. Through this song, she found her unique process of writing and learned to trust their instincts, creating a genuine connection with listeners.

THE JOURNEY FROM BERKLEE TO “FRAUD”

Leaving Berklee College of Music after one year, Moné wasted no time in releasing her song “FRAUD.” This track marked her reentry into the creative process and was born out of a desire to challenge herself. “I decided to jot down the first things that came to mind without a specific theme,” she explained. The song evolved into a reflection of her feelings about others projecting their ideals onto her and breaking free from societal expectations.

“FRAUD” captures her bravery in stepping out and being unafraid to embrace her true self. It became an anthem for those who refuse to be defined by others’ perceptions.

THE UNWAVERING PASSION

In our conversation, her unwavering passion for music becomes increasingly apparent. When asked about her biggest motivation to keep going as an artist, she spoke candidly, “My biggest motivation is my genuine love for music. It has always followed me through life, even when I wasn’t seeking it out. It gives me life, and there is genuinely nothing I would rather do.” Her deep connection to music, described as a spiritual bond, permeates every aspect of her being. It is this profound love that drives her forward, pushing boundaries and sharing her unique stories with the world.

THE JOURNEY OF A WANDERER

Having moved around frequently throughout her life, we explored how her background has influenced her artistry and bravery in breaking into the music industry. “I’ve never felt that I had a set definition of ‘home’,” she reflects. “Perhaps it prepared me for touring and taught me to adapt to any situation that comes my way.”

Her nomadic upbringing has instilled a sense of resilience, openness, and adaptability, all of which have undoubtedly contributed to her growth as an artist. Through her music, she aims to connect with others and let them know that they are not alone in their struggles, building a sense of unity and understanding.

THE MISSION OF A MULTI-TALENTED ARTIST

As our conversation neared its end, we spoke more about her mission as a musician and as a multi-talented artist and human being. Her mission is twofold: to stay true to herself through her music and to share stories she believes are important. Having grown up feeling unseen, she strives to connect with others through her art, offering solace and a sense of belonging.

LOVE: ACCEPTANCE AND GROWTH

FLYNCH Magazine’s Love/Pride issue wouldn’t be complete without exploring the concept of love with this remarkable artist. She defines love as accepting people for who they are, nurturing relationships, and allowing space for growth and change. “Looking back on how friendships and relationships have metamorphosed can be a beautiful thing,” she shares.

Love, to her, encompasses acceptance, growth, and the beauty of evolution.

THE ROAD AHEAD

Lastly, we discussed what lies on the horizon for this aspiring artist. She revealed her plans to release her first EP in the coming year and express her desire to travel and collaborate with other creatives. Gigs and live performances also await, providing a thrilling opportunity to connect with fans on a more personal level.

The journey is just beginning for this artist, and we eagerly anticipate the music and stories they have yet to share. Her unwavering passion, emotional growth, and dedication to her craft have set the stage for an exciting and transformative career ahead.

Photos by: Lydia Fries

Artwork by Anna Krajewski

“Nova’s Art is a male presenting alternative club kid/drag king that pushes forth storytelling performances usually comedic dark or fantasy in nature. Mixing in elements of sensuality and horror. Nova is heavily inspired by video games anime and horror genre as well as surrealism art which can be heavily reflected by the visual sfx and makeup you’ll never know what you’re gonna get!”

Photos by Jeremey Dyches

Studio Credits: Professor Punx Productions

i stepped on an earthworm last week at frisbee practice and cried the whole way home.

i couldn’t see its eyes but I could feel its muffled sobs and each of its 5 hearts straining to beat slowly, stopping, starting, stopping. i saw clouds heaving with envy drooping in the distance like an afternoon july nor’easter. i felt one drip on my neck and wiped it away.

i remembered dissecting an earthworm in 8th grade. hermaphrodites, mrs. beasty claimed, genderless beings, male and female and nothing and everything. i admired it longingly, dreadingly, as she gave the command. i cut it open, counting each heart as the blade sliced through. she claimed they couldn’t feel it, their hearts weren’t like ours.

and yet, this worm had the right idea. it was stolen, snagged right out of its delicate perfect world and dropped right into ours where there’s no good place for a queer worm with 5 hearts. it didn’t stand a chance.

Artwork by Theresa Jo 15

Comfortable Love is the first in a series about trans and nonbinary love. My two best friends (Mal they/them and JJ they/them) let me document their love in my space, which was an incredibly intimate artistic moment. To be able to capture and witness two people I love interact with each other in a comfortable way was such an amazing experience. As a non-binary person myself, I am hoping to create a series that documents the pure, beautiful and natural love between non CIS people.

Photos and description by Cassidy Maude

HEATHER ROSE

Photo by @samuelbendix

Featuring Halle Moné

Shot by Lydia Fries

Studio Credits: Professor Punx Productions

GIRL PUNK IS BACK AND IT’S GAY!

BABE HAVEN

RIOT GRRRL, A SUBCULTURAL MOVEMENT THAT ENCOMPASSES FEMINISM, PUNK MUSIC, AND POLITICS, HAS LEFT A LASTING IMPACT ON VARIOUS WAVES OF FEMINISM. IT HAS SERVED AS A CATALYST FOR THE EMERGENCE OF THIRD-WAVE FEMINISM AND CONTINUES TO INFLUENCE THE FOURTH-WAVE FEMINIST PUNK MUSIC THAT HAS GAINED PROMINENCE IN RECENT YEARS.

Photos by Jonathan Courchesne

Write-up by Erynn Wakefield

In the small town of Boone, North Carolina, a remarkable four-piece, all-girl, queer, punk band has taken the scene by storm. Their name? Babe Haven. With their recently released debut album titled "Uppercut," Babe Haven has captured the attention of music enthusiasts and activists alike. Their fierce sound, unapologetic lyrics, and infectious energy have resonated with audiences far and wide.

The journey of Babe Haven has been marked by significant milestones, including a successful east coast tour that brought their electrifying performances to stages in North Carolina, New York, Massachusetts, Pennsylvania, and beyond. Such achievements are no small feat for a band that defies convention and embraces their unique identity.

HAVEN

Babe Haven's rise to prominence is a testament to their unwavering commitment to their craft, their authentic expression, and their refusal to be silenced. Through their music, they channel the spirit of riot grrrl, challenging societal norms, amplifying marginalized voices, and empowering individuals to embrace their true selves.

Babe Haven is the embodiment of the riot grrrl spirit, forging their own path and inspiring others to do the same. With their unyielding determination and undeniable talent, they are poised to leave an indelible mark on the music industry and continue the legacy of the riot grrrl movement. Stay tuned for more from this fierce and unstoppable band as they continue to make waves with their unique blend of feminism, punk music, and unapologetic activism.

Interview and Write-Up by Aliya Bloom

Can you share an introduction to who Twink Trash is and how she started?

Hi! I’m Twink Trash. I’ve been doing drag since I was 15, I’m 23 now, so just over 7 years. I specialize in creating garments and looks that are experiences, take up an entire room, and are interactive. I also present looks through a lens of classical music.

I like to picture Twink Trash as presenting the crossroads of camp and glamor. I like to think of simple concepts and expand on them and blow them up into one piece. I am inspired by vintage. I think that it informs so much of what we do now. Instead of taking information from what’s been informed, I want to take my information from the source. It allows my work to be less homogenized and compared to other things.

What inspired you to get into drag initially?

I was introduced to drag through RuPaul’s Drag Race, like everyone was. I was 14, and to be entirely honest, was frightened by it.

At first, I was opposed to watching the show. Then once I got my guard down and I got into it, that’s when I was like “oh I can probably do this”. I began trying it out in my bedroom. I was a child in high school and was butt ugly- I was so bad. Everyone is when they begin drag! But I think I was especially ugly…

Beginning drag, I thought I was a comedy queen. That’s why I chose the name Twink Trash. I thought I would be up on the stage like, “woka woka woka, hi here I am with my stupid name”, but now, I present myself as “a classical artist and also my name’s really stupid”. My name allows me to be drawn back to the roots of drag. I do a very specific type of drag and have created a very specific avenue for myself, but I love the roots of drag. I love when drag is gross, gritty, and stupid. I don’t think I present that as much, but I think the name brings me back to there.

When you started getting into drag, did you have a support system?

I grew up homeschooled from age 10-15. Those are core years for realizing who you are. For me, that was great. I always had very supportive parents. There was a period when they didn’t have the

vocabulary for it and did not completely understand it. But once I sat them down and explained the power of expressing through drag, and the need that I felt to express and have an outlet for that, they understood. I have always had an incredible support system. My grandma taught me how to sew and the technique and history behind it. I’ve always been very blessed with my family.

