fourculture: issue three

ISSUE THREE | NOVEMBER/DECEMBER 2012

CALLING ALL ARTISTS

THE EMANCIPATION OF

JULISSA VELOZ THE ROYALTY BLACK TAXI ALEX ADAMS TOM DICKINS SEBASTIAN JAUREGUI SHANNON SHIANG PETER RUPRECHT ISSUE THREE

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what is CALLING ALL ARTISTS

Art, music, literature, and compelling societal views that live outside of the box: these are the four pillars of culture that create the world we live in.

Fourculture seeks to bring to the light artists of all mediums. Your contributions to the magazine and the universe are the fuel that brings the movement to life as we reach out around the globe.

Calling all artists as we join in support of those who are creating the culture of tomorrow.

let’s get connected

let’s chat Send correspondence to inquiries@fourculture.com

CALLING ALL ARTISTS

EXECUTIVE EDITOR

SUBMISSIONS

WEB DEVELOPMENT

The Artist D

Trina Carré

Rene Trejo, Jr. Serena Butler

MANAGING EDITOR

EDITORIAL

Paula Frank

Trina Carré Christine Blythe Serena Butler Kathy Creighton Kara Estes Paula Frank Annie Shove

CREATIVE DIRECTOR

Ann Marie Papanagnostou

© 2012 Fourculture Magazine | Reproduction in whole or in part without permission is prohibited.

ART

Ann Marie Papanagnostou Rene Trejo, Jr.

Benevolent Rulers of Garage Pop

Shannon Shiang

6

The Emancipation of

The Royalty

Tom Dickins:

This is OUR Interview 12 A Simple Twist of Kate

Frank Cotolo 18

20

Charlie Demos 28

Peter Ruprecht

Capturing Life on Film 36

Alex Adams

Riding the White Horse 44 Our Generation

Feel the Heat:

Julissa Veloz 56

Black Taxi:

Simone Brown

We Don’t Know Any Better 60

The Silver Lining :

Beckie Cannons

48

Sebastian Jauregui 50

I’m Not Gay. I’m Me 65

my four 66

who we are THE ARTIST D The Artist D has been performing online since the mid 1990s; a relic from the cam show age before social networking was a network, advocate for the rights of the underground, author, painter, columnist, raconteur, provocateur and host of The Fabulous D Show, a radio show broadcast weekly for anybody with a brain in their head. Catering to the freaks, geeks and black sheep of society, he makes the extraterrestrials of culture feel right at home on planet Earth.

SERENA BUTLER Serena “Rena” Butler marches to the beat of a Linn LM-1 Drum Computer. Currently, she remains in a virtual time warp looking to hit that day where replicating a DeLorean time machine becomes reality. Sadly, it has yet to occur; she remains in the current year here to bring you the latest noise making waves in the four pillars of culture. When not working on the magic behind these pages you can find her rummaging the local independent record shops for CDs and vinyl, trying to get past the second level in Michael Jackson’s Moonwalker game for Sega Genesis, or mastering The Force just from watching the Star Wars trilogy.

BECKIE CANNONS Beckie Cannons is the founder of Transtastic.com and a Trustee at Sparkle, the largest National Transgender Celebration in the world. Apart from that, Beckie is just a go-lucky, party-girl who enjoys going out, having a great time, and spreading the fun of being a "tranny." And she loves being a "tranny!"

FRANK COTOLO Known for his comedic acumen, Cotolo has made his living as a writer and a performer all of his life and during the lives of others. He is the author of the novel License To Skill and has co-authored its screenplay version, Molotov Memoirs, a collection of short stories, The Complete and Unabridged History of Japan, an epic novel, and a serious novella, Sweet Shepherd. Cotolo, born in Brooklyn in 1950, has worked in broadcasting, film, theater, music and television.

KATHY CREIGHTON Kathy Creighton, a.k.a. Mama Kath, is on a magical mystery tour of current fine, literary, and performance art and wants to bring you along for the ride. How? Besides watching, reading and listening, Kathy sits down with these creators and discusses everything from what inspires them to where their journeys began to how to fix the current A&E industry. She asks the questions you’ve been waiting for someone to ask.

PAULA FRANK Writer, painter, music lover, dreamer; Paula’s everchanging Pisces spirit rolls with whatever the tides bring her. Constantly in pursuit of the beauty of art in all its forms, she pours her love for human connections into everything she does, be it writing fiction, interviewing her favorite musicians and artists, painting an emotion, or sharing time with the people she loves. This small town girl has great big dreams and strives to make them reality. She is thrilled to offer them to you, the readers and fellow dreamers. After all, what good are dreams with no one to share them?

ANN MARIE PAPANAGNOSTOU Ann Marie likes to make things pretty. This award-winning designer loves to lose herself in the creative process and is psyched to work alongside amazing individuals who fuel her artistic fire . . . and tolerate her fierce coffee addiction.

She is most content with a beverage in one hand and a mouse in the other.

Artists, musicians & writers . . . we want to hear from you

CALLING ALL ARTISTS

www.fourculture.com

W

henever I’m downtown I am approached by the homeless. I’m extremely affected by these experiences because that could be me. That could be you! After all, the popular culture calls us Starving Artists. We are believed to be starving because they believe art does not equal money. Whatever money we make goes to art and most of the time it does not go to food. Art is far more important than food because art is more important than life. Art transcends individual life and goes on to inspire lives. It’s all about the art as long as we can stay alive to produce it.

The homeless population usually tells me a story about their lives, their children and what it’s like living under bridges. I have a certain talent for weeding out the bullshit and hearing the true story of it all.

Sometimes they comment on their appearance in a reflection of a window. Sometimes they show me their needle scars. It’s a lifestyle and one I feel terrifyingly connected to.

In this issue of Fourculture we showcase even more underground artists who do it for the sake of art. My number one love for artists is for those who remain true to themselves. I’ve been known to cut off my nose to spite my face many Art is far more important times for my art. I have lost listeners, readers and fans because I won’t than food because art is give into the standard. I haven’t made much money because I loathe more important than life. selling out. Everyone seems to want to buy us into being subtle. FindArt transcends individual ing a hive full of activity with Fourculture has revitalized my belief that life and goes on to inspire we do exist! lives. It’s all about the art It’s the admission fee we pay to be a part of true culture (not their as long as we can stay culture). We are the underground, the trailblazers, a true circus. Are alive to produce it. you willing to sacrifice fame and fortune for what you believe in? Not every artist is starving but it takes gumption to step out without backing. Will you write your own lines or have your lines written for you? We have fighters in issue 3 from the emancipation of Charlie Demos clawing tooth and nail to be Charlie Demos. The blood, sweat and tears to land the record contract for The Royalty and true “underground pop” by Sebastian Jauregui. All the way to the creations of super fabulous Shannon Shiang and we are privileged to see through the eyes of Peter Ruprecht. These artistic gems come to us alongside even more! Our Fourculture is overflowing with cultures to remind you that there’s truth to art.

The truth to it all is that we’re brave. Knowing you could sell out and refusing to trade your talent for the golden ticket is brave. We risk homelessness. We risk degradation. We risk death. Those who do the thing they love to do for the love of doing it are brave and simply lovely.

Hopefully bravery is contagious because art in contagious (thank you, Tom Dickins) . . . and we’re dying to show our art to you.

There is art worth loving in this world. Let’s love it together THE ARTIST D EXECUTIVE EDITOR

ISSUE TWO | SEPTEMBER / OCTOBER

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BY K ATH Y CR E I G HTO N

Their crowns may be a little tarnished and have a few dents but that’s because The Royalty has achieved a major label contract the old fashioned way...they earned it.

A whole lot of elbow grease, sweat equity and perseverance have gotten them where they are today. The band is on their first national tour of their debut album, “Lovers” on Victory Records.

T

hat regal headgear is also a bit scuffed due to being rescued from numerous rock-and-roll consignment shops and Goodwill bins, resulting in a retro style with a modern twist. Starting out like most teen garage bands, band members Dan Marin and Jesus Apodaca began in a spare room in Jesus' parents' home in El Paso. Through playing out and just getting to know people in the El Paso scene, they added Joel Quintana and Mike Hernandez. The guys started playing with sounds. When Jesus turned up the reverb on his amp, that led them down the path of the 60's retro groove that is the foundation of most of their music today. Once they got the instrumental part down, they felt the need to add vocals. Nicole Boudreau was dating a friend of theirs who lived in the same neighborhood. The friend recommended her and once she auditioned they all felt it was a great fit. Today Nicole writes most of the band's lyrics along with adding her signature vocals.

Victory Records discovered The Royalty through a blog.

They thought the sound was original and good, even though it piggybacks off of a previous era. The band feels that at this point in history, all music is borrowing something from a past era. After The Royalty found its vibe, Jesus said, he looked back and saw that he'd gone a number of years without buying any new records. He'd been listening to the Beach Boys, Phil Spector, The Ronettes, and The Supremes. Those

styles just found their way into the band’s music very naturally. None of the members believe that's a bad thing. Dan says, "We're not trying to reinvent the wheel here. We're just putting together sounds we like; washed out and reverbed out." Nicole added, "It's hard to listen to yourself and be objective. Just the combination of influences has created a new sound out of old ones."

There was a lot of blood, sweat and tears that came before the offer of a recording contract. The Royalty introduced many clubs in Texas to their garage-pop. They made a few trips to California — Nicole pointed out that, once there, they were able to get a good deal of exposure due to the large number of small venues. The label booked them five gigs over four days at South by Southwest this year; being native Texans, the band were no strangers to the annual Austin festival. Not only have they played it in the past, they grew up going to it. Nicole went on to say that SXSW really tests an artist’s mettle because now you're not only trying to work yourself through the crowds to get from one club to the next, but you're doing it with gear and instruments. It's a real challenge if you're playing more than one show the same day.

She said that it's been referred to as an apocalyptic Mardi Gras and Joel will tell you "it's the best nightmare you'll ever have.” Asked if they've ever done "punk rock boot camp"— aka Warped Tour — Nicole said they only played the Kevin Says Stage once in Las Cruces but she wouldn't be averse to doing it in the future if the opportunity were presented.

Integrity is very important to The Royalty. "Don't try to be different for the sake of being different." Despite the fact that the music business is always about sales, which includes figuring out where to slot your record in the rack, The Royalty doesn't allow that to dictate what they create. "We don't even know where we'd fit in the rack. Maybe they just need to make a new section for us. It's about risk and return.

Be willing to take a risk at being different to attain a higher yield on your return. Of course that also opens the risk of floating off into oblivion because no one gets you, but you have to take that leap to find out one way or the other." And leap they do, but their guts guide them. The music that any artist makes has to feel right. The Royalty says that you have to like your own music.

Think about once a song is recorded and published; now fans want to hear it night after night. Can you stand performing it that much? Can you feel it enough to add nuances to performances to keep the song fresh and connect with the audience? That is the crux of art: recreation of feelings and connecting so that the energy flows from the stage to the audience and back again, over and over with each new audience, and with fans who have heard it almost as many times as you have played it.

The discussion continued down the path of musical honesty as the band members discussed listening to other people's music. They talked about how sometimes it's easy to pick out that a member of a band selects other musicians and then says "Okay, I want to sound like this" as compared to a group that brings their own influences and allows them to mesh. Jesus said he likes when he can even pick out those specific influences.

As far as the actual making of the album, as previously stated, the band says that you come in with the music you want, that is you, but you must be willing to let a producer makes suggestions or tweaks that can improve the final product. Again, there is that objectivity hurdle, and sometimes it does take someone outside the group to provide that polish to make a great song or album a superior one.

It is the recreation of feelings and the commonalities of human relationships that inspired the tracks on Lovers.

Nicole had been writing these songs for a number of years

“We don’t even know where we’d fit in the rack. Maybe they need to make a new section for us.” before the band was signed. Although this album, along with most collections of music, ended up with a theme, it was not a case of picking a subject and writing the songs for that subject. Some of the tracks involve Nicole's personal experiences and others are those of friends. She believes that everyone can relate to at least one of these songs and that's why she and the band like them so much. They are easy connectors to each other and any audience.

Looking at the future of the band, first Nicole shared her thoughts on The Royalty's next album. Currently she is entering the phase of life that generally starts around the age of 25. With this tour she's being exposed to new places and cultures, and finding that she's less afraid of the unknown and willing to learn more. She feels that these changes will definitely play into the writing for the next album. Also on the table was a discussion of artistic evolution and the possibility that as a band moves through its career, sounds can change. This can cause some fans to react negatively. The Royalty feels that's the price they're willing to pay to actually grow. The integrity card was played again when the group said that continued evolution is a necessity. Artists shouldn't go into the album creation process pigeonholing themselves, saying "We're gonna make a dance record" or "We're gonna make a pop album.” It should an be a organic process of what feels right and that "right" might not sit well with fans at first. Over time, as they experience it live and see that the band is comfortable with it, most of them will come around.

