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not for girls.










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36 editor’s letter 38 letters 42 contributors

genius 44 night moves

Masters of Sex star Caitlin FitzGerald rules at relocating. By David Walters

48 huston, we have liftoff At just 18, Nyjah Huston has overcome a lifetime of tough

52 live fast, die last Artist and drag racer Matthew Day Jackson leads a well-examined life. By Melissa Giannini

54 session in Progress

Former Entourage star Adrian Grenier faces the music. By Lisa Mischianti

58 haute stuff: Gimme some skin

59 genius news 63 cult of:

73 mitsu’s greatest adventures Our fashion market editor hits an awesome ASOS event in London.


66 take it or break it: Anthony Jeselnik

68 tech & gaming 70 chow 72 grooming

drive thru 74 cat Power Jaguar proves its pedigree with the 2014 F-Type. By Nicolas Stecher

78 test drive: 2013 BMW M6 Coupe and 2014 Mercedes-Benz CLA45 AMG


aaron paul photographed by kenneth cappello. stylist: j. errico. grooming: daniele piersons at exclusive artists using malin + goetz. photo assistants: curtis buchanan and steve lee. fashion assistant: alana rosenblum. digitech: brandon jones. shot at siren studios, los angeles. blazer by diesel black gold, shirt by marc by marc jacobs, tank by calvin klein underwear, pants by louis vuitton, necklaces by cast of vices, paul’s own small silver chain necklace.

breaks to become one of the best skateboarders the world has ever seen. By Bret Anthony Johnston

caitlin fitzgerald photographed by andrew kuykendall. sweater and briefs by tse, ring by mociun.




hentsch man



M O R E ST Y LE , M O R E WAYS Find these looks in our stores, online, or shop from your iPad with the Bloomingdale’s iCatalog app. Want a hand? Let our free personal shoppers help you, 1-800-431-9644. iPad is a registered trademark of Apple, Inc.

WinGS + hORnS/bALdWin

RAG & bOnE

09.13 lars ulrich photographed by steven taylor.

taste 82 Ready foR take off Suitcases

84 Good SPoRt Letterman Jackets

86 Back it uP

100 Put a Lid oN it Hats

102 So fReSH, So cLeaN Boxers

104 SeveNtH-iNNiNG StRetcH Baseball T-Shirts


88 SHot iN tHe daRk Black Jeans

90 decked out

radar 106 JoBS Josh Gad, John Debney, and Joshua Michael Stern discuss the making of this year’s buzziest biopic. By David Walters and Ashley Baker. Photographed by Bryan Sheffield


92 StRide RiGHt Leather Sneakers

94 SWeet GRaPHicS Sweatshirts

96 doN’t SWeat it Sweatpants

112 tHat ’70S SHoW

98 Got tHe MeSSaGe Funny T-shirts

vol 9 issue 4

Brit band The 1975 likes to mix it up. By William Goodman. Photographed by Shane McCauley

josh gad photographed by bryan sheffield.

09.13 114 a little less conversation Franz Ferdinand is releasing their first album in almost five years—and they’ve still got it. By Barry Nicolson. Photographed by David Titlow

118 the sweet sPot Jason Biggs takes on a serious post-Pie role with the new Netflix series Orange Is the New Black. By Dan Crane. Photographed by Jennifer Rocholl

120 on the record: Superchunk’s Mac McCaughan. By Jessica Hopper. Photographed by Brett Arthur Donar

122 trouble man Sharlto Copley is good at being bad in Elysium. By Denise Martin. Photographed by Elias Tahan

photographed by james elliot bailey.

124 sleeP no more Ty Segall introduces his deeply intimate seventh solo album, Sleeper. By Drew Tewksbury. Photographed by Jay Hanna

125 double feature Joe Swanberg masterfully handles horror flicks and indie films alike. By Maxwell Williams. Photographed by Eleanor Stills


HUGO BOSS FASHIONS INC. Phone +1 212 940 0600

features 126 cRyStaL cLeaR After a career-defining role as Jesse Pinkman on Breaking Bad, the options are endless for Aaron Paul. By David Katz. Photographed by Kenneth Cappello. Styled by J. Errico

134 cLaSS act Glee’s golden girl Dianna Agron is made for the mob. By Kyle Buchanan. Photographed by Marvin Scott Jarrett. Styled by Ashley Zohar

138 off tHe RaiLS Suiting never seemed so sweet. Photographed by Ben Morris. Styled by Allan Kennedy

148 God of Rock Metallica’s Lars Ulrich drums up a new project. By Garrett Kamps. Photographed by Steven Taylor

152 Lucky Guy Boardwalk Empire’s Vincent Piazza proves he can play both thuggish mobster and style muse. By Claire Howorth. Photographed by Jimmy Fontaine. Styled by Micah Johnson

158 SHoPPiNG LiSt 160 BLood, GutS, aNd GLoRy Robert Rodriguez kills it in the second installment of the Machete franchise. By Ashley Baker

NYLON GUYS (ISSN 1931-2784) [Volume 9, Issue 4, August/September 2013] is published 6 times a year (Feb/Mar, Apr/May, Jun/Jul, Aug/Sep, Oct/Nov, Dec/Jan) by Nylon Holdings, Inc., 110 Greene St, Suite 607, New York, NY 10012 for $19.97 per year. Application to Mail at Periodical Postage Prices is Pending at New York, NY and additional mailing offices. POSTMASTER: Send address changes to NYLON GUYS, P.O. Box 5796, Harlan, IA 51593-3296.


adrian grenier photographed by david shama. shirt by todd snyder, shirt (underneath) by a.p.c., jeans by j.crew. above: photographed by alexander wagner. all clothing by en noir, hat by john varvatos, shoes by lacoste l!ve.

© 2013


editor-in-chief MARVIN SCOTT JARRETT executive editor ASHLEY BAKER art director CHRIS SEGEDY

features deputy editor DAVID WALTERS senior editors MELISSA GIANNINI AND MALLORY RICE grooming editor KATIE DICKENS editorial assistant LISA MISCHIANTI grooming assistant JADE TAYLOR contributing automotive editor NICOLAS STECHER contributing copy editor MATT SCHLECHT design co-art director EVAN CAMPISI designer KELLY SHAMI contributing designer HALEY STARK photo bookings director BETH GARRABRANT fashion fashion director JOSEPH ERRICO market director RACHAEL WANG men’s market editor MITSU TSUCHIYA associate market and accessories editor TAMAR LEVINE fashion assistant MARISSA SMITH style editor-at-large DANI STAHL publisher JACLYNN JARRETT associate publisher KARIM ABAY grooming account manager BIANCA RODRIGUEZ fashion account manager DARCIE VUKOVICH fashion account manager NICOLE SIEGEL fashion account manager STACY DOUEK marketing and events manager JENNY PECK promotions and marketing designer KELLEY GARRARD