Why do you do drag?

There is a long history of drag being used as a character or to be other characters. I totally respect and understand that, but for me,

I guess this could come off selfish, but

Is there a drag queen who inspires the work you do?

I think it is important for drag artists to find their own voice and influence. It is so important to not “eat the tale” of drag. I think everyone is looking to the same point of reference and that’s why drag is becoming more homogenized. I try not to pull references from other drag artists. I try to pull references from vintage pieces. With all that being said, Naomi Smalls is the one to me, forever and always.

What does drag mean to you?

Drag is “queer expression”

To elaborate, I grew up always performing. I went to my first opera when I was 8. I was like, “woah” I love opera. I was the first person in my family who had ever been to the opera or has been in the music scene in any way. I pursued that from eight to now. When I was eleven, I got my debut at Lyric Opera of Chicago. I had a child opera career and went to my undergrad for opera. I’ve been in these rooms filled with classical musicians as a drag queen where I needed to explain drag and queer arts to my professors who were all old. I did my capstone project which was a recital last year and did that through drag in a three piece collection. I expressed the themes of the recital through the pieces of the clothing and through the music. I had to explain to older people many times the difference between drag and being trans.

That is an unnuanced take of it.

If we are going into what drag is to me. I find myself in between that. It’s not just I do drag because it’s fun and it’s nice to have this outlook, this expression.

if that makes sense. I think we are allotted this perspective as queer people, that people try to put a name onto as “camp”, “flamboyant”, and all that. I think drag is my way of giving that gift respect. I am dedicated to forming tangible things around this feeling and expression.

What are your feelings on the drag bans happening in the south?

It’s important for us to be vocal about it, especially with platforms. I only speak to myself. I have been so affected by it. It’s so hard, as a queer person, to be experiencing these things. I want to post

Photos by: Lydia Fries

and share about it, but it feels like I’m just speaking to the people who already support me and I feel all of us feel that. It’s so hard to be in the oppressed group but also be expected to be the educator of what’s going on.

At the root of it,

The bills are so broadly passed with such specifical language not included that a “drag queen” can be anything they want. They can kick out a trans person if they want and “think they are a drag queen”. Then I say all that and don’t feel I’m educating someone. It’s hard because I really want to do something, but what do we do?

I’m a big believer in practicing gratitude and going about my life with love and it’s really just the opposite of my perspective and experience of what’s going on. It’s hard to be an optimist right now, which I like to actively practice. I’ve been so sad. We’ve all taken tons of hits in the past few years and it’s been really hard and I can only hope that the feeling of nihilism can turn to anger, not that that’s incredibly healthy. But I would love for us to feel and enact the emotions we are going through and put them through something productive.

Do you have advice for people who want to join the drag community

I think it’s so important to remember patience. In every artform, in every business, there is so much emphasis put on the youth. With the structure of Drag Race, everyone wants to be the Gigi Goode or Aquaria. Everyone wants to be 21 on the show, completely done, a star. The reality is you probably will not be that and will be a lot happier if you realize that. I don’t think that sounds very inspiring but I think it’s helpful.

To go into drag, it’s important to look at your outlook starting it. There are people who start drag to be on Drag Race and be successful. But I think it goes back to what I see the importance of drag is which is an outlet expression of queerness. If your intent is not pure, I do not know if what you will reap from it will be very positive. I like to give an emphasis on patience because you think you are at a certain point with your art, but you actually are not quite there yet. Be confident in the work you do before you platform yourself in a giant way. I would say, be happy with the work you do and be conscious of your flaws.

What does success mean to you:

I have been pursuing drag for 7 years. I have always been online pursuing being an influencer, but more so pursuing an audience. As of the past year, I have come to a spot where I have the platform I have worked for and the success I have wanted. Now what do I do with that? I feel like a lot of our output with artists is not what we want to be showing people, it’s more a way to get people’s attention. My online presence is not an avenue of presenting my work in a very genuine way. I have taken a step back since January 2023 and haven’t created much online content. I have been working as an artist the whole time, just not posting everything.

Queer Music City

ueer. The South. Two things that you don’t think of together but surprisingly create a beautiful community of musicians. Nashville, tucked away in middle Tennessee, is the host of a buzzing and growing LGBTQIA+ music scene. From festivals to weekly showcases, “Music City ‘’ is the home of many trans, non-binary and Queer artists that are ready to shift the focus onto themselves. As a recent Queer and nonbinary resident myself, I was pleasantly surprised to find the most supportive and welcoming Queer music community that I have ever been a part of. I am constantly surrounded by wonderful artists and creatives like Sara Gougeon, founder and CEO of “Queerfest”, a monthly Queer music showcase and annual multi-venue music festival, twins Jamie and Emily Dryburgh who co-founded “RNBW Queer Music Collective” in 2017, a weekly music showcase at the iconic Lesbian bar “The Lipstick Lounge”, and a plethora of Queer musicians who feel like they are taking over the music scene of East Nashville. Purser, Marshall Biever, Liv Lombardi, Jobi Riccio, Jeff Halpin JR., Patsy Long, Carmen Diane, Elizabeth Davis and Madeline Finn come to mind when thinking of just a few of the outstanding musicians in the Queer music community here who are breaking through the thick fog of straight country musicians and creating space for change in the industry.

Interview and Write-Up by Aliya Bloom

Share a bit about yourself?

Hi! I’m Ambrosia Black. I was born and raised in Hartford, CT. There’s not a lot going on there and even less drag and queer stuff going on there. Growing up, I was the typical queer kid who got bullied, which is like the norm, a lot of queer kids have experiences like that. When I went to college, I really had no friends. I had two friends but they were always busy. I was really lonely. I was living there with nobody really around. I wasn’t really around, mentally, it was very cloudy. I was traveling home every weekend, even though it was an hour drive from my university, which I was paying to live at, just so I was around people who cared about me.

Randomly, because I would be home on the weekends, I went to a drag show. It was the first place I had been where people seemed happy for me to be there. So many people were like “oh my god, what’s your name?”, “what’s your story”, “I love what you are wearing”. Even during a drag number, someone would sit on my lap and sing to me. That made me feel so special. Everyone says, “drag saved my life”, but

I was having a really hard time. I was heavily medicated, heavily in therapy.

Day one was the day I fell in love. I felt like a popular kid, just sitting as a part of the audience.When you started getting into drag, did you have a support system?

Slowly I started helping the place and queens, picking up tips, complimenting their outfits and took the time to form positive and genuine connections. Eventually, I was told to get on stage. I was told that it was my turn. So, I got help from the people around me and that’s just how it happened. It was super organic and nothing was weird. It was just like my friends telling me that it was my turn.

I am here to use my art to do that. Even out of drag, I ask, why don’t we take the time to smile at someone or compliment the person whose jacket you like? Why don’t we share positive energy? It was so dark for me and no one knew.

Here’s my elevator pitch.

We can do so much if more people were like that.

Photo by John Gram @Johngramphotos

Who is Ambrosia Black?

I did not realize, until I started to do drag, that I love to be scared. I have this deep interest in Halloween, witches, villains, ect, anything spooky. When I started drag, I had this idea that I was going to channel Ariana Grande and Cardi B. That’s all really fun and I do love it, but I also really love Hocus Pocus. Ambrosia is alternative, but still spooky and beautiful. She’s an “Ooky-Spooky bitch”. The sexiness of Ambrosia is important to me. I’ve struggled with eating disorders, starving, feeling like I was fat when my BMI was 17. Ambrosia doesn’t have those problems. Ambrosia is the same person without those problems.

Why do you do drag?

I do drag because I have a love for several art forms. I could never really pick one art form growing up, and with drag, I don’t have to. I can sew, I can act, I can do choreography, I can create garments, I do hair. I’ve had some hair in Vogue and on Drag Race. The possibilities are endless with drag because drag can be whatever you want it to be. Whatever you can create, you can funnel that into drag. Drag is a great through-line for so many gifts and talents that you would never get bored.

Did you have a strong support circle when you started drag?