Then it was time to watch The Royalty in action. Everything that had been said was backed up with a high-energy performance. The band maintains an insanely high level of energy throughout their set. They own the stage. The fact that they are truly friends away from the spotlight pays off with interest in the cohesiveness when they are in it. Each member has their own individual style, yet they all mesh smoothly. The audience is instantly caught up in the result and if they don't get up and dance, toes are definitely tapping and hands are clapping. It is very infectious. All the songs from “Lovers” translate perfectly into the live performance.

In fact, as should always be the case, they're even better live. Nothing beats being able to share the emotions with the musicians, which a recording can never do. The Royalty showed their professionalism and courtesy by giving shoutouts to the acts that preceded them and the one scheduled after them. They closed their set with thanks to their guests and their hosts. All in all, this is a band that possesses all the building blocks for success.

A very special thank you to Jessica at Victory PR for arranging the "sit down" with the entire band. Being allowed to experience the vibe of the entire group off stage, watching them interact in this conversation gave a whole new dimension to the resulting article. It is rare that a journalist gets this kind of opportunity as logistics don’t usually allow it.

www.theroyalty.net

BY PAU L A FR A N K

ISSUE THREE

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Tom Dickins is more than just a singer/songwriter. He is a creative force in the universe. With a hand in music, theatre, poetry and everything in between, Tom is above all, a creator. With his latest solo project, This is Our Album, Tom looked to his fans and co-conspirators in life to help him out by creating a Pozible campaign to crowd fund the album.

They answered to the tune of over 200% of the original goal. For those who had so generously donated, Tom created an online space (exclusive to donators) in which they can share art, give input on songs, or even just post about their day (which could possible become a new song from Tom, encourage a painting from another member, and so on.)

As it came time for this interview, I couldn’t think of any better way to honor Tom and the creative community he has fostered than by including them in this interview. What follows is not just a regular sit down type of interview, but a worldwide collaborative interview between Tom and his fans.

Fourculture is proud to present Tom Dickins and This is OUR Interview!

How did you first get involved in music and theatre? Was there a “magic moment” when you knew that’s what you wanted to do when you grew up?

I grew up in little black box theatres.

My dad is a playwrite and director and my mum (now a healer) was a choreographer and dancer. My birthday parties were mystery tours put on by actors and weird arty people. So performance was part of my fundamental understanding of human interaction from the beginning.

Songwriting and music, however, we're my own thing. I still have a copy of the first few songs I wrote down as a seven year old and performed at a primary school assembly. So there was no "light-bulb" moment as such, more a gentle fade into focus.

You recently came off of a very successful crowd-funding Pozible campaign for your first full length solo album, This Is Our Album. What was the first thing you did when you saw that you had hit your goal? What are your goals for the album?

It was a fucking insane feeling. Ange (my fiancée, manager and business partner) and I had been working 18 hour days in the lead up to the campaign, assembling, shooting and editing the video, tinkering with the rewards. Our Internet got cut off a few days before, so we were "borrowing" bandwidth to upload the damn thing. For it to have hit our goal in the first 15 hours was the most gratifying, validating and humbling thing I've ever experienced.

The first thing I did? Ange woke me up with the news. So the first thing I did was kiss her. Which, in most situations, seems

the appropriate thing to do.

In terms of goals, I want this album to be a thing of beauty, honesty, vulnerability and passion. I want to hear it on the radio. I want the videos played on rage. Put simply, I want it to be brilliant.

Part of your plan for creating the new solo project was to include your supporters in the process. Can you tell us more about what inspired you to include your audience in the album process? What has the experience of this special group of supporting fans been like so far?

Ever since I quit my job, 18 months ago, my fans and supporters have kept me alive.

Whether by buying my EP's, making donations or coming to shows — it is this support that has kept me clothed and fed. In my solo shows, I have increasingly looked to the audience to help craft the setlist and be a part of the songs themselves. I have become fascinated with this performeraudience relationship and how it contributes to the meaning of each song. When looking at the crowd-funding model it became clear to me that this is a natural way of deepening this relationship.

If my fans trust me with their money to create a project, why shouldn't I trust them with my raw ideas? If they are to be the label of the 21st century, why not invite them to be creative partners?

Of course, I was nervous about exposing some very vulnerable writing and songs in their infant stages, but the depth of respect, insight and intelligence assuaged this fear within days of starting the group.

I am writing material I never would have written without their help and refining songs

that may have been otherwise consigned to the back of the cupboard forever more.

I love that.

Do you believe more than ever that “Art will come of art?” What does this mean for you, not only as part of your album making process, but in general?

Art is a contagious beast of beauty. It has always begotten more art. Painters painting to music, writers writing stories from paintings, songs written about characters from books etc. The exciting thing about this project, and more broadly being an artist NOW, is how connected you can be instantaneously. Someone can post a photo in one country, I can write a song in Australia and post a video, someone somewhere else hears the song and designs a fabric using the lyrics, and then someone else again buys the fabric and makes a corset. (This example actually happened) The Internet (like humanity) contains a lot of bullshit and sadness and evil. But it can be balanced by beauty, intelligence and connectedness.

Do you ever feel like you're being pigeonholed into producing a certain type of music by the expectations of fans or do you feel free to experiment with different genres and sounds? – Neta Hoff I think I have the opposite problem really, I don't know HOW to categorize my music, which makes it hard to summaries what I do for tour companies, producers, funding bodies etc. I have got as far as "indie-cabaret-rock-folk-blues-country-andhardcore-roll."

What advice would you have for other emerging musicians/performers/developers thinking about doing a crowdfunding project? – Rose Stevenson Funny you should ask. Ange and I are (at the time of writing) about to launch a music management business called Crowded.

It will offer a range of management services for musicians and artists — one of which is crowd-funding consultancy — where we will help people develop their campaign concepts, rewards, video ideas etc.

What I would suggest is ESSENTIAL — is spending time talking to the people that are likely to support you. How much can they afford? What rewards would get them excited? Also, don't underestimate the importance of looking at other campaigns. Watch their videos, read their pitches. If you could only support one in every ten campaigns you saw, which ones would you support and why?

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What are the milestones that an aspiring independent artist should achieve before making the decision to fuck Plan B? – Tom Steiger That's such an interesting question. I wish that I could say there was a magic sign to look out for. I can only speak from my experience which was that I had worked 70 hour weeks for two years, half in my paid job and half in my music career. It got to the point where neither job could be done properly while the other existed. That made the decision quite easy in the end.

I know many people who have been able to straddle the double life of artist/ worker, some for whom it’s NECESSARY for their creativity. But for me, it was no longer the answer. Interestingly, the moment I called myself a full time artist, doors opened in all sorts of directions that I hadn't even been able to look in previously.

With all the changes in the music industry, what is the measure of "success" for an independent artist? Is it still relevant to think in terms of "hits?" – Esmertina Bicklesnit Ah, success is such a fickle concept. If we set our own measures rather than go with someone else's idea of success, it is infinitely more achievable! I defined success as making a living from my music which to some extent I have done. But now my goal has changed — I want to make a comfortable living. To travel with my music. To not have to ignore blocked phone calls weekly from overdue bills. So I have enjoyed some success, but am aiming for much more!!!

Hits are...helpful but not essential. I would love to have one of my songs on high rotation on RRR or JJJ (awesome Aussie radio stations). I would love this album to defy indie gravity and land somewhere on

view in the herald sun! (?!?!) So we keep on keeping on, though next year will be a quieter year for us as Jen and I are both working on solo records which will take up a LOT of time and energy!

a chart, but it will not be the make or break of the record. I think in some ways, through working with the supporters, this album is already a success and I haven't even recorded the damn thing!!!

You are one of the founding members of The Jane Austen Argument. With the release of the JAA’s debut album, Somewhere Under the Rainbow, and a successful tour with The Dresden Dolls, what’s next for the band?

As I write this, the band is alive and kicking. We have just finished a residency at the Toff, which closed in spectacular style.

Speaking of spectacular, we have also just closed our Melbourne Fringe Show, Under The Rainbow: Spectacular! Spectacular! It had dancers, puppetry and a fantastic crew.

We were lucky enough to get a 5-star re-

How do you know when a song is "done?" – Mindy Weisberger I am not very good at editing my songs.

They generally come in one big whack. The best ones are “done” in 20 minutes, at least from a writing point of view. They do refine through performance. Often I’ll find a line or two change when I perform them, and it happens so subconsciously that I don’t notice it until I go back over my original handwritten lyrics months later.

This is a good thing and a bad thing I think. It means even if I like a concept, or a line or a melody, if it doesn’t scan well as a whole song, it is often too difficult to repair and it ends up sitting in the briefcase, done, but not to see the light of day.

What are the pros and cons of collaborating/going solo? – Katt Taylor I think that over time, we have come to realize what things the Jane Austen Argument do incredibly well — and what things are better explored separately. I don’t really feel that “going solo” and collaborating are mutually exclusive. In fact, in a lot of ways, the way I am working on the solo record is much more collaborative as the supporters are my label, my confidants and fellow decision-makers. Additionally, Ange and I are working SO closely together on this record, Have you ever considered writing music every element of it. So the solo work is just for other musicians or theatre to expand another form of collaboration! your audience? – Cherish Russty Brazil Yes. Though I haven’t actively pursued What are some of the things you do to it — I would relish the challenge. But I have recharge your artistic batteries/fight the rather a lot on my plate for the next 12 dreaded writer's block? –Mary Hill months!!! After that though, readers… ;-) Step one: Walk. I try to walk for an hour each morning. This is an essential way to Music, theatre, touring, teaching, perwake up the body and mind for me. It also forming, directing…is there anything forces me to see the world outside of my Tom Dickins can’t do? music room.

I am not very good at noticing or deStep two: Return. When I get back scribing things. Like people’s appearance. I home, it is mentally a different place to the am hopeless at any arts or crafts. I am an one I left. I am now in work mode. I don’t re- incredibly flawed person, actually — but ally go into the bedroom, I spend time in the lucky enough that my strengths seem to capoffice or the music room. It helps somehow, ture people’s imagination to section off the times of the day, at least me along for the time being.enough to carry theoretically (life will always intervene).

Step three: Write every day (where possible). I try to write at least SOMETHING What is on the horizon for you, and more each day. It might be a note in my phone, importantly, what color is it?

My life. And it’s probably green. a stream of consciousness page or two, a poem, a line, a chord progression. A lot of it is trite and never sees the light of day, but it is in the continual practice, the continual allowance of time that refines my writing.

This means that when I’m onto a good song, it’s not a fluke, it’s not something I wait on for months and months — it is the result of hard work and discipline.

Do you ever set out to write a song only to find it works better as a poem?

What do you do when/if that happens?

– Mel Trent It does happen. Let it be a poem. Poems are important. And my poems generally don’t like being squashed into song form.

They want to be freer than that.

I’d also add, my songs generally don’t like being delivered as Spoken Word pieces. At least not by me!

www.tomdickins.net check out Tom’s

ISSUE THREE

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BY FRANK COTOLO

IMAGE: PHOTOS.COM

I have a friend who has been a member of the paparazzi since the term was coined in 1958 or so. Known simply by his surname, Alberici, he is now in his upper seventies (age and weight), though you would never know it by his hairline.

A

lberici currently lives in the resort city of Positano, Italy and still hand-washes his clothing off of the Grand Beach of the Amalfi Coast. The nature of his profession has always thwarted any chance of maintaining a relationship because it did not take long before each woman discovered he had sold photos of her naked while dancing, cooking or playing Pachisi.

Though he did not receive credit, you must be aware of Alberici’s work. He took the famous nude shots of Marlon Brando eating his vest; Joe Namath skiing naked but for a pith helmet; Richard Burton comparing his penis size to a carton of Lucky Strikes; and the most scandalous of them all, Sam Jaffi crawling naked in a full-lotus position on the set of Ben Casey.

It was essential that I get back in touch with Alberici when Scuzo Magazine offered me thousands of Euros to get “fotografie riservate”— unauthorized photographs — of celebrities.

“I need for you to get them to be as pornografico as is possible,” said my editor.

“Nude is not enough?” I said.

“Nude works. But nude with more nudes is better, even if one nude is not a celebrity nude. Two nudes intrecciate, or how you say in English, entwined, is the best,” he said.

“But one of two nudes entwined must be a celebrity. Photo must be an autentico, how to say it in English, genuine of celebrity. It doesn’t even matter if celebrity is old, young, pretty, ugly, fat or deformed, as long as they are famous.”

“What’s your policy on unibrows?”

The editor was giving me a chance to make more money, since writing articles for the magazine didn’t pay nearly as much as nude photos of celebrities. Though two of my articles received worldwide acclaim, the editor said, “No words in print can sell more magazines then Sarah Palin in her birthday suit.”

I discovered paparazzi with everyone else, through the eyes of pop culture. The term was used in Federico Fellini’s film La Dolce Vita. Alberici told me that Fellini took it from the name of a character in a George Gissing story written in 1901 (also, were it not for Alberici I would never have known that the singular of paparazzi is paparazzo).

When I arrived at Alberici’s villa I found him on the beach. Kneeling by the shore, wringing an Indigo Bib Overall, he smiled at me and said, “I like to keep this durable, heavy-duty denim work wear very clean.

Look, the seams are triple stitched.”