digital executive web editor REBECCA WILLA DAVIS digital art director NICK BLOOM-SCAGLIONE men’s content and marketing director JOSH MADDEN web programmer ESTEFANIE DUQUE associate web editor STEFF YOTKA nylon tv executive tv producer HEATHER CATANIA tv producer BLAIR WATERS office coordinator KELLIE MCFADDEN assistant to the editor-in-chief CONNOR STANLEY advertising information 212.226.6454, FAX 212.226.7738 subscription information 866.639.8133

contributing writers kyle buchanan, paul caine, evan campisi, hazel cills, kira cole, millie cotton, dan crane, matt dolby, greta garmel, william goodman, jessica hopper, claire howorth, bret anthony johnston, garrett kamps, denise martin, barry nicolson, drew tewksbury, diane vadino, maxwell williams, david katz contributing artists will anderson, james elliot bailey, sergiy barchuk, michael beck, kenneth cappello, brett arthur donar, kyle fewell, david foldvari, jimmy fontaine, bradford gregory, spiros halaris, jay hanna, akiko higuchi, cobra kai, daniel kent, jarno kettunen, andrew kuykendall, kate lacey, rowa lee, jai lennard, john paul leon, ryan lowry, shane mccauley, ted mcgrath, ben morris, jennifer rocholl, david shama, bryan sheffield, eleanor stills, elias tahan, steven taylor, david titlow, george underwood, alexander wagner, elizabeth weinberg, lisa wiseman interns amanda alborano, rashed aqrabawi, molly beauchemin, hannah bem, aoife byrne, rosalva cassanova, kira cole, millie cotton, josie danziger, sienna fekete, greta garmel, caroline gompers, tess herbert, megan james, christian lavery, ellen leung, jade lewin, britton litow, frederika morgan, gwendolyn rosen, alana schindel, haley sheriff, elizabeth smith, chantal strasburger, morgan von steen, nicole zane

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corporate offices: nylon holding inc. 174 middletown blvd, #301, longhorne, pa 19047 newsstand consultants IRWIN BILLMAN, RALPH PERRICELLI circulation consultants GREG WOLFE national distribution CURTIS CIRCULATION foreign distribution CURTIS CIRCULATION nylon is published by nylon holding inc. president MARVIN SCOTT JARRETT vice president JACLYNN JARRETT reproduction without permission is prohibited. mascots ANNIE, ABRAHAM, MOSES, & MIA JANE

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ed letter

take two

I FIRST MET AARON PAUL at a friend’s house in L.A., long before Breaking Bad made him a star. While it may be the end for Jesse Pinkman, it’s the beginning of a second act for Aaron. I’m psyched that he’s become so successful, and I love what he’s wearing in our cover shoot. Stylist J. Errico, the fashion director of NYLON Guys, was inspired by a ’90s Kurt Cobain, and he found some great clothes, especially a few pieces from Hedi Slimane’s collection for Saint Laurent. I also had a good time hanging out with Dianna Agron again—we first met in 2011, when I shot her for the cover of NYLON, and I’m looking forward to watching her in Luc Besson’s new film, The Family. We were also able to sit down with Metallica’s Lars Ulrich for this issue’s Thinker profile—he’s not only a smart guy, but one of the masterminds behind some really important records. And make sure to check out all of the great fall fashion in these pages—our editors have been scouring the stores and runways for the best stuff out there, and you’ll find plenty of ways to replenish your closet. MARvIN ScOTT jARRETT, EDITOR-IN-cHIEF

photographed by marvin scott jarrett. shirt by reformation, skirt by robert rodriguez, shoes by christian louboutin, jewelry by jacquie aiche, stylist’s own socks.


letters dear nylon guys, Loved the “Island Style” thing you did on Hawaiian shirts in your July issue. I have to say, though, my dad’s been wearing those shirts on and off vacation for decades, so I think you should give him some credit, as he pretty obviously inspired your story. We discussed the matter, and he’s willing to be the cover model for the next issue. This strikes me as very fair, and, frankly, no one likes a lawsuit, right? ALEXANDER HELLER PHOENIX, AZ dear nylon guys, Gotta admit, I was kinda creeped by last issue’s interview with Ryan Matthew Cohn. I read this mag for rad clothes, hot babes, and cool music recs, not skulls and pig carcasses. If I wanted to read about sick stuff like that, I would just read regular NYLON. NOT a cool story, bro. TIM HENDRICKSON NEW YORK, NY dear nylon guys, My girlfriend says I need a signature scent. I don’t like most colognes, but I do love bacon, so I’ve taken to rubbing a few strips on my pressure points each morning. She says it’s gross; I say it’s DIY. I thought girls dig dudes who smell delicious. What’s your ruling? JOHN BROWN AUSTIN, TX dear nylon guys, The more weird stuff that happens in Brazil before the World Cup to scare off fair-weather soccer fans, the more tickets for me. I have been rounding up every single violent thing I hear about and


letters mass emailing it to everyone in my address book. I tell them it’s for their safety. STEVE LUNSER CHICAGO, IL dear nylon guys, Loved the Oddities article—I see Professor Snape has another hobby apart from stirring up deadly potions. Wait, where exactly do all these skulls and bones come from…? ADAM RICHARDSON BOSTON, MA dear nylon guys, I’m not really sure how I feel about those teeny, tiny swim trunks. The shorter, the better? Tell that to whomever calls the police when I have a wardrobe malfunction while playing Frisbee with my Maltipoo. RYAN SCHNEIDER BOCA RATON, FL dear nylon guys, So the Yankees have a fragrance now, huh? That ought to put fear in the hearts of our rivals. DON EVANS BRONX, NY dear nylon guys, I vote Armie Hammer as the coolest name of all time. I love parents with a sense of humor! Who’s with me? DAN ROTHMAN HOUSTON, TX

dear nylon guys, Interesting piece on the DJ party-streaming site Boiler Room. Glad there’s something else out there to give me major FOMO while I robotically click between Farmville, Twitter, and How About We every night. DUSTIN SCOTT BILLINGS, MT dear nylon guys, That sweatshirt in the fashion story that simply reads “MUSTARD” is everything I’ve ever wanted in a piece of clothing. Fuck ketchup, seriously. MIKE NELSON PHILADELPHIA, PA dear nylon guys, Nothing says “If you don’t say thank you and squeeze my hand every single time I pick up the check for dinner there will be tears (mine)” quite like owning a tennis ball yellow Benz. So thanks for test driving it for us in your last issue and sparing your readers the grief. ERIC LENVEN LANSING, MI

dear nylon guys, Only God will forgive Nicolas Winding Refn for Only God Forgives, apparently. Boooo! KENNY JOHNS CLEVELAND, OH dear nylon guys, When my British friend says “I’m not too bothered,” does that mean I should or should not take my shoes off when I enter his apartment? REYNOLD JUPES TAMPA, FL

dear nylon guys, If Weiner is running for mayor of NYC and Spitzer is running for Comptroller, we’d better get a 40-year-old virgin in the race for Manhattan Borough President just to level out the testosterone around here. UNCLE MIKE TRIBECA

send mail to: nylon guys letters 110 greene street suite 607 new york, ny, 10012 or email: illustrations by ted mcgrath. disclaimer: nylon guys cannot guarantee the authenticity of any of these letters.