I didn’t have a lot of friends. But the friends I had were super supportive. At home, if I was doing makeup, I had to do it at two to six in the morning. I would lock my door and if I had to take it off, I would make sure nobody was awake and run to the bathroom. My family just didn’t understand. They thought I was a trans woman when they did end up finding out. That was my concern and my worry. That’s why it was a secret. To them for some reason that thought was seen as dangerous, scary, confusing and not good. Things have changed now and I have now educated them. They come to my shows pretty often. A lot of the photos on my page are from my dad because he’s a photographer. The coin has turned because I have been on both sides of it. There is still work to be done, specifically with my family. Right now, what I can say is that the people in my life are supportive of me and I choose to have the people in my life that support me. If someone is not supporting me, I am 26, I can choose to not have that person in my life.

Share your thoughts about the drag bans occurring in the south?

This isn’t about drag. This isn’t a drag ban. This is a ban around gender and gender expression. The verbiage that they are using in these laws is not to target drag queens, but is to target trans people on the street. A cis, probably confused, person would say, “that person doesn’t look how I think they need to look. I am going to charge, arrest, and prosecute them for that”. That is incredibly dangerous and incredibly scary. The ban has not just affected trans people, it has gone pretty viral recently. People have been accusing Daniel Radcliffs partner of being a trans woman. One, we shouldn’t accuse anyone about anything and why is that a bad thing? This isn’t just affecting trans people or drag queens.

It’s not just a drag queen problem. To get involved, educate people about transness and related topic. Do you have advice for people just starting drag?

Drag has blown up so much. There’s tutorials for everything. Check out Youtube, Pinterest, Google, there are so many resources online. When you run out of resources online, go to a show. Make friends, make connections, ask them. So much is posted online, but then there is just as much that is not posted online. In terms of performance, it took more than twenty performances for my knees to stop hitting each other on stage. A lot of things take time. If you are not born with it, you can learn how to do it. Some people are natural born performers who can physically move super fierce. I was not. But, I worked and I worked really hard, and I practiced. It just took time. I got to a place where if you compared the before and after you would never believe it’s the same person at all. There is a misconception that you can’t leave the house until you look incredible. That’s just not realistic. Everyone has growth to do. Even when you think you are perfect, two weeks later you are gonna say wow that was awful, there are so many ways to have improved that. So don’t waste time and don’t waste opportunities trying to become something when you can just get started on better, more efficient, authentic growth now.

What would you tell your younger self?

There is nothing wrong with you. There is nothing wrong with your body. There is nothing wrong with what you love. If you feel like you love something, you do. That’s just how it is and that’s normal. You should never stop loving what you love because of what someone else says. You should also never stop another person from loving what they love because there is no harm in that. Focus on being happy and on helping others be happy.

Hurting yourself is only going to hurt other people. Everyone has hardship and the sooner you can recognize, deal with, process, and heal, the sooner you can start living your life the way you want to and it’s never too late for anything. There are people willing to help you and don’t be afraid to ask for it.

Where is Ambrosia going next? What does success mean to you?

Neatly tied in a bow. Success is just being happy. You can have a million dollars and be the most miserable person in the world. As long as I can do what I love with drag I’ll be happy. If I want to keep performing, I will keep performing. If I want to just work on producing shows for other performers, that is what I will do. Just like gender and sexuality, it changes every day, and if I want to do something different with drag, I just want to make sure I am happy when I’m doing it. That’s what is successful to me. I would like to be able to grow my platform to the place where people will respect my art enough to listen to what I have to say, so I can spread positive messages and preach positivity. Something I noticed being so close to Loosey Laduca, now that she’s on television she is the same person, but now everyone is listening and watching her. Now when she says something, it can change minds. People are more open to listening than if I were to just see them at a bar. In the future I would love to be able to have a platform which I could communicate for the better.

Eph See is Blossoming as an artist

Much like the tulips in Boston Common as spring brings summer, Eph See is blossoming in real time, both through compositions of love, acceptance, and confidence, and through cathartic personal growth.

Eph was always creative, making up songs about random items in the house to stay entertained. They signed up for choirs, musical theater, and rock bands throughout middle and high school.

Despite their early sense of creativity and singing ability, it wasn’t until high school when Eph began writing in stream of consciousness, using lyricism as an outlet for the daily jabs and hooks that teenage life throws. This journal-entry style contributes to the raw and vulnerable writing found throughout Eph’s discography.

When describing their approach to writing new music, Eph elaborated on the importance of personal authenticity not only for themself, but for listeners too:

“I try to get the purest form of what I am feeling and then see what sort of creative expression comes out of that. I really try to be as authentic and vulnerable as possible for myself, not only because I’d do myself a disservice to not, but also for anyone who might listen. Like if I am not getting the full truth out, then it might not a ect someone the same way.”

While still finding therapy in their creative process, Eph keeps their listeners in mind and refuses to hold back emotionally in their sound, allowing fans to share different experiences through musical connection.

When I first listened to g*rlhood, Eph See’s most recent EP, I

felt like a teenager again. Though they weren’t telling my story, the dreamlike yet melancholy production and reflective lyrics convey the nostalgia and yearning for past times that I felt as I left my adolescence in the 2010’s, got a job, and entered the “real world”. As Eph asks on “daydream princess,” What the HELL is the real world?

Eph wrote g*rlhood in the Winter/Spring of 2021, living alone at the height of the pandemic - a reflective time for all those young adults brought back to their childhood bedrooms. All songs but the closing track were written in order, making the EP a sort of collaborative diary. Eph connected with producer LEXIM through a virtual songwriting club hosted by Quadio, a networking app for creatives in college. From different recording set-ups (and states), the two slowly but surely created and published the work in October of 2021.

“the things i used to care about seem so stupid now,” g*rlhood’s closing track, is a reminiscence of past lives. Eph describes a disconnect to other selves, a “dysphoric crisis of identity,” and a sudden fading of memories from a former

Lucas Nathanson and Eli Adler-Cohen

talgic and emotional tape, this track serves as a gift bow for the present that was the EP and compels us to reflect on the worries that plagued our former

“P1NK”, Eph’s most recent release, is a collab with KAI, a Northeastern classmate and close friend of Eph. Though they worked together in several recording classes, “P1NK” marks their first official collaboration. KAI came to them with only a finished instrumental and the name “P1nk”, and they proceeded to write lyrics and record vocals for the song in one sitting. Before I could ask, Eph reflected on the

“P1NK” is a song about real, real love. It’s about wanting to experience love but maybe you were queer and couldn’t be open about it when you wanted to, so you’re still on a learning curve. It’s an aspirational love song depicting the ideal and authentic romantic partner-

experience - different meaning in the person.” Concluding an already noslives. ship we dream about.”

The final words of this song, “I know it’s been hard. Though life will break your heart, it’s time to let love in again,” remind us that we all are worthy of love, and that it’s okay to be vulnerable and unapologetically yourself, a lesson that Eph wished they learned sooner and

one we all should embrace.

Five years into their (official) music career, Eph See enjoys the bliss of growing

into yourself.

“Being on my own team again, I feel like I’m blossoming. I want to show the happiness of growth, rather than the growing pains. That’s what queer identity has been about for me too. You fight through the sort of darkness of, you know, starting from scratch and figuring yourself out. But when you come out the other side and you fully

accept who you are and people around you do the same, you experience this incredible growth and self-confidence that comes from acceptance.”

sound; it’s only natural to start opening doors to other genres.

Eph and I talked a great deal about their live performances, but I thought a firsthand account of an Eph See performance would be a better way to capture their performing ability. So, here’s Eli, who attended Eph’s first headliner on Cinco de Mayo:

a show to show up-and-coming

When I got the OK to cover this Eph See show in Boston, I was mostly curious to see the atmosphere of the performance. Considering it was at a venue I had never been to before - the Fenway located Rockwood Music Hall - and was a show for a dope up-and-coming artist with several bangers, I was wildly excited. I walked into the spot, and immediately felt the energy. You could tell that people were enjoying themselves, ready for an evening of good music.

What’s next for Eph? Collaborations.

With feel-good pop songs and gritty, early 21st century rock influenced music in the vault, Eph hopes to share the variety of music they made with friends over multiple years. Unsurprising, really, since Eph shows nothing but consistent growth and variation in

The venue itself was impressive. There was a big bar on the side of a large, yet intimate general area, with nice mood lighting and “Super Rich Kids” playing on the aux. I knew no one, and clearly that was obvious considering Eph See, who I had never met before, walked up to me and asked if I was Eli. They were full of energy and so enthusiastic that we were covering the show, and helped me feel super comfortable in the space. I could not wait for

this show to start.

There were two awesome openers, which is always a good sign for a show. The first was a singer/songwriter that

Photos by Emily Greenberg

ming with a band, came out with energy

songs that made you both miss your ex

watch music videos on MTV. Nostalgia gets me every time - I was loving it.