I helped him wring out the apparel and we went to his office, a wide room with wallto-wall photos of celebrities either nude or performing strange acts, and with espresso in hand, we talked.

“Can you give me any tips on celebrities

that I might stalk for candid photos?” I said.

“You know Regis is back on television, don’t you?” Alberici said, drinking his espresso in one long suck. “And I hear he sometimes forgets to put on his pants before going on the set.”

“Come on, Alberici,” I said, “we all have naked photos of Regis after he turned eighty.

I didn’t come all this way to get a tip like that.

You’re holding back the good stuff. Come on, give me a break.”

Alberici donned a crooked smile. Then he reached into his laundry basket and took out a pair of men’s bikini underwear and held it up.

“This is a Caribbean,” he said softly. “It has a contoured front pouch, high-cut leg openings and it presents a most flattering definition. When I wring it out after soaking I must stretch it to twice its size and then have it snap back on its own.”

I sat amazed, not sure that Alberici was telling me — in not so many words, or as the case may have been, in totally different words — that there was a leak in the security of Great Britain’s Royal Family.

“Prince William’s wife?” I said in a whisper.

Alberici put the bikini back into the basket.

That’s when I was sure he was telling me that word was out about the Duchess of Cambridge walking naked by open windows.

That night in bed I thought twice and thrice about taking naked photos of Kate Middleton without her permission. I realized, though, that even with her permission I could never take naked photos of her. Then I thought about how much the magazine would pay for naked photos of her and I wondered how much the Windsors would pay for keeping naked photos of her out of the press. Into the early dawn I thought about naked photos of her but never once did I stop to think about her naked. If I had, I would have thought about having naked photos of her just to myself and I wondered how much I would pay to have naked photos of her for my eyes only.

The next day after breakfast I left for France with a map on how to get to William and Kate’s relatives’ home. Alberici drew the map, adorning the edges of the expensive paper with delicate black-line drawings of Calvin Klein Micro Modal Bikini Briefs.

The map brought me to a private spread of land that went on for acres. From the edge of the grounds by the hand-carved rococo no-trespassing sign, I could see a building. It was a white Napoleon III-styled three-storied mansion, surrounded by wooded grounds.

“That is a Spanish ornamental garden on either side,” said a voice in a whisper behind me.

Startled, I turned around quickly and said, “Who are you?”

“Who are we, you mean to say?” he said, pointing to a bunch of men standing in the nearby brush.

“Yes, you, all of you.”

“We are not together,” said the man in a

thick Italian accent. “We are like you, we met here using this map.”

It was a copy of the map Alberici had given me; only there were drawings of different bikinis on their maps.

“Paparazzi?” I asked.

“Of course,” he said. “My name is Pepe. I don’t know these others.”

Just then, all of the others held up their maps in unison.

“Pepe? You are Pepe Roni?”

“Yes, you have heard of me?”

He was as famous to paparazzi as Alberici. Pepe Roni was the paparazzo that had taken the infamous photo of the ill-fated Cardinal Contraband mooning tourists in Vatican Square. I shook his hand, which was clammy, and then I asked why he was here, though I suspected I knew (it’s always better to play dumb than to be dumb).

“I own this mansion.”

“No, you don’t.”

“You are right, I don’t. You know why I am here, I know why you are here and we both know why all of these guys are here,” Pepe said.

Word was out. The Duchess of Cambridge was in the mansion and the paparazzi were on the scene, locked and loaded. As some of them began to scale the manicured hedges and enter the grounds, I suddenly had a change of heart.

“Are you not coming?” said Pepe.

“I don’t think so.”

“Have it your way,” Pepe said and then he gently followed the others on to the property.

I left for Paris feeling strangely good that I had refused to be a part of sneaking photos of that lovely duchess. Something larger than my own guilt stopped me; something I may never understand.

A few weeks later, as I was having breakfast at a café in Montpanasse, I picked up a copy of Le Monde diplomatique and read the headline: A dozen paparazzi nabbed for harassing Duchess of Cambridge I didn’t have to read the text; what had happened hit me like a Studebaker: Alberici was a mole for the Royal Family! Pepe Roni, the others and I got the same map from Alberici to set the trap. Luckily, I trusted a strange feeling and left, though I was as dumb as every paparazzo for not figuring it out while on the scene.

Though Alberici probably scored a lot more cash as a turncoat than he ever did selling photos, nothing kept the paparazzi from eventually getting topless photos of the duchess, which have since been published in many magazines.

One editor said he published the photographs “as a service to our readers.” And that was the first time anyone insinuated that what the paparazzi does is a service. It almost made me feel bad for leaving Pepe Roni and the others holding the bag.

Almost.

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BY PAUL A F R A NK PHOTOGRAPHS BY PETER RUPRECHT W W W. P E T E R R U P R E C H T. C O M ISSUE THREE

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As the creator of both Shiang New York and the Skins and Stones lines of jewelry, Shannon Shiang composes stunning works of art. Her jewelry blends the sacred with the artistic, empowering the wearers to become stronger, more conscious beings. Always trying to create wonderment and beauty in her pieces, Shannon pours herself into each piece she does. The results are nothing short of stunning.

Whether as a collaboration with another artist, or as a piece of her own inspiration, Shannon Shiang shares her love of the sacred and hopes that each piece will be a story that can be shared for many years to come, for her jewelry is the story of each of us.

You have an overall artistic background through your childhood and college years.

How did you finally come to the point of making jewelry as your main focus?

That’s a long and beautiful story. To cut things short, I needed an internship and David Graziano needed an assistant. David is one of the most brilliant designers on this planet and also the warmest heart that you can ever meet. He was the camp leader of the Pink Pussycats at Burning Man and wanted to give tokens of his appreciation to all of those who touched his life in the form of a medallion. I worked with him during this process; from the carving and selecting

stones and witnessing the joy that it brought every individual that he passed that love to.

That is when I fell in love with jewelry. Now David owns an awesome eco-resort named Ahau’ in Tulum, Mexico that is a sustainable, luxurious property on the beach that is just plain magical.

New York is a city that really knows how to get things done. The energy and the action is what drives me. I came to New York hoping that it would fuel my passion and ambition. New York has certainly given me all the tools I needed to go anywhere else in the world. California is amazing; a hub of creativity, but New York is where to go to You were born in Los Angeles and spent get stuff done. much time in Laguna Niguel. What brought you to New York City? What in- Your jewelry is inspired by many differspires you most about the city? How is ent things: art, fantasy, spirituality. How having a business based there different do you combine all these influences to from what it would be in your home state create a singular piece or collection? of California?

I don’t really think about it. An idea

comes to mind and I act on it. I want to create pieces that touch people and make them happy when they buy it, wear it or talk about it. I want to invoke a sense of wonderment when someone encounters it. Jewelry is an amazing medium since it is what is generally used to pass down knowledge and lineage.

How did you go about beginning Shiang New York, your own jewelry line? What are your goals for Shiang New York?

Shiang New York is inspired by sacred geometry, symbolism and non-profits. I started Shiang New York when I went to the Grand Mosque in Abu Dhabi. I saw the never-ending references to the flower of life and seed of life and was curious about the power those symbols represented. Afterwards when I did my research, I was compelled to tell the story of the flower of life, the symbiotic form of all life and consciousness through my medium of jewelry.

My goals for Shiang New York mirror the dreams I had as a child. To leave the world a better and greater place than which I found it. I’ve been so fortunate to find organizations that walk the same path such as the Paititi Institute and Leukemia Needs whose primary goal is to uplift those in need. Shiang New York is simply a plat-

form in which I can shine a brighter light to I collaborated with David Starfire in just such organizations while taking shape in a the same way. I shared an idea with him, he trusted me and now my design will be beautiful jewel. his next album cover. I am in love with the You also have a partnership in the Skins trust that artists have in me no matter what & Stones company with Hans Haveron. medium it may be.

How did this come about? What has it been like to collaborate with fellow artists? What is the biggest difference between Hans is one of the first people who ever creating for Shiang New York and for believed in me. I asked him for a digital Skins & Stones? How do they feed each drawing so that we can make a piece for our other creatively? burning man camp, In La’Kech. We didn’t They are both a part of me and both my really know each other that well, but he babies. I just go with the flow on which projtrusted me with his artwork even though he ect is pulling me at the time, either financialhad been burned in the past. I came to him ly or artistically. Right now, they are under with the finished scarab medallion months one entity, but I know that as both compalater with both of our signatures on it and that nies grow a mind of their own, they will fly is what sprouted our partnership, friendship to where they should be; like an eagle lookand family. Our relationship is built from trust ing over her hatchlings. My newest egg is and respect and that is how I would like to my Moloka, a beautiful resort line with simple lines, gold, silver and druzies that I am future collaborations to continue.

I am working not only with visual artists, developing with Kimberly Kite. Like a mothbut musicians and festivals as well. Dede er, I love each one the same, but sometimes from the Do Lab saw a synergy between our one needs more attention than the other. forces and I created the LIB Medallion that represents the festival for what it is; art, mu- Many artists find a certain “mindset” or sic, dance and consciousness. They are an “zone” in which they feel most creative. amazing group of people with great ideas Do you have any special tricks that get and the ability to implement them in such a you more inspired to create? What about powerful way. Every year, I am wowed by when working on an already designed their brilliance and integrity. piece in your studio?

I tend to get my moments of inspiration in the wee hours of the night. This is where there is the thinnest veil between our reality and the outer most dimensions. It is when I’m most inspired and creative.

What is most important to you that people feel or see when they look at your work?

What makes Shiang New York or Skins & Stones jewelry unique?

Shiang New York is based on sacred geometry and philanthropy and Skins and Stones is a jewelry company based on a network of artists whose work I transform into a wearable entity. All I want to do is to touch someone. I want my pieces to tell a tale of the

moment they got it and be a memento of a beautiful story for years to come. My intention is to promote creativity, beauty, wonderment and consciousness in these gestures and tokens.

Melrose or OTTE in New York. I am currently finalizing my next year’s line which I will be showing to the network of retailers that are interested in carrying it.

Can you tell us about any projects you are currently working on? Where can one who wants to purchase your work find it?

I’m always psyched about any new collaborations that come my way. Random Rab is someone that I only met once on the Playa. We’ve been meaning to meet up, but I know when he gets his piece, he’s going to be floored. Right now, you can contact me directly through my shiangnewyork.com or skinsandstones.com, ILWYW.com, S&G on

In closing, what would you most like people to know about you and your body of work?

We are all complex beings, and my body of work is a reflection of who I am. The pieces all carry portions of me inside of them. Sometimes in form, sometimes in design, sometimes in intention, but they all have a mix of the ingredients that are in my composition: Integrity. Trust. Consciousness. Fashionable and Cool.

SKINS & STONES www.skinsandstones.com 26 www.fourculture.com | ISSUE THREE

SHIANG NEW YORK www.shiangnewyork.com

check out Shannon’s

BY SERENA BUTLER

PHOTOGRAPHY BY WALTER WLODARCZYK WWW.WALTERWLODARCZYK.COM

M

any artists are following a map laid out by their predecessors, conforming to what is popular while other artists become pioneers. These artists explore uncharted routes to musical success while breaking all the rules. Ladies and gents, in this issue we have an artist straight from the underground taking his own detour to success: Charlie Demos.

Along the way Charlie has taken many different exits off his highway to stardom.

From classical/jazz voice training to dabbling in visual arts, Charlie always remains true to his roots, avoiding all conformity, to become the alternative voice of the queer community.

You’ve got a new EP in the works. Can you give us a little rundown of what you have in store this go around? When can we expect this EP to drop?

My new project is called “W.C.P.” and is formatted in the style of a hip-hop mix tape.

Usually I compose/produce music from the ground up; beginning with piano and voice, then expand the arrangement in which ever direction I am most compelled to explore.

On this project, several different writers and producers sent me beats or instrumental ideas and I responded with writing of my own flavor. We have 12 tracks written and I’m in the process of selecting which songs will be on the record. Most likely there will be six.... It’s a very exciting process! There are colors, tones, and phrasing choices brought to me by the minds and music of other people. I sing, rap, and speak. I take a lot of creative risks with my voice. It’s definitely the most beat heavy record I have made to date. I have been through quite a bit this past year: breaking out of an abusive relationship, ending long term, highly poisonous “friendships;” a lot of spiritual emancipation, growth, and transformation. All of this is reflected in this new music. The title of this project has changed several times since it’s development. I decided on “W.C.P.” after an amazing night out on the town in New York City with some of my closest friends, I.R.Marin and Divina Gransparkle, both of whom are amazingly talented artists. We were all high on weed and champagne, laughing and having the first real good time in a social setting in over two years! “W.C.P.” represents the “Willingness to Challenge & Play” and also “Weed/Champagne/Pills.” It’s playful, honest, instinctual, versatile, sexedup, and rough around the edges. That best expresses where I am at the moment. I claw my way up to the top of the food chain and, as king of beasts, devour the weak and triumph over my enemies. Also this is the first project I have written while high on marijuana. “W.C.P.” was conceived in its entirety 30 www.fourculture.com | ISSUE THREE

with the help of Mary Jane. She gets a co- prefer tea. I am a deeply spiritual, slightly writer credit (haha)! The projected release introverted homebody. I luxuriate in loungdate is 1/1/2013. ing around in my pajamas reading or watching Netflix, snuggling with my dog. Most You, sir, have proven to be a very naugh- people think I writhe around in a sweaty pit ty boy with your latest single “Throw of men covered in blood or semen every Down.” What makes sex a defining part night. How boring would that be? ;) of your artistic work? Is there a boundary you’re not willing to cross in your You were inspired by a large spectrum of voices and music. Did these inspiraartistic evolution?