ben Morris Photographer, NYC

Shot the fashion feature “Off the Rails” (page 138).

spiros Halaris Illustrator, London

Drew the portraits of author and The Awl editor Choire Sicha and FUCT founder Erik Brunetti for Genius News (page 59). “I would describe my artistic aesthetic as the minimalistic play of expressionistic elements. Illustrating for this issue in particular was fantastic, as my subjects were very unique personalities with amazing backgrounds.” Hails from: Athens, Greece Twitter handle: @spiroshalaris Latest discovery: Vegan food—it’s surprisingly good. Travel plans: Moving to New York Playing on repeat: “Power Trip” by J. Cole Online fixation: Compulsively reading: Anything by Haruki Murakami Mode of transport: If possible, by foot Secret skill: Rollerblading Sartorial signature: Black-and-white specs

“The shoot was good fun. We photographed the story as a collection of moments-cum-portraits as we explored the small town of Tuxedo, NY, and we had the whole team there, so it was like a family trip out to the countryside. However, I don’t think that Tuxedo was prepared for us to take over for the day!” Hails from: A small village in North Yorkshire, U.K., called Ferrensby. I moved to London when I was 17. Instagram handle: @benmorrisphoto Latest discovery: Mezcal Travel plans: Surfing in Nicaragua Playing on repeat: Toots and the Maytals Online fixation: Compulsively reading: Books about Napoleon, weirdly Mode of transport: Skateboard Secret skill: I can play Scrabble in French. Sartorial signature: I’m lucky to have a lot of friends who make clothes for me and I travel a lot. I pretty much dress like Serge Gainsbourg would have if he skated.

bret antHony JoHnston DaviD Katz Writer, Cambridge, MA

Interviewed Nyjah Huston for “Huston, We Have Liftoff” (page 48). “Interviewing Nyjah was surreal. He’s such a laidback, sweet kid, and yet when he’s skating, he’s so intense and relentlessly good. The contrast boggles the mind.” Hails from: Corpus Christi, TX Latest discovery: The Sword’s Apocryphon Travel plans: Wherever The Sword is playing Playing on repeat: It rhymes with “The Sword’s Apocryphon.” Online fixation: “Skateline” on the RIDE Channel on YouTube Compulsively reading: Jim Shepard’s short stories Mode of transport: 2005 black Nissan Frontier crew cab Sartorial signature: Skate-shopclearance-rack chic

Writer, Los Angeles

Interviewed Aaron Paul for “Crystal Clear” (page 126). “Aaron was a really easy dude to tour around LACMA with for the day. He’s open and humble and has zero pretense, though I guess when you have enough talent you don’t need it.” Twitter handle: @davidkatzwriter Travel plans: Southeast Asia Playing on repeat: Yeezus—which, by the time this comes out, may seem old and tired. Also, Jonathan Richman and The Modern Lovers—already old but never tired. Online fixation: Compulsively reading: Behind the Beautiful Forevers by Katherine Boo Mode of transport: My own two feet, or maybe a Porsche 550 Spyder? But only the former is currently an option. Secret skill: Keeping secrets Sartorial signature: Does “pants” count?


stylist: shandi alexander. hair: ryan trygstad at exclusive artists. makeup: gita bass at exclusive artists. on-site producer: mimi hoesley. jacket by diffuse, shirt (underneath) by jeremy scott, jeans by cheap monday, earrings by tom tom by elena howell, ring by mociun.


Caitlin FitzGerald is sitting on a bench outside Mojo Coffee in Manhattan’s West Village, feeling a little wistful about her old neighborhood. “i lived in a sixth-floor walk-up; the floors were so slanted they didn’t actually meet the walls,” the actress proudly recalls. “and i had a crazy bug infestation. the exterminator sprayed so many chemicals that it looked like it had snowed in my apartment.” Plum parts in films by nancy Meyers (It’s Complicated) and edward Burns (Newlyweds) made city living more comfortable, but her latest turn—as libby, the prim 1950s wife of sexuality research pioneer William Masters, on the Showtime series Masters of Sex—required FitzGerald to pack up and move to los angeles. it also forced her to clear up some misconceptions regarding that salacious-sounding title. “the subject matter is familiar to a certain generation, but a lot of people just think i’m doing porn now,” she jokes. “all my old nYU classmates are probably like, ‘Oh, that’s too bad for her.’” to be clear: the show, which co-stars lizzy Caplan and Michael Sheen, features plenty of skin, but the straitlaced libby, according to FitzGerald, “spends most of the season wearing a girdle, setting tables, and making Jell-O molds.” the happy homemaker is not a role FitzGerald cares to play in reality anytime soon; she’d rather write and direct. “there’s a big gap in the stories that get told,” she says. “it’s time for some chicks to get more opportunities.” Like the Water, a film she co-wrote, made the festival rounds last year, and now, perhaps informed by the mileage logged on her recent coast-swap, she’s working on a “country-western road trip musical.” Here, she offers tips on how to become a master of moving.

1. Throw money aT The problem. Many times, in an effort to save a couple hundred bucks, and in gross denial of my upper-body weakness, I’ve attempted to carry my own boxes instead of hiring movers. Along with a lot of injuries and lost friends, I once contracted bed bugs. Never. Worth. It.

It’s called parcel post. This is great for me because, nerd that I am, I do have a lot of books. But it’s possible that, occasionally, a frying pan or some shoes found their way into one of those boxes.

4. choose your Tape wisely. That cheap four-pack can look really tempting, but when you have to use a roll and a half to get the damn box closed, and it still explodes open en route, you’ll be sorry.

3. Give back. While you’re cheating the uSPS of funds it badly needs, you can right your 2. cheaT The sysTem. karma by using your move to I am not by nature a ruledonate everything nonessential breaker and might get in to charity. In addition to being serious trouble for mentioning a nerd, I’m also a bit of a this, but the u.S. Postal Service hoarder, but even I, after provides a discounted shipping roughly 16 moves, have learned rate if you’re sending books. to jettison dead weight.






THE SMITH WESTERNS STARTED WHILE YOU GUYS WERE STILL IN HIGH SCHOOL. WAS IT A CLASSIC TEENAGE GARAGE BAND SCENARIO? It was around my junior year of high school that I started getting into record collecting and playing guitar. I gravitated toward the two most like-minded individuals in the school—and they just so happened to be Max and my brother, Cameron.

WHO ARE SOME OF YOUR MUSICAL IDOLS AND INSPIRATIONS? The Clash, Guns N’ Roses, Roxy Music, and the Beastie Boys.

WHAT’S THE BEST WAY TO LISTEN TO YOUR MUSIC? In the car, definitely. Driving around aimlessly and just enjoying the record has to be the best way. That’s how I listen to most music.



are definitely mirrors of who we are as people. Each record has become more mature musically. None of the records would have been made if we hadn’t learned from the experiences of the previous record.

it be finished. It was the longest writing and recording process by far for us as a band, and to finally have it done after almost a year of work was a surreal feeling.