The energy persisted between the first two openers, and the crowd started to buzz in anticipation of the headlining act. A few minutes later, not one, not two, but SIX musicians stepped out on stage, all dressed in black suits. The band had everything you wanted: two guitars, bass, drum kit, keys, and a freaking saxophone! I was already loving it. After a few moments, the cool, calm, collected Eph See walked to the middle of the stage. The place erupted. They grabbed the mic, and right as we inhaled, held it in for a second, then exhaled slowly. A calmness overtook the whole place, and Eph See intoxicated us all by their stage presence.

They started with ‘‘Vitamins’’, off g*rlhood, which was super smooth and got everyone moving. What stuck out to me from the jump was how chill they were on the mic, yet possessed so much energy with every word they said. You could tell they were a natural MC - everything they did felt both nonchalant and perfectly executed. I felt like I was seeing someone who had been touring all their life, yet

they had this energy that reminded me of the first time I saw Redveil - high. Already, the crowd was singing along. People were loving it, and I had to remind myself to take notes because I was so wrapped up in this set. Next, they played ‘‘Did I?’’, and that’s when their voice really hit me. Now I have a terrible voice, so I have no idea how anyone sings ever, but to do it in front of a crowd must be both difficult and scary. That did not seem to be the case for Eph See, who not only had this smooth voice, but was also as cool as a cucumber up there. I

crowd was mesmerized. had

Next they covered ‘‘Yuck’’ by Charli XCX, which I had never heard before but is objectively a banger. When they introduced the song, they chatted with the crowd about the song itself and their love for Charli XCX, and their ability to engage the crowd really started to show. They talked to us like they were sitting around the dinner table telling us a story - authentic and engaging, making you want nothing more than to hear the rest of this story. Once again, veteran stuff.

They moved on with ‘‘the things i used to care about seem so stupid now’’. This is when the band really started kicking. All the pieces were jamming, and the RnB side to their music started to come through. It started calm, as the song is, yet by the end I was head banging like I was at a King Gizzard show. They really turned up and the whole crowd was loving it. This is where I once again was struck by how energetic yet chill they were on the mic. How

could I feel both calm and full of energy at once? Eph See was how!

They then played this super raw, unreleased song called ‘‘GUTS’’, which reminded me of some Weezer and I was loving it. I’m a sucker for some unreleased music at a show, so I was a happy camper. I looked away from the sax and saw Eph See smiling on stage, clearly enjoying all parts of this show - their performance, the band, the crowd - all of it.

Then came my favorite part of the show.

They made a love circle! The opposite of a moshpit, they serenaded all of the couples in the crowd with this super fun 80s pop ballad called ‘‘greenlight’’. Everyone was loving it, including the couples, and I was thoroughly enjoying this new concept of a love circle that I need more artists to do. Revolutionary.

After, all of the band minus Eph See and their lead guitarist, Corinna Parrish, got off stage, and the two of them performed this lovely rendition of ‘‘Get You Off’’. Not a dry eye in sight. They finished up, and the rest of the band came back to perform ‘‘Dancing On My Own’’, a Robyn cover.

They played another new song called ‘‘February (Nothing Else)’’, which they shared is a song about them not only being good, but thriving - a song about

being happy where you are. You’d have

expected this song to be light and fun, but it kind of wasn’t. It was in a minor key, so it had a feeling of not being overt-

Their openness and authenticity in their

made that clear. I absolutely loved it.

What I love about artists playing new stuff at shows is it’s clear they want to share this with their fans, and enjoy the act of doing so. It reinforced the sense of joy Eph See has in their performance. Clearly, they love performing and everyone there supporting them. That’s what we love to see.

And of course, they encored with… ‘‘The Pill’’. Awesome, I literally needed to hear that track. They were full of smiles, and everyone was singing from their gut trying to outsing everyone around singing, and I could not imagine a more

The show ended, and I didn’t take too sure they had friends they wanted to chat fun the show was and how happy I was to be there. They were so appreciative of me coming, and it was clear they were on cloud nine.

On my way home, I processed the whole night - how impressive of a stage presence they had up there and how great they sounded on the mic. The band brought every song to life, and their voice had

this type of emotion that was so overt yet felt like it was totally natural (which it was). The whole show had this warmth to it that I couldn’t get enough of, and created this environment that was fun, safe, and super upbeat. I felt drained after the show, but in a kind of energizing way. The emotions we all felt together were intense, and I was so happy to have been a part of it. I love a cathartic experience, and I was so happy to have experienced that with such kind fans, an impressive band, and an MC that you should all keep your eyes on for when the rest of the world realizes how dope they are.

SUNDAY MORNING

Sundays you wizen raise your hands the men arise when My father stands while my knees are all scraped to hell and my words don’t carry quite as well my heart deceiving above all things (Jeremiah 17:9) I’m yours completely just answer me Lamentations couldn’t save my soul kiss the thorns in me until I’m old (2 Corinthians 12:7-9)

He said “be like John the Baptist heads should roll for Jesus” (Matthew 5:10) Spilling all your blood for one who doesn’t need it (Mark 10:45)

Brought together from specs of dust (Genesis 2:7) you filled me with a heart of lust (Galatians 5:17)

Humble and small spring from your well (John 4:14) created from dust created for hell (1 Corinthians 6:9-10)

Written by Lawson Galloway, Lead Singer of Galloway

@drinklunar

Featuring Galloway

Photographed by Andrew Giraldo

Interview and Write-Up by Aliya Bloom

Share a bit about yourself and how you’ve come into the drag community?

Iam JM in and out of drag. I was one of those quarantine bitches. I was sitting watching any show I could because I was bored. One of my roommates said we should put on Drag Race. I was hesitant and remember saying it was a little “mainstream”. We turned on the TV and I believe it was the middle of season 12. I heard Jan sing and I looked at myself in the mirror and looked back and said, “I have to do that”.

I learned to start expressing myself as I came to live on my own. I grew up in South Florida. I came from a very traditional hispanic, conservative family. Being yourself and expressing who you are was not really a thing with my family. I love my family. I love them to death. But part of the reason I had to leave was because I felt like I was in the closet. JM, she was crammed. She lived in a closet for the first twenty years of her life. I ended up moving to Orlando, the only place in Florida where you could be anything. I went to college there and got a degree in theater. I realized that theater was not what I wanted to do, but I was grateful I went because that’s where I met the friends that I have now.

Throughout my life, I tried all the arts. I’ve done acapella, theater, dance, band, sewing. I dabbled a little everywhere. The one thing that always stuck was singing. I never felt that pursuing music was enough. As soon as I saw Drag Race, it all made sense. I realized that I wanted to use the music I make to inspire people.

It took me three years to muster up the courage to do a performance. For a while, I was afraid of what people would think. But once I got older and wiser, I started to care less about what people would think. As long as it makes me happy and I am inspiring other people, that is what matters. It took a couple of years hiding in the shadows, practicing my makeupbecause I am not about to go on stage looking like “Boo Boo the Fool”.

Tell me about JM on stage

She’s just a punk. Everything I represent on stage is how I’ve lived my life and exude that to the audience. Growing up, being in a Latino family, I didn’t always have all the resources and privileges other families had. I had to live in shelters. That was hard. I grew up learning how to protect myself. I learned street smarts. I let that aspect of my life play into my aesthetic. I’m into streetwear, loose clothing, and dark colors. It’s funny, I may present dark but I exude light. I am so drawn to goth and punk, but also like to showcase a little glam. I can be feminine and dainty but also be androgynous. I have a heart of gold but if you mess with me, I am gonna stomp on you bitch.

What was it like exploring drag growing up with a conservative family?

A lot of my family does not even know I do drag. I have four siblings. I’m the baby. My parents stopped once they made the perfect one. Once I popped out the womb, they said, “period, she’s fabulous, we are done”. My older brother and his family know about it. They support it, but don’t really say much about it. Other than that, I don’t really tell anybody.

As for my parents, my dad doesn’t know I do drag. My mom, the one person in my corner, my biggest supporter, best friend since day 1, the one person who made me feel I was special and should keep living, doesn’t know I do drag and will never know I do drag. I moved to Boston from Florida, which was my first time outside of Florida in the first 24 years of my life. Right when I moved, my mom got covid and died. I’m grieving and it still hurts. It sucks, having to lose somebody that is so close to you and on your side. But I know she is with me and I know she would not want me to stop. If she knew I was thinking about quitting, she would bitch slap me. I don’t just live for me anymore, anything I do, I do for me and her. I know she would have supported me 100%.