There’s a difference between “sex” and tions shape your choice to study jazz “sexual energy.” Sexual energy is vast, pri- and classical voice in school?

I grew up listening to a myriad of musical mordial fluid; it’s enveloping and inclusive.

Tapping into sexual energy is key to under- styles, but I have always connected most standing and owning personal power. I use deeply with old-world soul. I’m a blues man. it as baptism, weapon, and psychic shield The modality of the blues shapes my musiin my art, exploring proclivity, fantasy, dark- cal aesthetic and continues to inform every ness and light. I can be anyone or anything piece I compose and perform, no matter in concept. The ultimate freedom of expres- what genre. I began to study classical voice sion, for me, is a creative adventure that as a way to strengthen, understand, and extakes place in a zone that is simultaneously pand my own instrument for technique. Afsafe and frightening. I love to be uncomfort- ter I completed one year of classical voice in able and scared when creating. It means college, I was fully immersed in Jazz/Blues.

I’m doing work worth doing. I have been I was fortunate enough to have an amazoffered work in the adult industry, most spe- ing mentor, Tom Bogdan, who encouraged cifically, in the pornographic film medium. me to find my own voice within these styles As much as I respect, fantasize about, and as well as the extended vocal techniques of frequently emulate the energy of those pro- Meredith Monk. I also sang in a gospel choir fessionals, it’s a line I have yet to cross. at the Berkley College of Music summer seOften times I talk shit, but truth be told, I’m mesters, which proved invaluable in regards 31. If I haven’t done it yet, it probably won’t to ear training, harmony, and improvisation. I happen. Anyone who knows me, knows If continue to study voice, piano, and composiCharlie wants to do something, he goes tion. I will never tire of studying music. all in. For me, when exploration of sexual energy goes from conceptual to blatant, the For those who have seen you live, you experience loses power and intrigue. To cover the whole spectrum of entertainunderstand concept is much more profound ment from a mellow coffee house-like because it’s the pure essence of the ener- setting to getting full on down and dirty gy, not just bumping and grinding on some- on stage. How do you determine a “ratone living out a fantasy. That is a transient ing” for your shows? shard of disconnected, misplaced energy unrated and uncensored. Whethfor me and the few times I have acted out er itI am is an performance at a jazz my fantasies in my real life, it has felt like a club or a fullacoustic scale, multi-media production; cheap trick: a grift. To experience these en- I say what I want, how and where I want. ergies in concept is enlightening, empower- It’s about what I feel compelled to give my ing, and eternal. My day-to-day life is pretty audience and what they need back from banal. I don’t drink alcohol much at all. I me. I derive great enjoyment from acoustic

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shows because they give me the opportunity to reveal my process of songwriting.

The eardrum rattling, “kick you in the teeth” shows are equally exciting, but I give 100% of the same energy no matter how I execute a performance. If a venue or organization wants to censor me I don’t work with them. Making everyone feel comfortable is not my job. Complacency is living hell. It’s the disease that plagues this nation of the lukewarm IQ, mediocre-middle-American couch potatoes: The United States of Sloth.

There are countless artists out there willing to present a watered down point of view and whose content isn’t confrontational or overtly sexual in nature. There is nothing wrong with that. Go to them, not me.

When putting together your shows, what is the rehearsal process like? Is it different or similar for the style/location of show?

Rehearsals are always a balancing act for me. I have been known to over work to the point of extreme exhaustion and sickness. I am cultivating a certain amount of self-care and self-love as I get older but my general life philosophy is “I can rest when I’m dead” (I get that from my Irish Grandfather). What I love most about an authentic delivery (in any artistic medium) is the LACK of perfection: the flaws, the truth. I definitely over prepare technically so I am available to whatever energy enters me in the moment of a live show. I love to improvise and be spontaneous on stage, but within a framework of my own design.

Like many artists, you’ve taken the road of abandoning “commercial music” following a head-butting episode at the Logo offices and decided to release your EP “Screaming Underground” for free. How has your musical view evolved since that day at the offices of Logo?

It was the greatest thing I could do for myself as an artist and truly free human being. I had been offered deals from record labels, but none that fit my belief system.

I’m not going to be held hostage promoting one record for years for a small sum of money. I’m not going to have my message contorted, distorted or silenced; my image stripped and re-packaged then sold to the highest bidder. I am not a product. I’m a living, breathing force of mother-fucking nature. Also, the fact that I create at a fury pace leaves many music executives scratching their heads (or balls, respectively). Yes, I create, perform, and move on. I want my audience to run with me on this obstacle course adventure of subversion, perversion, and sexual salvation. I believe in people’s capacity to intuit, understand, and connect with my work. My audience isn’t just a dollar sign in my eyes and they feel that from me. My fans are an incredibly diverse group of kindred spirits that stand by me no

“I'm not going to have my message contorted, distorted or silenced; my image stripped and re-packaged, then sold to the highest bidder. I am not a product, I'm a living, breathing force of mother-fucking nature.” matter how I choose to deliver my creativity. For that I am thankful. You get what you give. If you are artificial, constructed, and hyper-aware of how others perceive you, that’s what you’ll get in return. That is why I am constantly scraping against the fray of the mainstream music business. I know their agenda and I don’t want any part of it. The corporations are about exploitation, degradation, and profit margins. The road of an independent artist is difficult. Many times I look at my finances like “How in the hell am I going to make this work?!” However, I organize my life around making music my way. My “fuck you” attitude has gotten me far beyond where I dreamed I would be as a musician and I’ve only just begun. It’s just a matter of keeping the ball rolling in the direction that makes the most sense for me allowing for ebb, flow, and transformation. I book shows; I keep the money. Yes, I have to deal with sleazy promoters, drug addicts, alcoholics, lunatics, and ridiculous venue owners. So what? I can handle them *cracks knuckles* (haha) and sometimes they are great people! I sell records; I get the money. I select the artwork and packaging down to the smallest detail. I have a small, close-knit family of razor-sharp art-gangsters riding the same wavelength as me, contributing to my work. I don’t seek validation from the mainstream. One of my biggest heroes, Lydia Lunch, says it best: “Pleasure is the ultimate rebellion. If people could understand how much pleasure they could have from being alone, the world would be much more sane.” Being in complete control of how my art is delivered to my audience is like a Tantric orgasm. The corporate music business is a frustrated teenager fumbling in the dark trying to find it’s g-spot. Will they ever turn on the fucking lights? Who cares?

You are an atypical “out” artist with a tendency to go against the gay mainstream. What would you say to those who are having trouble fitting into their own community and are struggling to find the alternative outlets?

The mainstream gay perspective parallels minstrelsy in the African-American historical text. We are bullied and brainwashed to believe we are caricatures with a finite skill set and a limited spectrum of personae. LGBTQI youth commit suicide partly because of the misogynist, homophobic agendas of

the mainstream hegemony, but also out of frustration and confusion, being shoved into antiquated archetypes within our own community. I would suggest abandoning all outside noise and look inside. Challenge everything you know to be true and begin to explore what truth feels like for you. Don’t accept someone else’s opinion or view of you as fact. Find things that you enjoy doing for that simple fact that you enjoy doing them. Meditate, masturbate, and partake in marijuana (it truly is medicinal and enlightening). Get off the internet and read. Read everything and anything you can. You can’t find a book, song, film, or theater piece that moves you or adequately represents your point of view in the world? Create one of your own. Everyone has a different story to tell and that’s beautiful. Tell your story. Experiment and explore. Read Julia Cameron’s The Artist’s Way. Every human being is a creative force.

Aside from your own musical aspirations you have assisted your friend, Anette Norgaard, with her off-Broadway production, “Dramatically Different” (a solo production fairytale of a young girl becoming a woman) by writing/composing music for the show. What was the process in writing for the show?

I would absolutely love to do more work like this in the future; in fact, I’m counting on it.

Ms. Norgaard is a mastersinger and actress: a consummate professional. She is a sea of fire and I, the storm that swirls over that sea. Our energies compliment each other very well. She gave me the script for “Dramatically Different,” which included text she wanted set to music. Typically when someone hires you to compose or produce music for him or her, you get a very short leash. However, I was given carte blanche in regards to style and arrangement. She really let me run free with her project. For that I feel honored and grateful. I was able to add my own take on her life experience.

The amount of intuition, trust, and courage that required from her is unfathomable. I worked very hard, and with much care, to create a soundscape which best represented those experiences as perceived from an outside eye. I didn’t want to just “do the text justice.” Rather, I strived to create another dimension to the world she already begun to weave into existence.

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Let’s take a look at a non-musical side of you for a second . . . on Manhattan public access you’re the art director/producer of THE DAGGER: Alternative Queer Arts Programming. Can you tell us a little about The Dagger? How did you become involved with the public access show?

For those outside of the Manhattan area can we view the show anywhere?

Film, to me, is the lover with whom I share a sensual telepathy. Film is sanctuary, a resting place and a rebirth for my creative spirit. The muses strike me primarily in the sonic realm so I derive great pleasure and artistic balance when I use my imagination through the images of a moving picture.

David Lynch, Alejandro Jodorowsky, Gregg Araki, Bruce LaBruce, Catherine Breillat, Brian DiPalma, Martin Scorsese: these directors’ work inspire my artistic aesthetic equally, if not more so than, other musicians. Funny thing is both Lynch and Jodorowsky are accomplished musicians as well as prolific filmmakers! [Jodorowsky’s] “Holy Mountain” transformed my entire perspective on philosophy, spirituality, and creative expression. It was profound so much more than just “a movie.”..It’s alchemic.

My videographer and long time collaborator, I.R.Marin, suggested I explore making film: tap into my magical third eye. I went to MNN and pitched the idea of an alternative queer arts program. I could have pitched it to LOGO, trust me, they were interested in having me back in that boardroom! However, the history, evolution, and message of Public Access and message moved me.

It felt like the perfect platform. The support I received from the people at MNN was incredible. I was encouraged to create content that was experimental, artistic, thoughtful, and uncensored! The Dagger is a triptych: three pieces of a whole body. I grew leaps and bounds creatively and personally making those short films. I’ve only scratched the surface of my love affair with film. More is coming soon, pun intended.

If we were to stalk your iPod, what song by another artist would best define you?

What songs do you listen to for inspiration? What songs turn you on?

There are two songs that adequately define me: a light and dark. M83’s “Midnight City” is the light. When I first heard that song, it struck me in the gut. He sings with nuanced understatement about his commitment to the city. I identify with that deeply.

Yes, “the city is my church” NYC! The lush analog synth arrangements project a holographic rainbow of colors and the saxophone solo suggests a radiant paradise in 1985. It’s eternal and bright. The dark

side would be Bessie Smith’s “Send Me to ‘Lectric Chair.” It’s a classic blues song about how love, heartache, sacrifice, and pain. She loved that man so damn much she killed him and now all she can do is beg to be sentenced to death. To live with the death of love is worse than 2,000 jolts of electricity rocketing through your body. I can identify with that type of tempestuous obsession not only with a romantic partner, but also with my love of music.

The music that inspires me most is hard-edged gangster rap, hip-hop, industrial electronica, blues, and crazy, eclectic randomness. I often site Notorious B.I.G., Bessie Smith, Lydia Lunch, Nine Inch Nails and Wendy O. Williams as staples in my pantheon of muses. Dr. John’s “Walk on Gilded Splinters” is inspiration when I need spiritual insight to triumph over my enemies.

Nancy Sinatra and Lee Hazelwood’s duet album is mind-bending, sickeningly brilliant.

I want to find my Lee Hazelwood...ride around on horses in a mushroom trip haze, babbling about Greek tragedies. What turns me on most is anything from the band SALEM, most specifically, the track “SICK.” Anything by Lords of Acid. I’ve been a huge fan since age 14 and listened to them quite a bit while making this new record. “Not All Babes are Wolves” by Spinnerette. Brody Dalle is kick ass.

Throwing all animosity aside, your video for “Insane” made it on Logo’s top Ultimate Queer Videos of All Time. For it being your first music video what went through your mind when making the list?

Do you feel particular artists were missing out of the top group? Are you honored to share the list with an artist in particular?

Firstly, I harbor no animosity towards Logo or any of the network executives of Viacom. It was one experience among many I have had the mainstream entertainment business.

“Insane” actually wasn’t the first music video I made. My second record, How to be a Boi, had a single called “The Full Moon” and I did cut a video for that back in 2007.