WHAT DO YOU LIKE TO DO IN YOUR DOWNTIME? Paint. Work out. Cook. Drink beer.

HOW WOULD YOU DESCRIBE EACH BANDMATE’S PERSONAL STYLE? Max: Grunge Cameron: Functional Cullen: Prints Julien: Dude

not for girls.

photographed by ryan lowry. all clothing by TOPMAN.


grooming: jeffrey paul at exclusive artists.

NYJAH HUSTON, one of the greatest skateboarders in the world, can’t decide which of the three Iron Man movies he likes most, and it’s really stressing him out. He sits on a leather couch in the bowels of the Sprint Center in Kansas City, Missouri, taking his Monster Energy Drink hat on and off. He sighs, drags his hand over his face. “Man,” he says, “I just don’t know. They’re all so rad.” Huston is 18, and at first glance, he looks like every skater you’ve seen lurking around a shopping mall: skinny jeans, shoelace belt, DC sneakers, and a loose tank top. There, though, the similarities end. His one-karat diamond earrings catch and throw the overhead light, and a tattoo of the word “Ambition” stretches from his elbow to wrist. His DC shoes are legitimately called “The Nyjah,” and he’s flown in from California for the third contest in the 2013 Street League series. He’s undefeated and, spoiler alert, no one’s going to come close to beating him this weekend. The reason he looks

like the skaters at the mall is because they’re aping his style. He’s a god to them. “Maybe Iron Man 3?” he says, sounding unsure. “I mean, I liked that one so much that I bought that Audi R8. But I don’t know. The first one was really good. It’s a tough decision!” That naming his favorite movie is Huston’s biggest problem epitomizes how much life has changed for the skater whose X Games debut eight years ago made him the contest’s youngest competitor ever. Raised Rastafarian by a domineering father, Huston entered the sport as a shy, sad-eyed prodigy

who’d never had a haircut; thick dreadlocks hung to his knees and swung like tentacles when he skated. He was supporting his family by age 11 and at the top of the skateboarding world by 12, when his father abruptly moved the family to a 26-acre Puerto Rican farm that he’d bought with his son’s money. “Things pretty much started to suck from there,” Huston says. One major sponsor dropped him because he was rarely allowed to travel to contests, and the others quickly followed suit. Then, just before one of the trips his father did allow, his mother fled Puerto Rico with Huston’s younger siblings and filed for divorce in California. Huston hardly saw her or his brothers for the following two years. Despite a boundless talent that outshined the top-ranked pros, Huston was a has-been at 14. Then, in May of 2010, after years of petitioning the court, Huston’s mother was granted full custody and he returned to



California. “It was awesome of my mom to do that,” he says—but he was also penniless. When his family learned of the inaugural Street League event in Arizona, they hit the road. Arriving at the hotel, they had less than $100 to their name, but Rob Dyrdek, league founder and star of MTV’s Rob & Big, recognized Huston. Dyrdek paid for the family’s rooms, and Huston won the event, walking away with $150,000. Skateboarding’s prodigal son had returned. A year later, he cut off his dreads. “It was time for a change,” he says. And he’s been unstoppable ever since. To date, he’s won more money than any other skateboarder in history, including Tony Hawk. His skating is more fluid, powerful, and technically advanced than ever, and for the first time in his life, he looks like he’s having fun on his board. To watch him skate now is to see the intensity of his ambition and the complexity of his experience, but there’s also an innocent excitement that he can’t quite conceal, like a kid who’s just learned his favorite movie is playing nearby and if he skates really fast, he’ll get there in time.


Tal Cooperman when did you first discover the art of graffiti? I got lucky as a kid when Eklips, the founder of the worldfamous AWR, MSK, and The Seventh Letter crews, took me under his wing. He has been a father fgure in my life since I was 16 years old. I love graffti and do it from time to time, but other fellow artists like Revok, Pose, Eklips, Ewok, Retna, Saber, and Rime have taken over the world, and I couldn’t be prouder of them.

how did your partnership with the Madden brothers on the dcMa clothing label coMe about? I used to connect Good Charlotte with a lot of clothing brands. Then a few years went by and I ran into Joel at a night club in L.A. and he said, “My brothers and I are talking about doing another brand and we would really like to get you involved.” I ended up meeting with Joel for lunch the next day about launching DCMA. It was an amazing ride and one of the most fun projects I have ever worked on. I owe a lot of my career to the Maddens. They are my family.

photographed by michael beck.

what is the inspiration behind your newest clothing line, crsl? how would you describe its aesthetic? CRSL is a California-based apparel brand that showcases the spectrum and spectacle of my life. As with the traditional circus carousel, where all walks of animal life coexist on parade, CRSL is a kaleidoscope of my supporting cultures and creative communities. From boardsports to hip-hop, heavy metal to street art, CRSL channels my longstanding history in these underground circles through the prism of casual streetwear. CRSL is the story of the diverse and dynamic youth culture of today.

how would you characterize your own personal style? I’m a simple dude. I always wear RVCA or KR3W pants and a vintage rock T-shirt. Also, for as long as I can remember, I’ve had a NEFF beanie on my head or in my pocket.

how does your casio g-shock watch coMplete your look? I’m really bad with time! I would be late to my brothers’ weddings if I could. But I started wearing watches about a year ago and Casio has always been a leading brand in my mind. My G-Shock watch is a staple. I can’t leave my house without it.

AdvertiseMent nylon Guys x G-shock

Christian Madsen

mother brought me to The Actor’s Studio.

did you always know you wanted to follow in the footsteps of your father, Michael Madsen, and becoMe an actor?

what’s the best thing about working in the filM industry? what’s the toughest?

I didn’t. But I always knew that, whatever I did, I wanted to do it without any help, to prove my independence. In high school I performed in plays, but I actually didn’t consider acting as a career until my grand-

The best things are all the great people you meet, the experiences you gain in different cities, and the ability to pay the rent! The toughest parts are the long hours, night shoots, and endless cups of coffee. But in the end, you lay your

head on your pillow, watch the sun come up, and thank your lucky stars you’re working.

what’s your favorite Movie of all tiMe, and why does it inspire you? East of Eden. I can really connect with the lonely, searching characteristics of Caleb. I can also relate to his longing for answers, his family relations, and his troubles.

what’s the Most useful advice anyone has ever given you about acting? To get a real, hardworking job, and always be humble.

you have a few exciting Movies coMing up, including Palo alto alongside JaMes franco and eMMa roberts. what was it like filMing? It was great! Gia [Coppola], the director, was very low-key and let me improv a lot. I think she has a

big and bright future ahead of her.

what are your hopes and aspirations for the future? To meet and work with great people who are willing to take risks.

why is your casio g-shock watch one of your choice tools of the trade? It helps me keep time, because that’s all we have in life.


quality tiMe artist-entrepreneur tal Cooperman and aCtor Christian madsen disCuss their Creative Callings and how their Casio g-shoCk watChes help them keep it all together.