Interview and Write-Up by

Aliya Bloom

Share a bit about yourself and how you’ve come into the drag community?

Hi, I’m Kimmy. I was born and raised in Belgium. I started to do drag at the young age of 13 years old. It really started from being obsessed with the internet and not having a lot of friends. I had plenty of time to watch a lot of people. It was a YouTube video of Shane Dawson with Willam where I was like, wait, this is not a woman. Who, what, is this? Then I found Drag Race. I was like, “wait, there are people like me?”. I’ve done drag for a while without calling it drag. I’ve always loved dressing up, and especially used to dress up like a girl all the time.

My parents are kind of conservative. So I used to have to lock the door of the bedroom at midnight. This may sound so corny, but I had all these wigs in my closet and then when my parents were sleeping, would yank them out of the closet to style them. Once, my mom found out and asked, “what is this?”. I told her I wanted to be a hairdresser. Yeah. That lie stuck for a bit. She really believed that for a hot minute. But then they once caught me with my makeup on. That’s when hell broke loose. They asked me about what all of this was and if I was transgender, fully putting me on the spot.

I was very confused because I was 13 and I just did it because of joy. I told them, “oh, I just like this”. I wouldn’t say traumatized, but it really was like a shocker for this thing I love to be seen as bad in a lot of people’s eyes. Subconsciously, I was like, okay, if I’m going to do this, I need to be as good as I can be so that I can prove to my parents that it’s actual art. That worked. They became fans after a while and they really realized how artistic it is and how much more of an art form it is than just dressing up as a woman.

That led to me continuing to do drag and it was my favorite outlet. It was the main thing in my life and always has been. Although, last year, I had a bit of a mental toll. And I was unclear. I realized a lot of my life was associated with my drag because it was my main thing. So I decided to take a step back and reflect on myself. I had to do a “okay, who am I?” “what do I want to do?” check because I had a lot of gender issues and mentalities. I got a lot of compliments in drag but never as a guy. I had to navigate if I preferred being a girl or guy more which really confused me. So then I took some time to think and set it all out on the table. I chatted with a friend who told me, “if you put so much pressure on yourself about gender identity, you will always limit yourself”. I had the realization that it’s best to be yourself and to not care about labels. That concept really made me able to clear my head and finally be able to get back into my art and not leave such a pressure point on myself.

Do you have any advice for people who struggle with gender dysphoria?

Yes, I feel like it does go a bit deeper than that. I’ve just come to realize that everyone at the end of the day is an individual. And I feel like in today’s society, we live in a world where people are obsessed with putting each other in boxes. Many people say, “I’m this” and “I’m that”, but I feel that also limits you. If you force yourself into one box, you will never fully be complete because then there is pressure to conform to habits and actions that the chosen group identifies with. And it’s like, no, be yourself! Just do your own thing. Which sounds so stupid because it seems so easy. And of course, depending where you live and who you’re around, sometimes you can’t really be that. But I feel like you should attempt to live as authentically as you can be as long as you stay safe.

What is it like being queer in Belgium

It really depends on where you come from. I live in the countryside suburbs and went to a highschool near the suburbs. It was a very homophobic school. I was the only openly gay kid and a drag queen as well. I was really a lone soldier. Many people used to say, “look at you fag”, and throw things at me. During the winter time, it snows around here, and I could not leave the actual school building because I would get targeted for snowballs and people would throw them at me. Thankfully, I actually failed that school. In Belgium, it’s a system where you have your main thing. That’s just normal classes. You get your math and English and yada yada yada. But if you fail that, you can either go to technical or art school. So I was like, wait this is kind of fun, let’s go to art school now. Then I went to art school and the people there were so open. The school was in the city as well. There, I was really able to flourish and find myself and not get bullied.

What influences the art you create? And how do you want to influence others?

I use a lot of southern influence in my art. The thing is, I love that I am from a little more of a suburban area because all the pictures I’ve taken from my Instagram, all the backgrounds, they’re five minutes from my house. There’s a field right next to my house and some pics are just in my bathroom. I really like to give the feel of, this is where I’m from and this is where I’m raised. I want to keep that in my drag because I like the essence of naturalness.

I feel like if you do an art, the thing that makes your art your art is your personal take. Your art is a representation of everything you’ve taken in from the world expressed outwardly.

I want people to be inspired to create their own stuff. I want people to see that I made this outfit from old denim and used that cheap fabric you get for one euro yard. I want people to see that I make so many things inexpensively. I want people to remember they can just go out the house, take a five minute walk, and ask their friends to take pictures on their phone. I want people to feel free to be who they are. I feel with drag nowadays, there’s so much pressure to spend so much money. It doesn’t have to be that way. You can choose what style of drag you want to do! There can be so much beauty made with just a 20 Euro wig, fabric, a sewing machine and some dreams.

What is a piece of valuable advice you have received in the creative industry?

Twink Trash’s work has inspired me so much. I have looked up to her for such a long time. One thing she said, which to me will always be the best advice I’ve ever gotten was, “the way I like to look at my art is when I post something it needs to have been the best thing I’ve posted. And then I will always be thinking, how can I make the next thing better? “. Using that advice, really motivates me every time when I’ve posted something, to think, “okay, this is so good, but like what’s next?” and that really keeps me going. This way of thinking helped me so much, especially to get out of a creative rut I was going through.

Photo by Erynn Wakefield

REWORK

WITH PARIS OSBOURNE

INTERVIEW AND WRITE-UP BY ERYNN WAKEFIELD

If you know anything about fashion, you know how quickly trends come and go and how crucial it is for everyone to be aware of the detriments of fast fashion. Paris Osborne, the creative force behind Rework Boutique, has managed to breathe new life into thrifted garments and accessories, creating upscale, one-of-a-kind pieces that exude individuality. In this interview, Paris takes us on a journey through the inception of her brand and shares her passion for sustainable fashion.

Rework Boutique is an online boutique where Paris, the owner and founder, personally designs and sews each piece herself, infusing them with her distinctive style. From reworking renowned brand names like Nike, Ralph Lauren, and Levi’s to transforming designer brands such as Gucci and Louis Vuitton, Rework Boutique offers a captivating range of lace-up corset tops and handbags, each with a unique story to tell.

This all began in the summer of 2020, amidst a global pandemic and quarantine. During this time, Paris went to see her family in California. This seemingly normal trip turned into a serendipitous encounter with her sister’s long-forgotten sewing machine. It started with sewing scrunchies from old scraps, but within a span of two days, Paris and her sister transformed discarded jeans into chic one-strap crop tops and oversized button-up blouses into stylish two-piece sets, all sourced from the local Goodwill.

The thrill of turning neglected garments into stunning fashion pieces ignited a fire within Paris. She spent the rest of her time at home sewing, resulting in a collection of 15 breathtaking creations. Before leaving California, Paris, her sister, and her mother made their way to the desert to capture all the hard work that went into her collection. Fueling her passion, Paris returned to Denver and began a routine

of weekend thrifting and weekday sewing. With time, her creations gained recognition, and she sold over 150 pieces on platforms like Depop and Instagram.

As sustainability took center stage in the fashion industry, Paris realized the need for alternative options to fast fashion. Originally driven by a desire to keep up with evolving trends without contributing to the negative environmental impact, she embarked on a mission to create everything herself. “Fast fashion, characterized by the mass production of cheap clothing to cater to fleeting trends, has become a significant concern in the fashion world. My honest initial thought when I first started sewing was, “I know fast fashion is terrible, however I do still want to keep up with all of the changing trends. How can I do that without contributing to the negative impact fast fashion has on the

environment?” Simple, just make everything myself!” Paris says.

Paris’ interest in fashion blossomed during her college years when she finally had the freedom to develop her own style. After graduating, Paris pursued her dream of starting her boutique and eventually moving to the bustling city of New York, where she found fresh perspectives and inspiration. “Living in New York has a huge impact on my perspective as a designer! The vibrant fashion scene and diverse street style constantly inspire me to push boundaries and explore new creative avenues in my work,” Paris explains.

When asked about the message she wishes to convey to those who wear her clothes and those reading her story, Paris says this: “To those who wear my clothes and to anyone reading this, I want to convey a message of individuality, sustainability and self-expression. Each piece I create is a reflection of these values, allowing you to embrace your unique style while making a positive impact on the environment. Fashion is a powerful tool for self-discovery and storytelling, and my hope is that my designs inspire people to embrace their unique style, break boundaries, and celebrate their individuality.”