The day after we wrapped filming, the director was found in possession of heroin and is still in jail today. Needless to say, that video never saw the light of day! When I was making “Insane,” I was very nervous, anxious, and felt pressure to please the both the network and my publicists at the time. I wanted very badly to “prove myself” and be in the good graces of the industry executives. I am a hyper, detail-oriented, workaholic so I spent months rehearsing, planning, and perfecting ideas for the shoot. I was committed to show my passion, strength, and

www.charliedemos.com

energy within the framework of that catchy, three and a half minute song. I am happy to have had the opportunity to showcase my work and am grateful for the platform of exposure. I can’t say there were other “artists” I am honored to have shared it with, as the majority of my company on the click list were vapid charlatans grinding around desperately grasping for validation and attention. It was tantamount to watching a homeless person beg for money on Seventh Ave. Logo’s complete and utter lack of substance is both sickening and disappointing. There is so much missing in regards to the representation of alternative mindsets, lifestyles, and personalities. Yet, the mainstream LGBTQI community openly whines about equal rights for all. Makes me want to fucking puke.

So we have word that you and one of our other Fourculture favorites, Ariel Aparicio (refer to issue #2), have plans for collaboration. Care to share your “secret” plans? How did you two get together creatively? We’d love details!

Ariel is a seasoned professional: a great musician with a gritty, rocker voice. He has an old-world New York City-down by the Bowery- circa 1983 vibe about him. We have been talking about collaborating for a long time, but we are both so busy nothing has come of it. I wrote a song called “Tune Up My Body,” that is very funky and urban.

I thought of him for writing lyrics and melody line for an 8-bar verse as a way to make collaboration easy and accessible. We are in the process of laying it down. He will be crooning and whispering dirty Spanglish in your ears! I want to challenge his aesthetic on this track too. Let’s have a playful dance on terra incognita for three minutes!

If you could spend the day in someone else’s body, who would it be and why?

What would you do as this person (no limitations)?

I have spent the majority of my youth and my entire adult life struggling to be happy in my body. I am open about having anorexia and how I learned to manage it in a healthy way. Honestly, it’s still an uphill battle, but one I’m willing to fight and hopefully one day make peace with. It would be very easy for me to say “oh I’d love to have his body or play in that body for a while” then proceed to rattle off names of men with perfect physiques. However, this body is where I belong in this incarnation and I love it. I wouldn’t trade it in not even for a day! I’ve worked too hard to abandon this beautiful gift.

check out Charlie’s

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capturing life on film

BY PAUL A F R A NK

With his unique eye and open spirit, Peter Ruprecht brings an exciting perspective to photography. His photos echo the curiosity with which he approaches all of life. It’s in his blood and has carried over naturally into the photography that he loves.

Peter did not begin his career in photography, but rather developed it as a creative extension of himself. Now an award-winning photographer, Peter has established himself as a true artist. Whether working on an artistic shoot, a commercial shoot, or taking advantage of a random dust storm in the desert, Peter Ruprecht expresses beauty and emotion in everything he does. It is truly life caught on film.

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Born in Argentina and growing up in Vermont, you were not focused early on in photography. When did you first discover photography as something you enjoyed and were clearly good at?

This upbringing gave me a unique perspective for life. I travelled constantly as a child between two continents and two cultures. While I was not originally focused on photography, I was indoctrinated with the need to explore and be inquisitive. I was always learning something new geographically or culturally. Photography was not something that I was performing as a career; observation and documentation were in my DNA. Photography became the creative outlet that revealed itself to me organically. I traveled around the world as a man-

tage in the creative world? Do you find that you can use both sides of yourself to complement each other or do they sometimes battle?

Dartmouth was an amazing experience that I would never trade for anything in the world. The blessing of being able to spend four years surrounded by brilliant people has no price. The economics degree I received there was a reflection of the topics I studied while there. I was intrigued by “things that make the commercial world go round.”

Economics seemed like it would give me a leg up into the business world outside of the halls of a college. However, since I have left You actually have a business degree school I have always longed for more crefrom Dartmouth. How do you use that ative outlets than the excel model or power business sense to your best advan- point presentation that my job requirements agement consultant. As I mentioned before, the need to explore and document seemed to be in my blood so I picked up a camera.

As I hopped around the globe on business I would send photos to my family and friends.

Those photos were then shared with other.

In a short matter of time I had people contacting me about my photos. There was something about the photographs I was taking that was resonating with people. And so it went…first a restaurant wanted my photographs, then a hotel, then an art gallery… and, well, here we are — hopping around the globe for the purpose of photographing things.

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called for. All of those activities made it a little easier for me to figure out how to make a living out of taking pictures.

You have done both commercial shoots as well as more artistic shoots. What differences do each of these bring? How do you go about putting your own artistic brand onto more commercial shoots?

Since photography was not my original career, I did not take commercial photographs at the beginning. I simply photographed things that I liked: landscapes, travel, beautiful objects, shapes, and colors. It was through the experience of photographing so many things that I liked that my artistic brand or “eye” was developed. Brands gravitated towards my artistry and asked me to begin shooting commercial photographs afterwards.

You are an award winning photographer.

How does it feel to be honored in this way when you have had no formal training in the field? What would you say to encourage others with untrained talent that may be out there?

Awards are nice…I can’t really imagine a reason I would say that it is not nice to win recognition. I am not sure, but the fact that I have won an award with no formal training in a career in the arts can not be that rare.

What is rare is to have the courage to hear your creative voice inside and make the leap to leave the security of “regular work” behind to pursue a career in the arts. Regarding advice for others, well, it’s a super tough question. I would not necessarily recommend anyone to quit his or her day job tomorrow and take up photography with no training because there is a low percentage chance of success. However, if you are passionate and have some talent, then nurture it, feed it, and give it the dedication it deserves. You will enjoy the process and the results…great pictures!!! Then if one day you think you are ready to jump out of the nest of security and try your hand at making a career of it, go for it!

What has been your biggest learning experience in regards to your photography and how you have developed as a photographer since you began?

The technical aspects of it, how to use all of the different pieces of equipment. I have begun to use different pieces of equipment for different looks. From Polaroids, to professional cameras, to “point and shoots” — I have used them all. I have learned how each is different and then learned to use the exact tool I want for the specific look that I want.

These days, anyone can consider themselves a pro with things like Instagram on every cellphone in the country. How do you see the face of photography changing?

How do you compete in a world where everyone feels they can do what you do?

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The landscape of photography is changing drastically with technological advances. With the advent of cameras on cell phones, millions and millions of “photographers” were added into the mix of professionals. While not every person can take a great photograph with a phone, many great photos can be achieved with them with automated filters by very inexperienced people. High production value shoots will never be replaced by phones,. Photographs that require perfect lighting and high resolution, photos that I, or any other professional photographer, take for the web that are merely snap shots of moments in low resolution will have to compete with all of the other photographs that everyone takes. Realistically, I will have to compete on the merits of my unique eye as well as the cache of my brand.

Several of your most amazing photos have occurred as “happy accidents” as you took advantage of what was around you at the moment, such as an unexpected fire on set at Burning Man. How important is it as an artist to open yourself up to moments like these?

It is extremely important. The larger the productions, the higher the likeliness that something will go wrong. During theoretically controlled environments such as the explosion of my set unexpectedly as well as unexpected photo documentary environments such as travel photography, you need to be able to adapt to ANYTHING! I would actually go as far as to say that one’s ability to adapt to ever changing circumstances is just as important as the ability to plan meticulously planned beautiful art direction plans for a shoot.

If you had to choose one photo that most clearly speaks for who Peter Ruprecht is, which would you pick and why?

The exploding set from Burning Man. As we spoke about earlier, it is a perfect blend of planning and adapting to the unforeseen. It plays to both of the most important attributes that I consider my self to have. Creativity and adaptability.

What are your hopes and aspirations for your photography as you continue into the future?

My hopes are simple. To continue enjoying the art, and to continue to be able to make a living from it.

www.peterruprecht.com

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R IDING THE W HITE HOR SE

BY PAU L A FR A N K

A

s the end of 2012 and that whole Mayan calendar thing hangs over our heads, what could be better to read than a novel about the end of the world? Well, not entirely the end of the world, just 90% of it.

In White Horse, Alex Adam’s debut novel, this is exactly what has happened and the tale she weaves surrounding the events of this dystopia is nothing short of amazing. As the first book in a trilogy, White Horse is a stunning starter to this post-apocalyptic journey. I cried, I laughed, I gasped out loud (Really! Not just the “lol” kind of pretend gasping, but the real thing!), and what more could one ask of a tale?

Do yourself a favor and purchase this book posthaste! Wait...first enjoy our interview with the author, Alex Adams, and THEN purchase White Horse. A huge thank you to Alex for digging herself out of dirty diapers and baby drool to fill us in on what was behind White Horse and what is to come!

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When did you first know you wanted to be a writer?

Loads of writers report having dropped out of the womb holding a pencil and demanding paper with their first breath. I’m pretty sure I stormed out yelling for a hot meal and a cup of coffee.

Apart from my short-lived attempt at a writing career when I was five (my masterpiece was Rosie the Cow), I never had any early urges to write. I was a huge reader, devouring books through every means possible (I’d have strapped them to myself if that would have enabled me to consume them faster), but writing never entered my mind until my very early twenties. For about a week I sat at my computer trying to write something, but I had nothing to write about.

So I went off and amused myself in other ways. It wasn’t until I was 30 or so that the writing bug hit and the stories began to flow, thick and fast. That’s when I knew for sure what I wanted to be when I grew up.

You have lived in many different countries. How did experiencing different places on the globe affect you as a writer?

Every experience we have changes the shape of us in some way. Travel, along with parenting and love, is one of those things that yanks your eyelids apart and says, “LOOK! This is new, this is different. Learn something, damn it!” As a writer, all that shifting around has made me more receptive to working outside of my comfort zone.

I’m fairly fearless when it comes to experimenting with prose and storytelling.

The other thing it really did was bring home how similar people are, no matter what our upbringing or location. Certain things are universal. People desire love, power, money; they want good things for their families, they strive to improve their lot in life and their environment through learning, earning, or force; they experience the same emotions. Loss makes us all grieve; watching someone slip on a banana peel makes us laugh; children make us smile, unless they’re screaming on a plane.

Also, it gave me a complete inability to keep my characters in one place. I always wind up moving them around, shoving them into some foreign location.

Your debut novel, White Horse, is a glimpse into the post-apocalyptic nature of human beings. What interested you in writing a story about a dystopia such as this? What do you REALLY think about all the end of the world hullabaloo?

I’ve always had a bit of a thing for end of the world scenarios, but I never set out to write an apocalyptic/post-apocalyptic novel. It was all a happy accident that started with what is now White Horse’s prologue.

Once it occurred to me what I was writing about, I was smitten. It was my chance to Hulk Smash! humanity and see who was WHITE HORSE COVER ART BY JACQUELYNNE HUDSON

If you want to create real characters, you have to have a fundamental understanding of human nature. And you don’t get that sitting at a computer 24/7.

Favorite Character: Ask me on a different day and you’ll probably get a different answer, but today it’s Sam Vimes from Terry Pratchett’s Discworld novels. He’s one of the most reluctant heroes ever. In fact he’d punch me in the face for even usAny hints you could give us on what we probably ing the H word to describe him. can expect from Red Horse, the next book in the trilogy? Surprising charac- What was the worst piece of writing adter additions? Unexpected plot twists? vice you ever got and what did you do Your favorite meatloaf recipe revealed? with it?

I think what will surprise readers most is “Never write a prologue.” So I went that Red Horse has a different protagonist. ahead and wrote a prologue, because I’m Before the story even starts, she’s already edgy like that. Really, it needs to be modified lost so much that she’s practically dragging to “Never write an unnecessary prologue.” herself from one breath to the next. Some Most writing advice is neutral; you can days I wondered, “How the hell are you do- use it for good or bad. Take the popular Butt ing this, woman?” in Chair. Butt in Chair is great, it gets the Emma’s story starts in Cuba, where words on the page, but sometimes the best once-wealthy survivors are now living. thing you can do for your writing is to get up They’ve created a dysfunctional society, de- and do something else. signed to keep them safe from disease. But the rules have basically imprisoned them. Congratulations on recently becoming a Beyond that, I’m reluctant to say anything mother! Is your baby the cutest one ever else. You’ll see Zoe again, and another famil- born? How are you enjoying having this iar face or two, but everything else is fresh. new little creature in your care?

You won’t find my meatloaf recipe in Thank you! Yes, she’s absolutely adorthere, but my publisher is including a piece of my meatloaf with every book sold. So it’s able. The amount of time we spend just in everyone’s best interest to preorder, so looking at her is crazy. Oddly enough, she it’s as fresh as possible. I wouldn’t wait for seems to like us. Either that or all her smiling just means she’s having fun plotting our remainders. demises (is demises even a real word?)

What are some of the not-so-great sto- Which makes her just like the cat. Thankries that ended up in the trash heap be- fully the dog still thinks we’re awesome.

I wouldn’t swap being a mother for anyfore you landed on a good one? thing, especially now that I’ve stopped worAre you sure you want to go there? rying that I’m going to drop her. Now I’m That’s where the wild things really are. My just focused on not having her end up in first completed novel was a funny pet detec- therapy. tive thing. It wasn’t that bad. It wasn’t that good, either. But it taught me that I could If you knew that White Horse would hit start a story and—and finish it. After that, it the world tomorrow, what would you do was a funny paranormal mystery. I followed today? that up with a funny piece of Women’s FicHide. But only after looting Best Buy, tion, about a woman whose marriage falls because that’s what people do when diapart. Hardly original, I know.