STEPPING INSIDE multimedia artist and drag racer Matthew Day Jackson’s massive Brooklyn studio is like entering a Richard Scarry storybook, an affable busytown of men and women welding, sanding, fixing leaky ductwork, and fetching muffins. Indeed, it’s an eventful time for Jackson, with an upcoming solo show—Something Ancient, Something New, Something Stolen, Something Blue, at Hauser & Wirth’s New York outpost—as well as the September opening of a gallery space within his recently renovated studio building, which once housed the popular nightclub Studio B.


Called Bunker 259 (a nod to the building’s address on Banker Street), the gallery will show one piece of artwork at a time, accompanied by an essay. Following a public opening, visitors may make appointments to view the work, complete with refreshments provided by Jackson and his wife, Laura, who live on the second floor with their two young sons. “The writing will illuminate aspects of the work, but hopefully, really good work reveals itself over and over again,” Jackson explains. “And that’s why we’re still staring at things that are thousands of years old. The mystery embedded is like a battery that never loses its charge, constantly being reflected off of a different environment.” Heading through the studio to a back patio, where Jackson’s black dragster is parked inside a trailer, the eye reflects upon at least two “blue somethings,” a sky-hued vintage racecar designed by the artist’s uncle and a 3-D aerial rendering of Paris, glowing an otherworldly shade of ultramarine called Yves Klein. He pauses by the map for a moment to kneel down and peer through the streets at eye level. Outside, Jackson instructs, “Cover your ears!” before revving up the dragster, a deafening roar that jolts the ductwork contractor. For the artist, racing is a family tradition, starting with his greatgrandfather, “a great circle-track racer,” and continuing with his creative spin on the practice. “When you release the button, the only way you can be competitive is by keeping your foot on the throttle the whole time,” he says. “There’s this negotiation of faith in the people who made the tube steel, the engine mounts.” But we take measured risks every day, he reasons, like drinking water whose source is almost always unknown. Raised in the suburbs of the San Fernando Valley and Olympia,

Washington, Jackson didn’t identify art as a calling until his late teens. “I showed an aptitude for nothing,” he says. “I loved riding my skateboard.” But toward the end of his junior year, a teacher suggested he apply to art school. “I was, like, ‘What are you talking about?’ I didn’t know there were contemporary artists,” he says. Fast-forward to 2005, and a memorable showing as part of PS1’s quinquennial Greater New York exhibition. Jackson’s piece, a large, loud, darkly droll sculpture evoking a Viking ship equipped with a Mondrian-esque sail of punk T-shirts, landed the artist on collectors’ treasure maps. A year later he learned he had multiple sclerosis, a diagnosis that led to a realization that “the world is big and full and the studio is only a place to record those experiences.” He hopped in a van and took a four-month “Bummer Tour” of historical tragedies, including the site of the first atomic bomb testing and the Wounded Knee massacre, culminating in an exhibition of photographs. Discussing the inspiration behind his work, Jackson swerves from Thucydides’s The History of the Peloponnesian War to post9/11 surveillance, back to the Civil War and silverware shooting out of cannons, to Eleanor Roosevelt’s thoughts on the beauty of dreams. His lengthy explanations give credence to the claim that he’s had eight-hourlong studio visits, as little in his life goes unexamined. “Like with the photographer today, taking flash photography of this dude with a beard who kind of looks fat in a racing suit,” Jackson muses on the NYLON Guys photo shoot. “There has to be something beneath the surface of that person, the reason why the photograph was taken. It’s like trying to capture the image of a ghost, and I like that.”

Nashville recording artist Matthew Pelham, of The Features, shares his story at

session in progress ACTOR ADRIAN GRENIER CULTIVATES A HOMEGROWN SOUND WITH THE WRECKROOM. BY LISA MISCHIANTI. PHOTOGRAPHED BY DAVID SHAMA FROM THE maracas on the mantle to the bronze buck by the front windows, Adrian Grenier’s Brooklyn town house is home to an eclectic array of kitschy collectibles. The curation is informal and unassuming—the man simply knows something cool when he sees it, and is eager to gather uncommon creativity under his roof. It is precisely this spirit that defines the former Entourage star’s current venture, the Wreckroom, a “music incubator” of sorts, whose mission is to discover, develop, record, and promote

stylist: micah johnson. grooming: kellie urban at exclusive artists. shirt and pants by pierre balmain, shirt (underneath) by todd snyder, shoes by louis vuitton.

emerging bands from Grenier’s own basement studio. While he’s probably best known as an actor, Grenier has been making music all along. “I’ve always had bands or studios, some of them slicker than others—most of them pretty lo-fi and crusty,” he admits. So when he moved into his Clinton Hill home a few years ago, Grenier converted the basement into a cozy recording room where he and his friends

added EP production to their list of services. Many of the bands participate in an interview series called “Skinny Dip” and a covers series called “Under the Covers” to promote the recorded material, which is sold through the Wreckroom’s website and social channels. The end goal: to create a self-sufficient community of Wreckroom artists who can reclaim the creative process by inspiring and promoting

and support each other.” Right now, the project’s two biggest prospects are Radkey, a punk-rock band made up of three brothers from Missouri, and The Skins, a Brooklyn-based quintet with a rock-metal-soul sound. Both bands have recently released EPs through the Wreckroom, and not a single member is over the age of 20. As I chat with Grenier on his sunny—and buggy—back patio, The Skins lounge inside. Grenier

remembers fondly the moment he recognized their talent. “I saw them kick it in the studio, and they hit this one note where [lead vocalist Bayli Mckeithan] goes, ‘Hey!’ and the goose bumps just crawled over my body. I thought, ‘Oh, here we go. We really have to do this.’ The mandate came from the music.” The admiration is mutual. “Adrian and the Wreckroom are really about the music,” says guitarist Daisy Spencer. “They are helping the scene grow, and they’ve been so generous and kind to us.” Adds Mckeithan, “It’s been a sweet ride.” When I ask Grenier the key to his success with the side project, he shrugs, expertly swatting a mosquito with ninjalike reflexes. “There’s no formula for taste.” FRom lEFT: kaya mckeithan, daisy spencer, bayli mckeithan, reef mckeithan, and russell chell of the skins.

could jam. But with great power amps came great responsibility. “I felt kind of douchey having this wonderful space as my own personal indulgence,” he explains. “I thought there was some fundamental injustice in hoarding such a beautiful thing, so I decided to make it available to cool new acts that needed an opportunity to record in a professional studio.” And so last year the Wreckroom was born. With Grenier at the helm, the project has since grown into a vibrant breeding ground for talent. Grenier and his team of industry vets assess prospective acts and invite a select few to the studio for a free, full-day session to record a single and video. Just a few months ago, they


one another. “We’re not a conventional label,” says Grenier. “We won’t do all the work for you; we’ll aid you in doing it yourself. The community becomes the organization as our bands give back and collaborate. It’s a collective.” The Wreckroom’s model is not only democratic but also nostalgic, a tribute to the pre-digital age when bands worked together and pooled their resources in order to be heard. “It’s sort of reflective of what I grew up with,” recalls Grenier. “I was in a band, my friend was in a band, my other friend was in two bands. This was before the Internet, when we were still making our own flyers at Kinko’s, so we would all go to see each other play

shirt by todd snyder, t-shirt and shoes by a.p.c., jeans by j.crew.