Paris finds inspiration in the opportunity to recreate personalized pieces that carry stories. The challenge of transforming forgotten items into new and revived garments that bring joy and confidence to others fuels her creative fire. With Rework Boutique, Paris aspires to cultivate a strong and loyal community of individuals who appreciate the uniqueness and sustainability of reworked fashion.

Rework Boutique is a testament to the power of creativity, sustainability, and individuality. Paris Osborne’s passion for reviving thrifted fashion has paved the way for a new wave of conscious consumption, challenging the norms of the industry and offering a breath of fresh air in an increasingly disposable world.

photos taken by Kyanna Harris

Artwork by Sarah Kessler

Artistry

by Arienne Annati

Artwork by Kimberley Leutwyler

Always Camoufly

Charlie Magidson

Camoufly is an electronic music producer based out of… Where is he based out of? And who is this man? Nobody knows for sure. Perhaps taking after MF Doom, or more likely Daft Punk, Camoufly keeps his face hidden at all times behind a knitted head covering mimicking a bunny’s ears. He keeps his area of origin a mystery as well. Now, normally an artist focuses on one area when starting out, in order to create a signature sound, and slowly expands upon that sound for years to come. Camoufly, on the other hand, has done nothing of the sort. From the get-go, he’s put out tracks spanning from trap to hyper-pop to several types of house subgenres.

As much as I would love to get into his discography, this review focuses on a single track, “Always”. It’s a bouncy track paced at just a little bit of a faster tempo than your average house song. From the first bar, this really gives an energetic, springy feel to the song. The track opens up with an airy and floaty synth topped with muffled, pitched up vocals. As the song builds the muffling effect fades and around the thirty second mark the beat drops. All the elements blend together perfectly as the synth is layered with 808 kicks filled with swing (very similar to Kaytranada’s) and a groovy bass line is put on top to complement them. As the song progresses you come to find that this is not just a standard and repetitive house banger. Multiple different synths and melodies are introduced during breakdowns and buildups, before returning to the initial sound that hooks the listener in the beginning.

I truly haven’t heard such an original house song in quite a long time. It’s tough to even tell who Camoufly’s influences are. I might not go so far as to call him a pioneer, but he is definitely creating his own wave in the scene right now. I would not be surprised if he starts opening for some big names soon, so keep your eyes peeled. All and all, this guy is one of my favorite EDM artists right now, and I highly recommend checking out this track, as well as his latest EP “In Plain Sight”.

Song

REVIEWS

100 Gecs X 100 1

William Thompson

00 Gecs is the name of Dylan Brady and Laura Les’ music machine. Their latest album and second studio project, 10,000 Gecs is a follow up to their debut run 1,000 Gecs. Credited for being a trailblazer in hyperpop – a blend of pop, sound music, rock, and hip-hop, 10,000 Gecs continues the effort. The project is full of mind melting melodies, skull cracking distortion and body thrashing rifts. If you’re struggling to get the appeal, I’ll try to help you out. Here are five songs off of 10,000 Gecs that are sure to make you understand.

1. ‘‘Dumbest Girl Alive’’ - The first track on the project starts how a first song in a project ought to. Synths rise up, creating a futuristic soundscape as if to say, “this is what you’ve been waiting for…”, only to be disrupted by a sub kick and an absolute rip of a topline. This song is about the “dumbest girl alive” who enjoys commiting toxic or “dangerous” acts. Performing science on her face, giving away her brain, the list continues. Though counterintuitive, and some would say “dumb”, there is something electric about it, as she says, “I got lighting in my veins.”

2. ‘‘757’’ - Starting with a distorted synth and heavy kicks, this song leads you into the groove early. The song starts by showcasing their signature high pitched vocal chain singing, “757, ya I’ll never go to heaven, I’ve been smoking since 11, told the devil he’s a lemon…”. The numbers “757” can be interpreted as a reference to a plane, the Boeing 757, or a use of numbers to spiritually signify feeling content and free. In either interpretation the connotation is the same: 100 Gecs is on a higher plane. They feel close to heaven on earth and, because of that, they assume that they will not go to heaven after death. But they’re embracing this bad guy persona, going on to say, “I’ve been smoking since 11, told the devil he’s a lemon.”

The song (and the rest of the project) continues with edgy lyrics and cranked sounds. Eventually the song culminates in a thunderous break, in which they sing about enjoying the finer things in life, like “smelling the trees in Colorado”. Throughout the song the groove is defined which really helps the listener digest the experimental sounds, but that is nothing new for 100 Gecs.

3. ‘‘Hollywood Baby’’ - Is like a hyperpop version of “Beverly Hills” by Weezer (it slaps). Except instead of romanticizing the life of a Beverly Hills socialite, 100 Gecs whines about the life of a young artist juggling new money, maintaining self purpose, and navigating the social whirlwind that is living in LA. The song starts off with a verse littered

with lyrics ironically scolding themselves. They are complaining about the good life, and they know they’re “better off if they just get over it”, but there’s something missing that they just can’t get off their minds. The hook really captures this, “I’m going crazy, little tiny Hollywood baby, brand new Mercedes, I am at the crib going crazy…”. Because of this feeling they feel disconnected from LA, and that is why they say they, “will never make it in Hollywood, baby”. This adds up because 100 Gecs carries a reclusive vibe to them that subtly hints at being influenced by country life. From a listener’s point of view, they don’t belong in the big city, they’re too rural for that.

‘‘Billy Knows Jamie’’ - Sounds like a $uicideBoy$ song, except it’s by 100 Gecs. The vocal chain awakens something very dark while the instrumentation, heavy metal drums and hip-hop flows really bring out the craze that 100 Gecs emotes. The song is about a bad situation. The singer has a friend named Billy, who has a friend named Jamie, and Jamie is a psycho, drug addicted, gun owner who might kill the singer. This song helps to capture the range that is 100 Gecs. There are some clear musical characteristics in all their songs such as distorted drums and funky vocal chains, but the actual grooves have a lot of variation. They do this while maintaining coherence in how our bodies react to the music.

10. ‘‘mememe’’ - “You’ll never really never knowowow… anything about mememe…”, chants the chorus. 100 Gecs offers one last time to let go with this one. If this one doesn’t let you shake it, you never really had it in the first place. The song is comprised of lyrics about a couple not seeing eye to eye, spastic keys, and a steady sub alongside their signature distorted drums. This song is a perfect example of the sound you would hear if you blindly pulled a track out of the 100 Gecs’ catalog.

At its core, 100 Gecs and hyperpop in general is party musicand, more specifically to 100 Gecs, mosh music. And anyone who’s ever moshed before knows how loose you have to be to mosh, how you have to let go of all control. 100 Gecs does that musically, breaking rules, creating new standards and rocking out while doing it. After hyperpop carves a spot for itself in the history of music, 10,000 Gecs will be looked back upon as a cornerstone of this blossoming genre. Make sure to check out the rest of the album and stop taking yourself so seriously, the undefined is right around the corner.

Artwork

CAMMI AND THE GAZE

@Cammiandthegaze

Photos taken at Professor Punx Studios

of

Written & directed by Ally Higgins

Produced by Samantha Toronto

Shot by Lorenzo Graziano

Released by Ink to Imagery Productions”

“Adelaide must learn the ever-changing implicit rules

the board game club they have failed to assimilate into after the group threatens to ban them for their blind nonconformity.

Artwork by Ashley Artwick

CEMETERY

by Lydia Fries

I went to the cemetery a year ago today, Not to mourn anyone but rather to repurpose A freshly gifted bouquet leaned neatly on a tombstone, they were roses How convenient that they were your favorite How inconvenient for the deceased I stopped for a moment to read the headstone As if paying respects would help soothe Julia Turner was the recipient of the roses Perhaps they were a gift from a lover still alive I fantasized a man who fantasized her death Not out of enjoyment but fear that she’d die Before their love became great I took the roses shamelessly and reasoned Julia could not enjoy them now but you could I took them home, filled a vase and I Pictured the roses taking a sigh of relief As their stems hit the water You were delighted when you saw them Asking if I got them at the farm stand nearby I paused and said at the grocery store It was stupid, the fridge was empty and obviously I had not bought groceries that day I imagined you saw through the lie and shook It off because the flowers were sweet Perhaps in your mind I was so overwhelmed With love for you that I forgot the groceries Instead of robbing Julia Turner in her grave You wanted to go out to dinner that night I remember I insisted on using up What little food we had left in the fridge I made us toasted peanut butter and jelly Sandwiches and burnt your toast to a crisp It was an accident but I think you resented me For cutting corners, always asking the neighbor For an egg or borrowing money from my mom Most of our furniture was “finders keepers” As I called discarded freebies on the side of The road for someone to claim and as a result None of our things matched and you just Wanted one cohesive room, the more I gave to you the higher your Demands became and it seemed like I could Steal anything except your heart

For a split second I looked at you and thought That it would be easier if you were Julia Turner And I was the man visiting the grave There would be nothing left to say and no Closure is more resounding than death I shook the idea out as quickly as it crossed I had given you everything and Julia Didn’t even get flowers.