The best thing I wrote before White saster strikes. I’m sure store security would Horse was a Terry Pratchett-esque type understand if I explained why I was running story, about a sentient hairpiece. I called out of the store carrying a television and a it Hell Toupee. It was one of those things I pocketful of iPods. did, just to see if I could. I could. And no one will ever read it. Unless I die and someone What one thing would you most like the world to know about Alex Adams? gets their mitts on my laptop.

White Horse was basically the first nonThat I adore sparkling vampires. funny thing I’ve written. Clearly I’m not as good at being funny as I think I am.

When the end comes, probably we'll be too busy texting to notice, or it'll happen so quickly that everyone's Facebook status will read: Oh sh--. left, hanging out with the cockroaches. It was fun and fascinating to write about this global disaster that brought out the best and worst in people.

As for my thoughts on all the hullaballoo...I’m not really sure. When the end comes, probably we’ll be too busy texting to notice, or it’ll happen so quickly that everyone’s Facebook status will read: Oh sh--. But I don’t buy into the whole 2012 thing, or those perpetually-inaccurate rapture predictions by Harold Camping. Won’t I be surprised if it turns out to be true? Then I’ll be one of the people going, “Oh sh--” White Horse is the first book in a planned trilogy. Did you see the story as a trilogy from the beginning or did that develop over time as you wrote the first book?

Neither. I wrote White Horse as a standalone. While I was sending out queries searching for an agent, I started another story set in the White Horse world, some fifty years in the future, with a different protagonist. When I told my agent about it, she suggested we shoot for a two-book deal.

It wasn’t until just before we went to auction that anyone mentioned the T word. My plans definitely had to change. Fifty years shrunk to seven, and I juggled things to find ways to link a second and third book to the first. Hopefully readers will like where the White Horse story goes next.

The main character, Zoe, gives us an indepth look at not only the human will to survive, but also the guilt that can come from surviving when others don’t. How did Zoe’s character develop for you? In what ways did she surprise you as you were writing her?

I don’t plan characters, base them on people I know, or create character charts at all. I got to know Zoe the same way you get to know a real person: through her actions, one scene at a time. For me, that’s always the best way to figure out who my characters are and what they’re capable of.

What surprised me most is how much I like Zoe. She’s just a normal woman, doing what all of us do. As the story progressed, she managed to grow without compromising her decency. And somehow she manages to keep it all together, under the most terrible conditions. It’s possible that I could do that, but I doubt I could do it with so much grace.

What would you say is the most important thing authors must do to make their characters believable and appealing to the reader? Who is your favorite literary character?

Get outside and live. Be around people.

www.alexadamsbooks.com check out Alex’s

Our Generation Where do we live now but in a living graveyard, Tombstones garnished and decorated like the most Precious china in a cabinet of glass and gilded brass.

The air is still and stale; fog is creeping through a ground Filled with dead and decaying blooms and growths, Stealthily draping the field like a surreal snowdrift.

Dumb and cold are the branches reaching for the sky From a furnished tree growing out of a Frankenstein carpet Amid the stark, crude song of the crow imitating a magpie.

The night of the mind.

The never-ending All Hallows’ Eve.

By Simone Brown

Simone Brown is a dreamy poet with a philosopher's hand. She travels to the heavens, touches the stars and brings them back as rare diamonds.

Reincarnated into her twelfth soul, she was originally a royal scribe that was fortunate enough to be buried alongside Nefertiti in the Valley of the Kings in Egypt. She has roamed the earth as both saints and seers, from Spain to Nevada for several hundred years, but is currently resting as a non-noble soul among the commoners of Long Island, NY.

Opinion.

Surrealism.

Extraterrestrialism.

Live from the Underground

EVERY SUNDAY

TheArtistD.com

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SEBASTIAN

JAUREGUI

BY SEREN A BUTLER

C

oming from a distant celestial body covered in silver and all things that scream pop, better known as Silver Nebula, a new kind of artist emerges.Some may even call this artistry alien.

Okay, maybe not alien and a little closer to the Milky Way. From Columbia, which may be closer to the Silver Nebula than we think, comes a dance pop artist by the name of Sebastian Jauregui.

Through his debut album, Plastic Beats, he immerses you in the pop lifestyle. With it, he brings song references of the great artist Andy Warhol to visuals that bring you into Sebastian’s own factory where inhibitions don’t exist and all that matters is pop. On top of it all he’s done it all on his own; writing, producing, mixing, recording for his album, and directing, filming, editing, and starring in all his own videos.

Sebastian is a true do it yourself pop artist who is living his own art.

So let’s probe into the mind of Sebastian Jauregui and get the full idea of how his brain really works; experiments and all.

For your debut to the English speaking public you’ve released your short album “Plastic Beats” which you recorded, produced, and mixed yourself. Is there anything you’d do differently?

For me, it’s really important to be involved in the entire creative process. One of the reasons I do what I do is because I enjoy every single step of it. I really do. I’m the kind of artist that will not go to sleep unless I’m satisfied with whatever I’m doing.

I’ve always said that I like to get my hands dirty and really work my ass off to get something done. No matter what technical obstacles artists may be going through, creativity and ideas will always rise up to shine by themselves. They just need to be released.

They need to be unlocked no matter what.

I think that if I went back in time I would do the same things. I mean I’m proud of what I wrote, I’m proud of what I sang, and the way the whole stuff was made. It’s 100% myself. I’m glad I took the chance and did what I did. I think that artists should always be proud of everything they do with an infinite amount of humility. We should always strive to see the future with a big smile on our faces for what we did in the past.

You’ve said that pop music has a “plastic sense” leading you to name your album in honor of the plastic element in pop music. What exactly do you mean by a plastic element within pop music?

I believe that pop music would be nothing without illusion, without fantasy lighting up its way. When I say plastic, I’m referring in a very positive way to those things that make pop powerful, exciting, indestructible, and by all means, historical. I just cannot imagine Andy Warhol without his silver wig.

I cannot visualize Cirque du Soleil’s artists without their incredible make-up and garments or Iris Apfel without her round glasses. What I mean is that I would prefer to die miserably in a street corner with my disco tie than dying in a big house with none of the things I once worked hard to bring to life for the sake of that “plastic sense” in my work. That’s what I’m talking about in one of the songs I did with “Emgy” from DWR. It’s called “Disguised” and it’s basically my way of saying that I will fight to protect and celebrate that “disguise,” that “illusion” because it’s an extension of who I am. It’s not just an enhancement. It’s a ticket to freedom. It’s definitely the only way that a “lie” can become the “truth.”

You’ve yet to take your show “Electro Madness” out internationally. As a visually based artist, what can a person who has never been to one of your shows expect to see when they attend?

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avant-garde films. That’s what my small performance called “Silverize Me” is all about.

I’m a huge fan of Andy Warhol, John Waters, Alfred Hitchcock, David Lynch, among others, and I cannot be more inspired by their work aesthetic and the way they told their stories. I challenge myself to speak in the best possible way about the things that have inspired me and that I believe are relevant.

I plan to take my live work internationally. I think that it would be very exciting. I am extremely grateful for the people outside of my country who have been receptive to my work. It makes me happy that they understand what I’m trying to do. I’m always making tweaks to the live show. ALWAYS! I work with my brother who is my right hand, especially in the visual field. He’s my photographer and we are a team when it comes to making videos, single covers, etc. He knows that sometimes I’m a “pain in the ass” because I’m always changing the order of the show, the scenes, the intermediate tracks, the titles, etc. I’m a mess!!! c

Your video for “Sewing in Silver Nebula” looks like a French art film. What emotions do you want viewers to feel when they hear the intro of Une vie consacrée à la pop (translation: a life devoted to pop) as the video begins?

“Sewing in Silver Nebula” is a short video I wanted to make to tell people that we should be more introspective when it comes to finding the answers and the creativity. We have to find a mirror inside of us that will always show our own unique reflection. That’s all we need. When I only listen to what’s is going on the outside I can be deceived so easily. I could not create something that speaks for my soul if I didn’t ask it, “What do you want to say? Who are you?” You cannot find your fingerprints on anyone’s hands but yours. That’s why in the video I’m sewing something with the things that I throw up. I gave myself the elements to create the garment. They came from inside and in the end they’ll return to the place they

is the most difficult aspect of doing so much visual art on your own?

It’s a very weird kind of “fun.” Sometimes I get so freaking stressed out for all the things that have to be done, but it’s a healthy stress.

It’s a “let’s do it 1 million times till it looks good” kind of stress. I also have a great time designing the pieces that are going to be involved in the pictures or the videos and I really like to shut the world off and start producing things, whether is a pair of shoulder pads, a hair piece, the makeup I’m gonna be wearing, etc.

I like that part the most.

I think that the hardest time comes when you have to put all the pieces together after you have shot them with the camera.

Those can be long days/nights. That’s where my brother gets most of the credit. He knows how to get all the “mess” together. We spend a lot of time editing and thinking of how to make it look good, but it’s all 100% fun. Hard work is fun for us.

came from. It’s a sharing cycle. That’s why I eat my creation at the end of the video.

I wanted to compose a piano piece for the video because it would fit perfectly with the visuals. I wanted it to have the lines “Une Vie Consacrée à la Pop.” I chose those words because I promised myself that even if the world decided to fall to pieces, I’d still be eternally devoted to the one thing that never abandoned me: music. I could lose everything and I wouldn’t mind. I’d still have music inside to hum to while I walk through the fallen world.

What, in general, do you want to project through your videos?

I want to be loyal to whatever the fuck my brain tells me to say. I want to tell a story that means something special to me and hopefully to others. I want people to be brave and free. I want them to be passionate about their things, to embrace everything inside

and around themselves, even if it’s not as good as it should be — even if it’s horrible, disgusting or not very appealing as long as it has soul it can become strength. The other night I had this weird dream I was being killed by a “laughing nun” and I remember that while I was being killed, the only thing I was worried about was the box where I keep all my works. I don’t know why. I just felt that there were so many things that were unsaid and I thought that it was the end. My life was going to be just a box full of “unsaid shit” forever. I felt frustrated for all the stuff I wouldn’t get to share. There’s where I am at right now and maybe that will become a track, or a video, or who knows. Those random thoughts speak through my work. I think they deserve to be projected just because they grew up in my head. They are mine and they are certainly finding a way out.

“Pop + Art = Orgasm,” is your new slogan which contain elements that inspire your musical career. For many people, the mention of sex is a boundary-pushing subject.

How has the current sexual culture impacted your attempt to push boundaries in your art? What does pushing boundaries as an artist mean to a pop artist like you?

I believe that we should all strive to push sexual boundaries for the sake of evolution.

I think that art has the responsibility to make a change. What better way to assume that responsibility than speaking through a universal and powerful language like pop music? Beyond entertainment, artists should fight through their work so that people can actually think, have a position, and hopefully open their minds. What I mean is that as long as we press those sexual, political, or social buttons among others we are doing the right job. We are making people move forward. Whether you chose to say yes or no to something that is impacting your mindset, it is that “thinking/deciding/analyzing” element that makes us grow.

In your video for “Let Your Criminal Come Out” and the cover of “Climb Up,” among other appearances, you have a headless naked doll with you that you’ve dubbed “Taffy.” Can you tell us how Taffy came to life? Why in the world is she naked and headless? Will Taffy make any other appearances in your future work?

Oh Taffy, Taffy, Taffy. What can I say?

She is my partner in crime. I discovered her when I was doing the cover of “Pop Lifestyle.” When I saw the images before being released I thought “Bitch’s got talent…” So I asked her, “Hey you? Have you got into any trouble recently?” She said “Well, sort of, I just got out of jail for killing five Ken dolls at a You have also had a hand in directing, swinger party.” I immediately said to myself producing and editing your videos. What “Told ya’. Bitch’s got talent.” And that was ISSUE THREE

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it. She started working with me.

She told me that her name used to be “MatildAss,” but she changed it to Taffy after John Water’s “Female Troubles” movie. You know, Dawn Davenport’s daughter. She also told me that she didn’t like to wear clothes at all.

She said, “I’m a pop star. We don’t wear clothes.

Why should we, anyway?”

Later on, I convinced her to wear a white dress for her “Maniac Doll” video. I told her that people would think she had some sort of elegance if she wore it. She agreed, but she couldn’t stay that way for too long. She is certainly a Pop star after all.

I was also very intrigued about her “headless” condition and when I asked her about it, she just said “I lost my head in the 70’s at Studio 54.” She smiled at me and then said some sort of curse word in French that I didn’t understand.

That’s her: forever tacky, shallow, shameless, and pop. To the light of today’s sun, she is still working with me and there will be, for sure, more stuff to come.

A lot of independent artists are turning to releasing some of their work as free for various reasons. What reason are you giving out your music for free?