shoes, $2,495, calvin klein collection.


hide & sneak



Back in 1968, entrepreneur Erling Persson purchased Mauritz Widforss, a men’s outdoor activity retailer, and combined its inventory with the merchandise in his womenswear shop, Hennes, to form Hennes & Mauritz. Almost five decades later, the store is known as H&M, and it’s not exactly a mom-and-pop establishment. But on September 19th, the brand will return to its roots with the Mauritz Archive collection, comprising streetwear inspired by that first line of hunting, fishing, and skiing gear. Using vintage catalogs and garments for reference, designer Petter Klussel and his team re-created the classic styles with a modern twist—think rugged pieces made of waxed cotton, tweed, and Shetland wool cut in updated shapes and available in an array of woodsy colors like pine green, gray, and yellowbeige. “[It was about taking these old ideas] and shaping them into contemporary silhouettes—making the jackets shorter and slimmer and giving the trousers a completely different cut,” explains Klussel. “The idea was never to create a vintage look—it was to make vintage the inspiration for a minimalistic and modern look. It’s the best of both worlds.” LISA MISCHIANTI HM.COM


erik brunetti

Pretty much any clothing line that labels itself “streetwear” owes a debt to Erik Brunetti, who helped define the category when he launched FUCT in 1990. This September sees the release of FUCT (Rizzoli), a new book that offers a behindthe-scenes look at Brunetti’s archives as well as images of works in progress and rare early material. Here, Josh Madden talks with the designer about his forward-thinking brand.

WHERE DO YOU STORE ALL YOUR ARCHIVAL PIECES? I keep them in flat files and things like that. Nothing is archived specifically by date or anything, but whenever I work on things I just throw them in a flat file when I’m finished. What you see in the book is only a quarter of what exists.

I REMEMBER LOVING THE FORD/FUCT LOGO GROWING UP. WHAT WAS THE FIRST LOGO YOU DESIGNED? That one. The original intent was to have it look very corporate and nonthreatening so

people would ask, “Does that actually say what we think it says?” A lot of people who saw it thought it was some German company or something. The logo was just a reappropriation of the car’s, obviously, but FUCT wasn’t the first brand to do that.

WHAT’S THE SOUNDTRACK TO THE TIME PERIOD WHEN YOU WERE FIRST CREATING ALL THIS STUFF? The first show I ever saw was The Misfits in 1983 with Danzig singing and Robo on drums. I was a kid. Man, it had a huge impact on me. I started

doing graphics for album covers for punk rock bands and skateboard companies. I wrote graffiti for 20 years before that. I think The Clash is a good analogy because they definitely had a message, and we were sort of making up messages as we went along. We would take a really proper message and destroy it by adding a negative connotation to that message. I don’t know if it’s in the book, but we did some that were, like, “If you litter, it creates jobs” or “It’s too late to recycle,” things like that.

that—if everybody has the password, it makes it more chaotic and random. But I don’t think that account exists anymore. I don’t do Facebook, either. I’m sure there’s a FUCT Facebook, but I think some other kids run it.

YOU NEVER SOLD OFF YOUR BRAND—THAT MUST HAVE BEEN HARD AT TIMES. FUCT is like this different monster—for lack of a better word—than most of the other brands out there. For one, its name, and two, its content. It’s like trying to sell

someone a loaded weapon that’s pointed directly at them, and that’s the only way you can shoot it. I mean, it’s a really hard sell [laughs]. It’s so subversive, and so nihilistic. Could you sell FUCT? I don’t even know, to be honest.

HOW MUCH TIME DO YOU SPEND ON THE INTERNET? Not a whole lot. I have an Instagram account. We had a FUCT Twitter, and it was like a communal Twitter that me and all my friends would use. I’m really into

mauritz archive: photographed by alexander wagner. stylist: mitsu tsuchiya. grooming: shu yamaga. photo assistant: melissa prentki. styling assistant: nami takagi. model: myles pimental at re:quest. all clothing by mauritz archive. erik brunetti: illustration by spiros halaris.



choire sicha Choire Sicha, a former Gawker editor and co-founder of The Awl, just published his first book, Very Recent History. A more-or-less true story about a group of friends hanging on through the Great Recession, Very Recent History is personal and universal, a story about becoming an adult in strange and scary times. Paul Caine speaks to Sicha about growing up, looking back, and starting a business when you’re really bad at math. Oh, and it’s pronounced ‘Corey’.


Following the launch of Target’s debut designer collection with Isaac Mizrahi in 2003, the retail giant has partnered with some of the biggest names in the biz (Rodarte, McQ Alexander McQueen, Anna Sui, Jean Paul Gaultier, Proenza Schouler, etc.). This fall, the company introduces a collection from none other than 3.1 Phillip Lim—with a collection designed for—wait for it—women and men. “Men are increasingly looking for more fashion-forward pieces,” explains Target spokeswoman Jessica Carlson, “so we wanted to offer an exclusive, must-have collection that would appeal to our fashion-savvy male guests just as much as our female guests.” Trendconscious dudes will appreciate the generous use of camouflage (button-up shirts with camo sleeves, backpacks, and graphic T-shirts) while the other half of the collection features a neutral-toned palette of leather jackets, trench coats, cardigans, and black high-top sneakers. The inspiration? Carlson explains: “Phillip was intent on designing a sophisticated and elevated collection of pieces that modern men and women can wear on-the-go while remaining effortless.” JADE TAYLOR TARGET.COM

ALL ACCESS [ivi] this new line of shades (pronounced like “ivy”) is fronted by rob dyrdek and features your standard chunky frames with the occasional flash of color.


[electric] starting this fall, the so-cal brand known for its sunglasses now does explorer-inspired timepieces, too.

[barnaby jones] leather expert sam jones and designer kate barnaby have launched a collection of handmade italian leather bowties made for guys who are almost too cool to ever wear a bowtie.



They’re all great. Things are a little better for some people, in some ways, but that’s not only a function of the recession, it’s a function of age. So much happens between 25 and 30—you really do grow up. And you become less of a dick.

We started The Awl in 2009 because we didn’t have jobs. It was this weird magic moment and we’d all learned that there was really no point in working for a big corporation, because they were going to toss us out the door the first second it was convenient for them.

HOW DID YOU CHOOSE YOUR SUBJECTS? I started with a bunch of different groups of people, but I ended up with just one. I fell in love with these guys. They’re incredibly smart—funny, winsome, intelligent, weird—and they were being mashed by New York City. They never had a second to stop and think. I honestly think that year was some sort of Stanford Prison Experiment, and now we can look back and say, “Wow, we really acted out!” Some of us had sex with everybody. Some of us spent all our money on stupid things. Some of us just made ourselves crazy. What else was there to do?