Artwork by Sarah Gardner

from the note

An ally, a friend, a confidant, a safe space—these are the essential elements every person seeks in their journey toward happiness and fulfillment. For me, it would be hypocritical to aspire to embody these qualities in my art while neglecting them in my everyday life. Among my close circle of friends, we often joke that I am the only living ally in New York City. Most of my friends are in the LGBTQ+ community, and I am and have always been devoted to supporting and defending my sister until my last breath, regardless of the audience, even in the presence of our parents.

The memory of being twelve years old remains etched in my mind, when I recognized that my sister was different, yet struggled to discern the nature of that difference. Our household was filled with conversations about God, religion, and moral compasses. Amidst it all, I recall the words my sister spoke to me one evening before a cross country meet: “You know, you can believe what you want, right? Your beliefs are your own.” As a child, my worldview was starkly defined by absolutes—right or wrong, black or white—and I adhered to my parents’ convictions. My sister respected their beliefs without contention. However, those words she uttered set off a whirlwind of thoughts within me. I pondered how many Christians preached love, but only conditionally. How could God be the epitome of love, yet limit it to individuals who neatly fit into confining boxes? All I knew was that I loved my sister, and whatever she was, I embraced it wholeheartedly, for the sting of rejection was the most profound pain I had known.

It became clear to me that my sister had an entirely different experience with our parents. I could come home and share stories of my crushes, daydream about my future wedding, and confidently declare that my parents would be there, with my father proudly walking me down the aisle. My sister couldn’t say the same. She

had to hide numerous aspects of her true self, as if being gay were the worst possible identity one could bear. I thought, surely there are far graver offenses deserving of such scrutiny. Why invest so much energy in rejecting someone who simply loves someone of the same gender? In essence, it does not concern those who are disapproving, so why do they allow it to cause such distress?

To my older sister, Kezra: You embody strength, love, and compassion in ways that leave me in awe. I love you not in spite of who you love, but because you unapologetically embrace your authentic self.

This issue of FLYNCH Magazine holds profound significance for me, as it brings attention to the LGBTQ+ community, which many cherished friends and family in my life are a part of. I love them boundlessly and unconditionally, free from judgment. This issue is important, not only to me and the people in it, but for everyone. Pride month is not only a celebration, but a necessary tool in order to bring injustice to light. Pride month and the rhetoric around supporting those in the LGBTQ+ community is essential because some little kid is thinking they’re better off somewhere far worse because they’re gay. Some little kid doesn’t have siblings that will fight for them, friends that will stand by them, or a family that will support and love them unconditionally.

As an ally, I stand resolute by your side. I will fight for your rights, celebrate your beauty, and honor your existence. As an ally, I hold deep respect for you. As an ally, I will remain steadfast, embodying the essence of an ally in every sense of the word.

With love,

Co-founder of FLYNCH Entertainment

EDITORS

“Are you sure you don’t have a crush on her?”. I remember instantly hanging up on Erynn after she innocently asked me that question. I was 18, straight as an arrow, fired up and offended that she dared to accuse me of such a label. Me? Gay? Liking girls? I could never.

Until the age of 14, I had an obsession with not being girly. If there was even the most microscopic amount of pink, just on the label of jeans, I would not wear it. Bless my parents for being so supportive through my trials of finding my expression. Back in the day, I wore a baseball cap and had long messy hair. I wore a suit to my bat-mitzvah and did not touch an ounce of makeup until high school. For most of my childhood, I was considered the token “tomboy”. I was always comfortable and proud to present the way I did. Despite my own comfort with presenting “alternatively”, I looked different than the other ten girls in my grade, and was objectively seen as an outlier.

I was the girl who was ranked bottom of the “hot charts”. I was the girl who the boys would decline dancing with at parties so would sit alone. I was the girl who never never had a reciprocated crush and became used to not being seen as beautiful. I was the girl people would label as gay.

Before having the chance to even explore my sexual identity and orientation, or even know what those words meant, I was bombarded by outsiders forming these narratives about my identity. I don’t know why it mattered, but people really loved to call me gay and to ask if I wanted to be a man. I always knew I wanted to be a woman, and that is how I answered then and still answer now. But I never wanted to be seen as gay. When people called me gay it always felt like an insult. None of the pretty girls were ever called gay? It seemed like only the ugly ducks were gay. Why would I want that association? I ended up developing trauma with being called gay. Any time someone would say, “you’re so gay”, It was an additional reminder stamped onto me that I was ugly, weird, and an outsider.

As I matured a bit, I did my best to not be seen as gay. I started to present in a way that would make me be seen as anything but gay. In that sense, I started expressing hyper-feminine in high school. The straightening of the hair, booty shorts, crop tops, makeup - I did the whole 9 yards. As I adjusted my expression, the gay comments slowed down and men started liking me. I started to feel beautiful. This attention was new and I held onto it close. If I ever saw a gay person, I felt relieved that I wasn’t “there” anymore. I struggle now to connect to the person I was then, because who I was then, unfortunately, had a really warped perception of the LGBT community.

I spent a lot of time between the end of high school and beginning of college sleeping around with men. I was in my “confident era”. All these men I saw were meaningless and my friends would always be surprised that I never had much to say about those interactions. Reflecting, I believe that I saw all those men a) because I was bored and lonely b) because I did not think there was any other option c) I was in denial that I may have held long-term romantic feelings for a close friend of mine. The feelings for a friend was a messy situation. I conflated my romantic feelings with thinking, “this is what it feels like to really care about a best friend”. I didn’t have many close friends so I don’t think I fully knew the difference.

Back to Erynn asking me if I had a crush on this girl. I was in denial. I had no clue. Then slowly, I came to terms that she may have been onto something. I had to come to these terms on my own and with time. Eventually, I started talking to girls on the internet, as it was a safe and private way to form these connections without the world knowing. The way I felt after my first date with a girl was something I never felt before. It was a full mind, body, soul sort of awakening and a piece of clarity that I had been missing my whole life.

I was really embarrassed and nervous to live my truth and be outward about my attraction to women. But through many close friends, queer role models, self love, resilience, and support, I grew into owning my identity. Now, I like to think I am one of the most outwardly prideful people about being queer! It is freeing to be able to be my authentic self without judgment and to not have to expend so much energy being someone who I was not.

Speaking as someone who has had quite the journey with expression and coming to terms with where I stand in the queer community, all I say is “be yourself”. Don’t waste another day living in the shadow of someone you are not. There will always be people who will not appreciate you, but those people are not of importance. Anyone who has a problem with who you love, how you look, or how you choose to identify, should probably pick up a book and find a new way to preoccupy their time. There is so much more I can say, but I will leave it at: you deserve it. You deserve to be your truest self, in whatever form that is, and to be around people who will love and support you unconditionally for being brave enough to live your most authentic life.

With all my love,

Professor Punx Studios: The Hidden Gem

Write-up by Erynn Wakefield

Rating:

FLYNCH Magazine is mostly New York based, but in this issue, we happened to have almost all Boston-based artists. So, we packed up and headed to Boston for a weekend full of photoshoots and fun. New York City is full of photo studios that are on the cheaper side; but Boston is a different story. FLYNCH is a DIY operation at its core, so we had to phone a friend for this particular shoot.

Thank goodness we knew just the person to help us out, Jeremey Dyches, Founder of Professor Punx Studios. Professor Punx is a production company out of Boston and Jeremey happens to have an apartment that doubles as a studio space. With multiple rooms, a plethora of backdrops, studio lighting, a full wardrobe, makeup, and so much more– we were in awe, to say the least.

Upon stepping into the studio, you're immediately greeted by a pristine and inviting atmosphere. The level of cleanliness and attention to detail is truly commendable, creating an environment that feels both professional and welcoming. The studio's well-organized layout ensures that every prop and backdrop is easily accessible, allowing you to seamlessly bring your creative visions to life.