I think that in my case, I give people the chance to get the song for free so they can have it, enjoy it, know my work, etc. I also have my music on different digital stores to give them the chance to support me as a singer/ musician if they want to. My music is as free as the choice to support it with money. If I have to be completely honest, I’m not the “Money Whore” kind of artist. I mean, yes, money is important. We have to live, but I really just don’t give a fuck about it. I want to share what I do. I want people to realize that at the end of the day it’s all about the music and the art rather than the numbers or sales, especially when you are a starting artist. Nobody knows you and you cannot put a gun against people so they buy your stuff. In my opinion, the real value that comes to all of this “Indie/Unsigned artist” kind of thing goes beyond money.

How would you say you’re evolving musically since the release of “Plastic Beats?”

When can we expect this new material?

I consider that I work hard to be constantly in the middle of an artistic evolution and I have found a way to do so by never stopping. That’s the key: the more mistakes, the better you will get, especially when you are on your own and have a strong sense of wanting to know and learn as much as you can without the fear of fucking things up. The minute you worry about falling down, you lose the game.

I think that since the release of “Plastic Beats” I have been listening to some other musical influences, new sounds, exploring here and there. That’s probably going to be reflected in my new material. I’m always excited about what’s coming next. Even if I’m working on something right now, I’m always imagining what’s going to be next.

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“. . . art has the responsibility to make a change.” new songs. I haven’t told anyone about them yet, but I’m gonna tell you that the first one is called “Broken Faith.” I’m getting everything together visually and sonically for everyone to enjoy it.

When the readers hear your song “Pop Lifestyle,” they have a chance to really dive into your opinion of pop. What does the word “pop” mean to you? How do you feel in your lifetime that the pop lifestyle has evolved? Where do you think pop will go next?

Pop is M.A.G.I.C. It’s Music. It’s Art. It’s Grand. It’s an Illusion. It’s Commercial. I believe that no matter who you are, what you do, where you come from, it doesn’t matter! Pop is universal and it’s the only thing that as soon as you hit that play button, it devours you, chops you into pieces, completely eats you alive, but seconds before the song is over, it leaves you totally intact so you can hit that play button again.

Evolution is a constant when it comes to music or lifestyle in general, especially if we are talking about something as “changeable” as pop. People are feeling the necessity to express themselves more and more as the days come by on their own terms.

They want to find and tell the “truth” without any mask through a process full of masks.

I don’t know if it makes any sense at all, but what I’m trying to say is that people are being very creative when it comes to finding the answers and telling the world who they really are. They want to move forward for the better, even if sometimes it seems wrong.

Certainly all of those social or cultural lifestyle changes are directly reflected in pop music.

I believe that pop music will go wherever artists decide to go, being consistent with whatever is going on out there in the streets, in the clubs, at home, in everyone’s lives. In my opinion, I think that pop is in the process of getting some organic things that may have been lost in the way just because we are so focused on the “sparkles” that we forget that without soul the sparkles don’t mean anything.

You have a fashion sense all your own as your wardrobe just screams (as seen in your Sewing Silver Nebula video) “Sebastian made me!” How does your creative process differ from making your costumes to writing your own music? Where are some of the stranger places you’ve found inspiration for your more avantgarde wardrobe?

I think that it’s a similar kind of process.

Whenever I make music, I’m not only thinking about the sound. I’m also thinking about images, colors, and textures. I can see many things in my head when the music is

being created so the costumes and visuals go hand in hand with the music most of the time and vice versa.

When I’m creating the clothes or the pieces that are going to be involved in some photography, I think about the word “form.” I like that a lot. How would I like all the pieces to look like in the picture? How would that group of form” affect the final image? That’s what I ask myself. It works for me because mentally I start organizing all the forms in the frame so they appear in the best possible way. Does that blazer need shoulder pads so that it looks more geometrically balanced with the rest of the elements? Is that jacket too red? Does that hairpiece need to be slightly slanted so that it relaxes the stiffness excess of the elements in the picture?

Does the picture need shine? Should I bring more chains? All of those questions go through my head when I’m doing my work especially when it comes to the wardrobe.

The strangest place I’ve gotten inspiration lately has to be some World War II dead bodies and their belongings I saw the other day or maybe the picture of a choked clown I saw last month. It gave me an idea for something. I don’t know yet.

In the “Let your criminal come out” video, you show your disgust of the use of morality, indecency, and integrity to prevent others from having a different perspective. Currently in your native Columbia, full rights of same-sex couples (in union) are equal to that of married couples and if not ruled upon by June 20th, 2013 full marriage rights will then be granted in your country. From an international perspective, what goes through your mind when you see countries such as the United States having people fighting for those rights and being denied by the government on the basis of the three beliefs stated above?

This is definitely something that, in my opinion, is going make us laugh so hard 30 or 40 years later. I mean, when I see pictures of protesters fighting so that black people could not use the same bathrooms that white people used or could not get in the same transportation or eat in the same table or go to the same places white people used to go to. It makes me think, how could we be so damn stupid? We can see that the world is going through the same story.

The only thing is that the main characters changed. Now it’s not about black or white.

It’s about gay or straight. Isn’t that ridiculous? Can’t people see how North Americans couldn’t accept a damn color and now they have a black president? That is the end of the story. Equality won. It always wins no

matter how long it takes so that everybody understands it.

That is one of my favorite words (equality) and the United States of America is known as a “free” country full of “equality” and “possibilities” because that’s the idea they have taught the world to believe in. I’m not against anyone or anything. What I’m trying to say is that it’s not equal if it’s sometimes, once in a while, or reserved only for certain types of people. You cannot speak of equality in a place where some people have certain rights and some others don’t.

Aren’t we all the same after all? Shouldn’t people have the same rights if we are talking about being equal? It’s very simple.

Morality, integrity or indecency should not be used as excuses to prevent people to think differently, be different, or make a different choice than the one the others make. It’s just not right, but as I said before equality always wins the fight. It needs time and togetherness.

That can kill ANY law or prohibition.

A race of purple and green aliens has taken over the world. You’re commissioned to design a seasonal fashion line for them in order to for them to leave in peace. What fabrics, prints, and colors would you use and why? Can you give us an idea of what designs you would have in mind?

Well, I would forget about colors and textures and I would buy loads of Reynolds aluminum foil rolls and wrap those fuckers up in it. I would of course tell them that it is an incredibly delicate and expensive kind of futuristic fabric made from the soul of the biggest 60’s, 70’s and 80’s dead superstars. I would design different types of avant-garde aluminum ensembles and I would assign the best ones according to the aliens that prove to have enough “swag” to carry them around. I would also design a special silver elastane top for the female aliens with the capability to topically secret Qnexa and Belviq so that they lose weight while they travel around the universe. After that, I would wish them a great trip back to their planets with their new clothes and warn them that if they come back John Galliano would be waiting in the entrance gate to rant anti-Semitic statements against them. Very fashionable. (Sarcastic Face)

check out Sebastian’s

F E E L T H E H E AT:

BY PAUL A FR A NK

With a powerhouse voice, a hot dance beat, and an attitude to match, Julissa Veloz is on fire and burning up the Billboard Dance Charts. In 2010, her debut single, “Take Control,” hit #8 and her follow up, “Predator,” made it to #19.

Now, in 2012, Julissa has fueled the fire of her success with more hits including “Mayhem” and “Very Brady Day” with 3 more new releases on the way in the next couple of months. Her latest was just released October 16th and is a thrill to the senses called “Overload” that will have you dancing and wanting more.

We picked her brain on everything from her opera training to her stint on American Idol to what’s on her iPod. Julissa is one dedicated, talented artist and this fire won’t be put out any time soon. Check out the heat of Julissa Veloz.

Who did you want to be when you grew up?

Growing up I didn’t particularly have an actual person I wanted to be, I’m entirely too ADD for that but, I did have an idea of what type of person I wanted to be. Success, power, knowledge, creativity, and determination were character traits of the person I wanted to be. I’m still trying to achieve all those things, one lyric at a time.

and BS one on one with my fans too much at a festival or have those really intimate moments when a fan just loses their shit and you can go up to their face and hug them...it’s just different, but both are the shiiittt.

How did you come about working with Rod Carrillo and Dance Music Label? A match made in heaven?

Hell, more like it... Joking! The fat man is like my dad. I met him Your career actually began by studying opera. What did the opera coincidentally when my brother, who’s a photographer, went to cover training give you that you could carry with you into the pop/dance one of Rod’s other artists. I pretty much told him from day one that I world? Was there any of that training you had to throw out the would write all my own music and I would be a part of every decision made in my career and he said FINE, as long as window in making the leap to pop? it doesn’t suck. Since then we’ve been around Opera taught me a lot of discipline. I mean, I the world and back performing and spreading the was 10 years old when I started. Getting a spasgood “Julissa Veloz” word. tic kid like me to learn how to sing in 5 different languages was NOT an easy feat. When crossYou’ve had your songs remixed and done coling over to pop/dance however, I had to change laborations with several different artists. What how I sang completely. I didn’t have to belt all the do you find attractive about remixing your time and use vibrato for every word so it was an songs with so many different collaborators? extremely difficult transition for me.

Well, many times a different set of ears with When you appeared on American Idol, you a different style of music can take your song to a had to leave early due to a battle with larynwhole other galaxy you never have dreamed possible. I mean, some remixes of my songs ended gitis. Was it disappointing to have to leave or up being the only ones I would perform live, just do you feel in the long run, you were better off because I loved them so much. That’s what’s making your own way without the Idol stigma wonderful about music. It’s an infinite amount of hanging over your head? reinvention and creativity for any genre.

HELL YEA IT WAS. I was emotionally annihilated for weeks afterwards. I felt that my chance had been stripped away because of a stroke of bad timing. It was only How would you describe your personal style? What interests you after years of doing music on my own that I realized it was a gift. I didn’t about fashion?

I kind of wear whatever the hell I want (sans booty shorts . . . my have to stay under lock and key with an over-stipulated contract. I could release what I want, when I want, how I want. IT’S FANTASTICAL :) ass and hips are too big for that shit). Some days, I want to goth the hell out, other days I may wanna Calvin Klein it up and sometimes I will Since then, you’ve had several hits. Have you grown sort of ac- go straight up gangsta.. It really depends on how I feel in the morning. customed to your success now or is it still sort of a shock when Fashion is so similar to music in the sense that you are as limited as your songs hit top 10 on the billboard charts? What does “suc- your mind allows you to be with how you can express yourself, its all up to you my friend. cess” actually mean to you?

If you ask my manager he will tell you, I’m so alien to my “successes” thus far that I may as well have never achieved them. I always feel If you had to boil it down, what is it that you love the most about music?

AHH. There’s no ability to boil it down or put it in words, really. It’s like I haven’t done ANYTHING and am consistently unsatisfied with my position in the music industry. Every time I reach a new level in my career all about the feeling it gives you. In the studio, when everything finally I say “Wow, sweet dude, what’s next?” and this mentality keeps me on comes together, I get this overwhelming adrenaline rush of happiness the grind ALL DAY. I almost don’t even like the word success to an extent which is unequivocal to any other feeling I have ever felt. Ever. because it seems like an end point. So you’re successful, awesome . . . what else?? I don’t know what success means yet. I don’t feel I have at- Your musical tastes are very eclectic. Can you put your iPod on tained it so therefore I can’t really define something I haven’t felt . . . yet ;) shuffle and tell us the first 5 songs that come up?

1) Bad Body Double - Imogen Heap Your live shows are loaded with high energy. How do you get 2) Thriller - Michael Jackson yourself pumped up before a performance? What do you do to 3) Fire Power - Wolfgang Gartner 4) Dick in a Box (Explicit) - The Lonely Island get a dud audience going?

YEAAAAAAAAAAAAAAAAA!!!!!!! Before every show I must con- 5) Dagga Puff - Die Antwoord sume at least 2 alcoholic beverages so that I can lose all those voices in my head that over analyze everything and just have a good time on You’ve done opera, R & B, and now pop/dance. How do you see stage. My shows are always packed with energy because I AM having your sound continuing to evolve in the future? the time of my life, every show, and I’ll be damned if my audience doesn’t HMM . . . good question. When I finally do release an album, it’s feel the same way. When I do encounter the “reserved” audiences, I usu- going to be a clusterfuck of all the music I love. I don’t want to be limited ally refuse to sing until they cheer their asses off. Gets them every time! by the division of genre. I’m going to do rock, R & B, dance, alternative, experimental . . . I’M GOING TO DO IT ALL BABY. You recently rocked the house at LA Pride. How did you enjoy that? Do you enjoy the festival atmospheres or your own per- What’s next for you? sonal shows better?

I will be relentlessly promoting my next singles “Overload,” “DifferDUUDE . . . yea that was epic. I mean, I couldn’t see the end of peo- ent” and “Zimme (Give it All to Me)” all around the country. I will pretty ple and they were cheering my name. I mean, I could have died right much be whoring myself out anywhere and everywhere people ask me then and there and been good with life up to that point. I LOVE festival to be. It’s all about getting the music to all the hungry musiceers in the atmospheres, whether I’m performing in them or just an attendee but world. That is my duty. personal shows have a different dynamic really. I can’t really sit there

I almost don’t even like the word success to an extent because it seems like an end point, so you’re successful, awesome, what else?

www.julissaveloz.com

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check out Julissa’s

BY PAU L A FR A N K

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T

here are bands that have a knack for taking all of their individual influences and refining them into a sound that is completely theirs. Ezra (vocals, keyboard, trumpet), Bill (vocals, guitar, triangle), Krisanan (bass), and Jason (vocals, drums), better known as Black Taxi, have done just that.