SO YOU TOOK AN ENTREPRENEURIAL PATH. I liked the idea of stepping up and saying, “We’re going to own our own company. We’re going to learn how to do corporate accounting and other horrible things.” I spend a lot of my days with spreadsheets, and I failed algebra in high school.

3.1 phillip lim for target: photographed by alexander wagner. stylist: mitsu tsuchiya. grooming: shu yamaga. photo assistant: melissa prentki. styling assistant: nami takagi. model: myles pimental at re:quest. all clothing and accessories by 3.1 phillip lim for target. choire sicha: illustration by spiros halaris.






[vans] vans is introducing two new “made in america” styles in unique raw, selvedge washes that are, you guessed it, exclusively produced here at home.

Andy Kaufman was many things during his all-tooshort life: television actor, stand-up comedian, Saturday Night Live cast member, absurdist performance artist. But Kaufman, who died in 1984, was never on Instagram. Or Vine. Or even Twitter. So while he’s become an icon— Jim Carrey portrayed him in the 1999 film Man on the Moon and he’s an inspiration to pretty much every comic—there’s not much material out there that’s truly spontaneous. And that’s a shame, because Kaufman was the original troll, deeply skilled at messing with people’s heads. (During one appearance on Letterman, he pleaded poverty and asked the studio audience for money until he was removed by security.) It’s worth wondering: What pranks did he play? How many strangers did he screw with? What would

Andy Tweet? We’ll never know the answer to the last question, but a new album sheds some light on the others. Andy and His Grandmother is filled with off-the-cuff observations, sketches, and jokes, recorded between 1977 and 1979 on a portable tape recorder and rarely heard until now. In one, Kaufman tries to solicit a prostitute by asking if she wants to “get a pizza, or go all-night bowling and roller skating.” Turns out she’s busy. In another, Kaufman captures a conversation with his lover immediately after mediocre sex. “We just screwed, and here’s the afterward conversation,” he says. “It didn’t look to me like you were enjoying it that much.” When his partner protests, he insists: “You were? It looked like you were just lying there.” It’s classic Kaufman—very real, totally awkward, and completely hilarious. PAUL CAINE

STREET SLEEK If creatives are supposed to draw from what they know, and if what you know is Ferraris and movie stars, when it comes to developing a clothing line with refined style, you’re in pretty good shape. Brett Johnson, an entrepreneur who previously worked for Ferrari in Italy and is currently a Hollywood producer, paid close attention to Italian style during his time in the country. “Italians have the best style in the world,” he says. “Italian design is immensely sophisticated–they pay close attention to detail.” Johnson has applied these principles to his debut line, Brett Johnson Collection, out this fall, comprising T-shirts, outerwear, and sneakers that combine European luxury with the kind of wearability that’s in high demand in L.A. “It’s for the man who wants to look sharp if he’s not in a suit, or not too casual in sportswear,” Johnson explains. “BJC is the happy medium between suit and street.” WILLIAM FLOOD BRETTJOHNSON.CO


brett johnson collection: photographed by alexander wagner. stylist: mitsu tsuchiya. grooming: shu yamaga. photo assistant: melissa prentki. styling assistant: nami takagi. model: myles pimental at request. jacket and t-shirt by brett johnson collection. jeans by costume national. denim news: photographed by kate lacey.

[7 for all mankind] the brand’s new luxe performance fabric is designed for travel, using technology that helps jeans retain their shape while still being comfortable enough to wear on international flights and road trips.

[paige denim] these guys have introduced a new eco-conscious line made from recycled materials (like water bottles), and perfected with hand-finished details.



G-STAR The fashion world has never suffered from a lack of good jeans, but in 1989, perfectionseeking Dutch designer Jos van Tilburg decided to shake up the industry with his new brand, G-Star. In 1996, he launched the RAW range, one of the first forays into untreated denim. Today, G-Star does more than denim— the brand offers ready-to-wear for guys and girls, not to mention shoes, accessories, and collectibles—but jeans remain the brand’s lifeblood. No wonder like-minded pioneers like Land Rover, Vitra, Cannondale Bikes, and now Leica have collaborated on projects. KIRA COLE

1989 Jos van Tilburg launches a new brand called Gap Star in Amsterdam, which soon evolves into G-Star. His line captivates the Dutch and Belgian markets with its military-inspired style and clean design.

1996 G-Star RAW is born, and the iconic G-Star Elwood style is launched. Inspired by biker pants, it features a curved leg that flawlessly contours to the body.

2004 After expanding its Amsterdam headquarters and opening showrooms throughout Europe, G-Star opens its first stores in the United States.

2007 G-Star RAW Footwear makes its debut in Barcelona, and New York Fashion Week welcomes G-Star to the bill, inspiring the high-end concept line, New York RAW Special Edition.

2010 Liv Tyler is named the brand’s first celebrity face; she appears in the Spring/ Summer and Autumn/ Winter 2010 campaigns, photographed by Anton Corbijn, one of the brand’s longtime collaborators.

2012 In February, G-Star opens its largest flagship store in the world in Hong Kong. In December, an even larger location hits Shanghai. all clothing by g-star, stylist’s own hat, shoes by 3.1 phillip lim for target. photographed by alexander wagner. stylist: mitsu tsuchiya. grooming: shu yamaga. photo assistant: melissa prentki. stylist’s assistant: nami takagi. model: colin brite at new york models.

2013 Leica and G-Star announce the RAW Leica at Pitti Uomo. This special edition of Leica’s D-Lux 6 digital camera features a clean, elegant design and casing; it retails for $1,500 and will be sold at


HEART OF DARKNESS Designer Rob Garcia has a thing for leather. “It’s a fabric with many characteristics,” he explains. “It can be edgy and rebellious yet refined and subtle at the same time.” A few years ago, he began to wonder why he’d never seen certain silhouettes done-up in the material, and took it upon himself to experiment. His experience draping leather for sweatpants, T-shirts, tank tops, and shorts eventually culminated in his line, En Noir, which is now available at stores like Barneys New York and The Webster in Miami. The fall collection follows the former Black Scale designer’s dark and minimalist aesthetic that has made fans of our favorite well-dressed rappers (Kanye, A$AP Rocky). Garcia’s favorite look? A rabbit fur-and-leather varsity jacket that he put on model Willy Cartier for the brand’s runway show. “It was a real ‘fuck you’ piece,” says the designer. Point taken. WF VIVEENNOIR.COM

E NG LISH ACCE NT The British are coming, the British are coming!... to a Bloomingdale’s near you this fall with a collection of all things bloody Brit. The offerings include pieces inspired by The Beatles, with a little help from friends like McQ Alexander McQueen, Paul Smith, Oliver Spencer, Ted Baker, and over 40 other British designers with exclusive capsule collections. In celebration


of 50 years of “Beatlemania,” you’ll find iconic images and lyrics on everything from bags to sweaters to umbrellas—think of it as the adult version of the

vintage Beatles shirts you coveted as a teenager. Other offerings include classic Britwear like Tartan bomber jackets, trench coats, pocket squares, and cufflinks. “There was such a British-inspired moment on the runways for fall—tweeds, Prince of