What sets this apartment photo studio apart is its vast collection of props that spans across various themes and styles. From vintage clothing to whimsical props and eye-catching backdrops, the studio offers an extensive range of options to suit any concept or mood. Whether you're aiming for a dreamy fairytale setting, a retro-inspired shoot, or a minimalist aesthetic, you'll find everything you need to make your vision a reality.

The attention to detail in curating the props is truly remarkable. Each item is thoughtfully selected, showcasing the Jeremey’s keen eye for aesthetics and ensuring a harmonious blend of elements within the space. The studio provides endless possibilities for experimentation, allowing photographers and creatives to push their boundaries and explore new artistic realms.

One of the most delightful aspects of this photo studio is the sheer abundance of inspiration that permeates the air. Every nook and cranny exudes creativity, making it impossible to resist the allure of capturing breathtaking moments. From the captivating natural light that filters through the windows to the carefully arranged vignettes that transport you to different eras and settings, every corner of the studio serves as a muse for your imagination.

Whether you're a professional photographer seeking a unique shooting location or a creative individual looking to embark on a personal project, this apartment photo studio is an absolute treasure trove of inspiration. Its impeccable cleanliness, extensive prop collection, and inviting ambiance combine to create an unparalleled creative sanctuary. Prepare to be captivated, motivated, and utterly inspired within the walls of this remarkable space.

FEtured artists

Anna Krajewski (She/Her):

“As a child I have always loved being creative. Encouraged to be outside I always was in touch with nature. After going through primary school and middle school, high school was where I really began to have a passion for the fine arts.”

IG: @artbyack

Charlie Magidson (He/Him):

Uhh about me? Prob nothing lol. Just some dude based out of boston or nyc I guess ny by the time the issue is out

IG: @gnarliecharliem

Ally Higgins (They/Them):

My name is Ally Higgins and I am very passionate when it comes to creating and telling avant-garde stories. As a filmmaker, my favorite way to express myself is through experimental, semi-surreal visuals with heavy emphasis on teeny-tiny physical details.

IG/Twitter/TikTok/YouTube: @rawratomically

Halle Moné (She/They):

Halle Moné is an indie pop/r&b artist originally from Fairfield, California. She describes her work as “Emotionally charged, edgy, ethereal. My music is almost like a diary written with invisible ink. I feel like anyone can enjoy it, but people who enjoy digging deeper than the surface level will connect with it the most.”

IG/TikTok/Twitter: @hallemone

Lawson Galloway (He/They):

My name is Lawson Galloway and I’m a queer artist living in Charlotte, NC. I’ve been playing music around North Carolina since 2018 with my band, Galloway.

IG: @galloway_nc

I am a New York based artist with an associates in Fine Arts. My art consists of mix media art showcasing women.

IG: @nyc.luiss_

Sarah Kessler-Snell (She/Her):

Sarah Kessler-Snell is a 25 year old artist from Southern New York, now residing in Massachusetts. She works mainly in analog art, with a soft spot for mixing colored pencils and acrylics, and focuses on movement through color, line repetition, and layering as much as she can until she gets something she’s happy with.

IG: @surroc Twitter: @gouldenage

Luis Merino (He/Him):

Eph See (They/Them):

For Eph See, a love of music turned into a creative outlet for growth, expression and making sense of the world around them. Growing up in Boston and going to school in the suburbs, Eph See felt constricted by their white cishet environment, but music created a limitless space for them to be exactly as they are, even when they didn’t know it yet. Now five years into their professional music career, they’re making, releasing, and performing music that’s honest, loving, and fueled with the intention of sparking both personal and collective healing.

IG: @Eph.See

Cassidy Maude (They/She):

Cassidy Maude (they/she) is a Washington raised 22 year old Queer artist and musician currently based in Nashville Tennessee.

IG: @cassidymaudemusic

Jonathan Courchesne (He/Him):

“Hello! My name is Jonathan Courchesne, I’m 24 and currently reside in Boston, MA. Photography is a passion of mine that has led me towards unforgettable experiences and incredibly outstanding people. Bringing visions to life by sharing my skills with fellow talented artists has been a tremendous journey, and is something I find very special.”

IG: @hockeyjon_

Theresa Jo (She/Her):

“I’m a 23 year old self-taught artist, starting from doodles, to colored pencils and ink, to paint, and now, predominantly, digital art.

I’ve named my brand “Straight Up ‘Stract” to describe my love for the abstract, but using elements of realism to keep it from being abstracted too far out.”

IG: @straightupstract

Twink Trash (She/Her):

Twink Trash is an independent drag artist and classical vocalist. Through immersive drag installations she looks to platform queerness and classical music.

Amy Entin (She/Her):

Amy Entin is an aspiring poet and creative. She is a senior Public Health major at Rutgers University and captains the ultimate frisbee team, Rutgers Nightshade.

IG: @amy.entin8

Arienne Annati (She/Her):

Arienne is a queer photographer, artist and poet based out of the Boston area.

IG: @arienneannati

Ambrosia Black (She/They):

Ambrosia Black is a Connecticut based drag artist existing at the cross section between Halloween and Pop Princess. Ambrosia may be fashion focused pop and horror enthusiast, but her roots are in creating unique and special experiences for the audience.

IG: @theambrosiablack

JM (He/They/She):

JM is a 26 year old alternative R&B-soul-pop singer/vocal arranger/drag artist from Boston. Their goal is to inspire audiences everywhere and anywhere to seek out self expression in the most unique and creative of ways, to celebrate one’s self for their flaws with the constitution of love and passion for the music that surrounds their aura.

IG: @unsung.hero.jm

Jeremey Dyches (He/Him):

A nomadic artist, who creates through experience, vulnerability and communal influence. Socially introverted, artistically extroverted. IG: @jeremeydyches & @professorpunx

Kimmy Cane(They/Them):

“I’m a makeup artist, hair stylist, model and designer that uses the art of drag to translate my talents in harmony.”

IG: @kimmy_cane TikTok: @kimmycane Twitter: @kimmy_cane

Virgilio (Nova’s Art) Rojas (He/Him):

Nova’s Art is a male presenting alternative club kid/drag king that pushes forth storytelling performances usually comedic dark or fantasy in nature. Mixing in elements of sensuality and horror Nova is heavily inspired by video games anime and horror genre as well as surrealism art which can be heavily reflected by the visual sfx and makeup you’ll never know what you’re gonna get!

IG: @novasartdrag

Leutwyler’s current body of work features paintings exploring notions of beauty, gender and queer identity. Her artwork has been exhibited in multiple galleries and museums throughout Australia and the United States.

IG: @carlosbob Twitter: @carlosbob TikTok: @carlosbob.art

Hope DeLuca (She/her):

Hope DeLuca is a 20 year old indie/folk singer-songwriter currently based out of Boston. Drawing inspiration from her life & beyond, her honesty & storytelling ability shines through her lyrics & well crafted melodies. Hope has begun rolling out her debut album, with the first single, Protagonist, coming out on July 7th

IG: @hopemdeluca

As the proud owner and founder of Rework Boutique, I breathe new life into thrifted garments and accessories, transforming them into upscale, one-of-a-kind pieces. Since my start in 2020, I’ve been passionately designing, reworking, and sewing each piece, infusing them with my own unique style.

IG: @rework.boutique & @paris.alizae

Frances Garrett (They / Them):

Frances Forever can spin anything into sunshine. As the project of Boston-area singer-songwriter Frances Garrett, its myriad moods can send listeners reeling into romance or off floating in existential space. Garrett balances their familiarity with extremes with an undeniable ear for melody and a gift for writing tracks that could live at home anywhere on the pop timeline. “paranoia party”, the project’s first EP in the wake of TikTok explosion “space girl,” rockets forward with the past half-century of radio magic in its back pocket

IG: @frances.4ever

Influenced by artists spanning pop, rock, folk, and country styles, one thing is certain - whether acoustic or sonically embellished, her songs are raw, unfiltered, and most importantly, authentic. Relatable and down to earth; Cammi is the queer “every-girl”. Guitar in hand, Cammi explores the intersection of grief and love candidly; writing about her relationships with people, the world around her, and of course, herself.

IG: @cammimcdermott

Heather Rose (She/ They):

Heather Rose is a Boston based afab drag and burlesque artist, always aiming to bring you to a fantasy world with her acts and costume design

IG: @heather.rose.666

Kim Leutwyler (She/Her):

Cammi McDermott (She/ Her):

Paris Alizae Osborn (She/Her):