Formed in 2007 in the underground of NYC, Black Taxi has become known not only for their infectious brand of gritty pop, but also for their energetic live shows. Their newest offering, We Don’t Know Any Better, is a genius mix of style and substance that will certainly take you for the ride of your life. Bill took some time out of their heavy touring schedule to open the doors of Black Taxi to us. Come in, put your feet up, and enjo the ride as we present Black Taxi.

In a time of so much cookie cutter formula for music, your sound truly stands apart as a unique mix. How did you come into your sound? What do each of you put into the mix?

I’m not sure I agree that this is a time of cookie-cutter formula music...I think those days died with the record companies in the late nineties. Artists are doing dramatically different things from what the generic rock band used to, mixing new technologies with old genres, staying on the cutting edge. I guess that’s the hard part; keeping our music relevant in a time when things are changing and developing so fast. You can record an album with some great, new sounds in the summer, and find out that by the time it comes out in the winter, another band has already done what you were trying to do. Staying on the cutting edge all the time is a ridiculous goose chase. You have to make music you like and that you hope will stand the test of time.

You guys created a bigger sound for this album, using more electronics.

How are you translating this into your live shows? Does it ever get tricky to be multi-instrumentalists on stage?

From a technical standpoint, the way we have integrated electronics is like this: I use a Boss RC-50 loop station loaded with a lot of the synth samples from our recordings (and additional ones as well).

Jason plays to a click so the synths line up with our tempos. The ways I’ve said this it sounds very sterile and limiting, but it’s not.

It’s really freed me up as a guitar player.

Ezra plays a lot more keys than he used to, which really fills things out, too. We certainly don’t just press play on a MacBook.

Not that there’s anything wrong with that, it just seems boring to us. The multi-instrumental parts all come from Ezra with the trumpet, keys, glockenspiel, vocal effects, and percussion. Not sure how he keeps all that straight.

New York is your home haunt. What does that city give you that others can’t?

Brooklyn is always giving us ideas.

There are so many bands and artists that you never run short of inspiration. Although the more we tour, the more I’m jealous of cities with wilderness nearby. There’s something about the woods or the beach that gives inspiration too, but Brooklyn has What do you like the most and the least certainly challenged us to constantly evolve our sound and I think that’s its greatest value. about performing live?

Most: Playing guitar. It’s just pure fun.

I’ve been playing for so long it’s just second What’s been the biggest difference between your newest album, We Don’t nature and I can just cut loose.

Least: Singing. It’s still hard for me to Know Any Better, and your first release, think of myself as a singer. It’s not a natural Things of That Nature? How do you each feeling for me and I still don’t think I’m very feel you’ve grown as musicians? good at it.

We Don’t Know Any Better is proof that You’ve become known for your amazing live shows. What can someone coming to see your live shows expect?

Normal people doing not-so-normal things. Everyone knows we get down and dirty on stage, but when you see an otherwise regular person do something wild with us we’ve done our job.

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we will continue to more forward, with a tip of the hat to our roots. Our first album was a great glimpse of what we were doing at the time, and we still play most of those songs live. But We Don’t Know Any Better is a challenge to ourselves and to our listeners.

Who knows what will be next, but know that it won’t be just like the last.

Your music is extremely catchy and addictive. What’s your secret?

Can’t tell you that. Sorry.

You guys have been together recording and playing for a while now. How do you guys keep yourselves together as a band with all the different personalities and backgrounds you bring together?

I’m not sure how we’ve kept this together

ing and unloading gear, playing shows etc. What’s up for you in 2012? When do you And we get to have something visual to guys expect to have entire world domienjoy when it’s done. nation?

Bands don’t achieve “world domination” What are the worst jobs you had to work anymore. I think that’s only pop and rap artto support yourselves before becoming ists now, but that’s cool. Rock’s better undersuccessful as musicians? ground anyway. As far as 2012, we’ll see you You name it I’ve done it. Any job you don’t on the road! Lot’s of touring, but we’ll be writbelieve in sucks. As long as you’re work- ing as well so expect new material next year.

You recently released a video for the sec- ing toward something better, it’s a means to ond single, “Tightrope,” off of your new an end. album. What do you think about when creating a new video? Do you enjoy the If they made a movie about your lives as video making process or is it something a band, who would you want to play you and why? you’d rather skip but has to be done?

I’d like to be played by Jason Statham, We’ll be making more videos for sure.

I actually enjoy it for the most part. It gives but I’d have to give him a guitar lesson or us a break from the usual routine of load- two or a hundred. this long. I mean, we’ve been around for five years without a major record deal, without major press, but we have so many good things going for us like touring and having a bunch of die hard fans. It reminds us we’re doing something right and that people appreciate what we’re making. All of that transcends the disagreements we may have as individuals.

www.blacktaxi.com

check out Black Taxi’s

NOVEMBER

7 | Free for All - Toneazy 14 | Ladies’ Night - Jana Fisher 21 | The Fox Spot - Eat Drink & Be Merry 28 | 80’s Night - Ariel Aparacio

DECEMBER 5 12 19 27

| Free for All - Brenden Starr | Tis the Season - Rick Busby *Cancer Awareness Special* | The Fox Spot: ...And We Feel Fine (w/ Caleb Mertz) | Then...

Jan. 2 | and Now...

www.hotspotradio.net

I’m Not Gay. I’m Me.

by Beckie Cannons If I had a pound for every person that said to me “Are you gay?” or “I thought you were gay” I’d be a very rich man.

O

f course there is nothing wrong with being gay and in the eyes of most of society it’s an accepted “lifestyle.”

So what’s my problem with it? Well, apart from being married, having two children, fancying women and not men — I’m not gay, I’m just me and I guess it comes with being confident and comfortable with being on the transgender spectrum.

I get my dose of being transgendered everyday from my navel piercing, being part of Transtastic.com, my close friends who are also transgendered, and just knowing that other commitments permitting I could be out and about in a dress at any time — anywhere.

All this leads me to just being me — I am me. If that leads people to think I’m gay, should I care?

No. It does make me smile when I think about all things people have said to me, maybe on the pretext that they thought I was, or those conversations people have had about me behind my back: “Is he?”.

Well, better to be talked about than not!

MAN UP The challenge with most people’s perception of being gay is that gay males are more feminine, and lesbian females are more masculine, which is a trait many people on the transgender spectrum portray.

Society is uneducated and narrow-minded. Sexuality has little to do with gender; it is a preference.

This leads to a couple of issues for people. The first is that I can come across more “gay” than people that are — in fact in my experience the vast majority of “gay” men come across less gay than I do.

This has played out so many times at work and in social situations. Do I care? Nope, it’s not my problem.

This then leads to the second. People change their personality depending on the situation (OK, I can hear calls of hypocrisy, and I’ll come to that in a moment). We all do change how we interact in social situations, alcohol helps, of course, but some people go over the top “camp.” They act like person in work, and an entirely different person outside of work. Can’t you just be you a little more? Can’t you be a little more honest? Can’t you enjoy who you are more of the time? Find the middle ground, not the other ends of the spectrum!

I’M A HYPOCRITE Let me address the issue when I “make the effort” and dress up.

Of course I change my personality more to reflect how I’m presenting, but I’m still the gobby, confident, and a little bit flirtatious Beckie people know. I’m still me.

You may also find it interesting that when I put my three-piece-suit on in the morning to go to work, I feel great. Same me, just a different look.

WHO ARE YOU TRYING TO CONVINCE? One of my favourite words is congruence. If you’ve studied body language then you’ll have come across the term. It’s when your tone, language, and body language comes together. When people get it right they communicate the message they wanted to get across perfectly.

Bill Clinton and Marilyn Monroe had it (in more ways than one). It’s about your body and mind being aligned to convince people of your message. If you fake who you are, it can be exhausting, so why do it?

The point I’m trying to make is this: no matter who you are, you need to be yourself, wherever you are. There is no point in wasting your life for those snatched moments to be you. If you can’t be yourself right now — when can you be?

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We asked our featured artists, musicians and thinkers about their four favorite things.

TOM DICKINS Sex. Because… it’s amazing.

Walking, it activates my mind.

Fiona Apple’s new album because it is everything I want to be able to make Weird old instruments I haven’t played before. They have stories to tell – but in a language that eludes me.

SEBASTIA N JAUREGUI Favorite Festival - Lightning in a Bottle, It is the most conscious group of art and music enthusiasts that I have ever had the pleasure to surround myself with. The weekend is filled with wonderment, education, and pure magic.

Favorite Holiday - Halloween. The creativity and pure fun of it!

It allows all of us to be a child again.

Favorite Color - Indigo, it's dreamy, dark and the name of all the cosmic children out there.

Favorite Pastime: Hanging with the most amazing artists and creating just killer collaborations together. Again and again.

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The first thing is obviously MUSIC. I would jump off the Petronas Twin Towers for it.

The second thing has to be the color SILVER. I’ve been obsessed with it since I got into all the Warholian 60’s “Factory” stuff. I want to be silver. I’m not kidding. (Psycho Face) The third one could be OLD MOVIES, especially Hitchcock movies. I always watch them with my brother. I think they are just brilliant. I could watch “Rear Window” or “Dial M For Murder” over and over and always feel impacted by its awesomeness.

And the fourth could be TECHNOLOGY. I like it a lot, whether it is mixed with fashion, like Hussein Chalayan’s work, which I admire very much, or with communications, in the case of internet and social media. I have always been interested in it and it’s a topic that always gets my attention.

CHARLIE DEMOS

BL ACK TA XI

Storm running. Stripping down to shorts and sneakers and running out into a NYC thunderstorm is how I get by. Preferable with a flask of whiskey, which is ideally drunk on the Williamsburg Bridge where the rain-wind is at its best. In a perfect scenario a bunch of other storm running fools will accumulate with their bottles and after imbibing we will run off together — to nowhere in particular — as hard and as fast as we can. Last time this happened the sun caught us in Redhook, and we ended up in Sunny's bar...an entirely other "favorite thing" that I will not detail here. - Ezra A fresh pair of socks. Straight out of the package. I'm thinking of buying a case of 365 pairs on January 1st and have a pair of freshies every day of 2013. - Bill Bikram Yoga We've been hitting the road really hard this year, and it's a lot of time traveling in a van. There's only so many hours your back can stay in one place before tightening up, so I love coming back home and taking my hot yoga class. The heat makes my muscles loosen up automatically, and it feels like my back is getting broken out of concrete. It keeps me sane and helps me decompress from all the boozing and crap food we eat on the road. - Krisana Brunch. Aww, brunch... Late nights lead to late mornings, which often lead to midday round-ups with good friends to link together the various happenings of the night before. The time we allow ourselves to eat grand portions of decadent 'breakfast' foods and have a strong cocktail - thinly veiled as a healthy drink with vitamins... i.e. a Mimosa or Bloody Mary — these are the times we look forward to during the week — when toast and a cup of coffee-to-go is all we have time for before diving into our daily lives. Brunch, especially the morning after a show, is the reward; the medal ceremony at the end of the race; the honeymoon of the shotgun wedding of a group of friends and a wild night. - Jason

JULISSA VELOZ Random accents to unassuming strangers Big Red gum Receiving the final of a song you've been working on Eating...pretty much mostly everything

Egyptian Musk Oil. Ive been wearing since I was 14! It's a smell that is endlessly fascinating and intoxicating; I really can't bear to be without it. I've tried wearing many scents over the years but I always come back to this one!

A cup of black tea with honey. All my friends call me the tea totler. There's something so comforting about a warm cup of tea for me. I have been known to sip tea at bars. Haha it's definitely my drink of choice!

My leather jacket. I've worn it to or in so many of my shows and also on travel adventures and yes even during sex! It has alot of energy to it and fits perfectly.

Moleskine Notebooks. I have one with me at all times. I write at least once a day in it, sometimes sketch and insert various pictures for inspiration. It's very important to me, personally and creatively.

A LE X A DA MS

Favorite place: Makrinitsa. It's a tiny village in Greece, slapped onto the side of Mount Pelion. There's an outdoor cafe there, with tables pressed right up against the railing. I'm pretty sure you can see forever from there.

Favorite boots: Frye's engineers. I own them in black and brown, and they never need to be broken in. Plus, they go with all my jeans.

Favorite episode of a TV show: Angel's “Smile Time.”

All I can say is “puppet cancer.”

Favorite thing I'll probably never do: Climb Mt. Everest.

Sure, it would be awesome, but the oxygen mask would probably make my butt look big. I plan to climb it inside my head someday though, for sure, when I have the time.

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coming to

CALLING ALL ARTISTS

The Drowning Men Steam Powered Giraffe Stephen Blackmoore Monte Pittman and more

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