Wales plaids, doublebreasted suits, monk strap shoes,” says Kevin Harter, Bloomingdale’s Vice President of Fashion Direction for Men’s and Home. “It’s all about dressing in a gentlemanly way, regardless of age.” JT


When the boat shoe trend started happening with dudes a few years back, I was slightly mortified. The fisherman footwear reminded me of shoes my dad would wear, and I couldn’t comprehend why my friends were exchanging their Oxfords and sneakers for them. That is, until I noticed that guys had started wearing them with cool, mismatched socks, an interpretation that has now evolved even further thanks to Sperry premiering their Color Pack collection. Think of the assemblage as boat shoes on acid: An octet of multi-colored topsiders with over 20 rawhide laces to mix and match—good for representing your favorite team, your school colors, and/or your inner weirdo. JT SPERRYTOPSIDER.COM

en noir: photographed by alexander wagner. stylist: mitsu tsuchiya. grooming: shu yamaga. photo assistant: melissa prentki. styling assistant: nami takagi. model: myles pimental at re:quest. all clothing by en noir, hat by john varvatos. bloomingdale’s and sperry: photographed by kate lacey.

Jeansmith To The One



ANTHONY JESELNIK has been appalling the masses with his sociopathic brand of humor on his aptly titled Comedy Central show The Jeselnik Offensive, but he says his penchant for twisted humor is due to personal curiosity rather than edgy comedic gain. “I’m interested in why people are offended by certain things,” he says. “Why does death make people uncomfortable if everyone is going to die?” When it comes to Jeselnik’s personal style, he finds it “liberating to keep it simple,” and opts for plain T-shirts (“If I had to put on a sweater vest I’d break out in a sweat,” he admits) and wearing the same pair of jeans for a month and only washing them once. But just because this funnyman keeps a Spartan wardrobe doesn’t mean he can’t take a crack or two at your fashion inquiries.

HI ANTHONY, LOVE YOUR SUIT-JACKETAND-JEANS LOOK. WHAT’S THE SECRET? —Mark, Philadelphia, PA Mark, I wanted to wear suits on my TV show, but they made me look too old, so the compromise was to do jeans with a button-down shirt and a sport coat. Finding the best pair of jeans is the most important part. You can’t look like a baseball player on a date. When you’re shopping, get as much help from the salespeople as you can. Personally, I wear something until a woman tells me it looks dumb, and then I never wear it again. YO BRO, CAN I WEAR A LEATHER JACKET WITHOUT LOOKING LIKE A HELL’S ANGEL? —Rob, Portland, OR Rob, This is a good one! I love leather jackets, but I can only wear one out of every thousand. I want to look like I’m thinking about buying a motorcycle; I don’t actually own one. (If you do, however, all rules are off.) Ignore anything with padding or patches, and while you’re at it, avoid buckles and chains. Go


with quality leather, and keep the rest simple. MY DUDE, AM I TOO OLD FOR A HOODIE? —James, New York, NY James, Not if you’re at the gym or a celebrity looking for privacy! But if you’re too long into your thirties, make sure you fully commit to it, and pursue the perfect hipster accessories to complete your look. Honestly, it may be easier just to throw the thing away. TONY, TONY, TONY... MAY I CALL YOU TONY? COOL. I, TOO, LIVE IN THE LOS ANGELES AREA. WHERE DO YOU LIKE TO SHOP? —Pascal, Santa Monica, CA Pascal, I hate shopping more than anything. In my younger years, I worked at the Gap as well as Abercrombie & Fitch. (At A&F, I was even a manager.) These days, I despise stores in general. When I first moved to Los Angeles, I had no money, but my parents gave me a Brooks Brothers credit card, which I was allowed to use only if I scored a job interview. I used it whenever I didn’t want to do laundry. These days, I’ll go to John Varvatos—they usually dress me for my roasts, and I wear a lot of their clothes on my show. I’m a big T-shirt

got a question of your own? send it to

guy; the best ones are found at American Apparel. And I go to Diesel a lot because I wear their jeans a bunch. HELLO, FRIEND: YOU COMEDIANS ARE REALLY STEPPING UP YOUR STYLE GAME. ISN’T THAT BAD FOR THE DAD JEANS INDUSTRY? —Enrique, Chicago, IL Enrique, Everything is bad for the Dad Jeans industry. They’re repulsive. No wonder that industry is going away, slowly but surely. It used to be that comedians had to wear suits onstage, but now, I know a good one who always wears a hockey jersey. Jim Gaffigan shops at John Varvatos all the time, and he’s one of the squarest comedians you can find. HELP ME, ANTHONY: MY WOMAN IS MAKING ME GO TO LIKE 3,000 WEDDINGS THIS MONTH. AT LEAST TELL ME I CAN WEAR MY SNEAKERS… —Stephen, Boston, MA Stephen, Only if the cover band is playing exclusively ska. The look you’re talking about screams, “I did it! I’m not really dressed up! I may look stuffy, but inside, man, I’m all skateboard!” Don’t be repulsive.

FIT FOR A KI NG Elvis has never quite left the building over at Opening Ceremony. “We are the biggest Elvis fans on the planet,” concedes OC co-owner and creative director Humberto Leon—and who could blame them. So along with its Las Vegasinspired fall ’13 mainline collection, the retailer will release a complementary capsule collection dedicated to Elvis, a Sin City fixture himself. The OC team worked closely with Elvis Presley Enterprises to produce an array of dress shirts, T-shirts, sweatshirts, and denim

legacy: pieces screen-printed with archival images, emblazoned with song titles and the original lettering from his record sleeves, encrusted with crystal details referencing his signature “Taking Care of Business” ring, and playfully embroidered with his silhouette. “The collection is bold and graphic, focusing on both the beauty of Elvis and his songs. We wanted to capture him in a pop way and one that felt signature to Opening Ceremony,” explains Leon. And for this, we say, thank you, thank you very much. LM OPENINGCEREMONY.US

MAKING SENSE For founder and director Kimitoshi Chida, the name Sage de Crêt—which means “sense” and “order” in French—represents the backbone of his line of workwear-inspired menswear. So while a matching camo jacket and camo tapered pants may not strike some as “sensible,” Chida insists that his focus on delicate details and precise fabric cutting tethers his pieces to earth. For fall, Chida also offers a number of more minimal yet sturdy outerwear options, as well as a set of wool pieces “embellished with coat fabric on the inside to keep things fun and interesting.” The line, which has been available overseas since 2001, made its U.S. debut this year, and is now available for purchase at the brand’s sister store Pas de Calais in New York City. Says Chida: “We have both expressive pieces and minimal pieces, so that our line can create a versatile wardrobe. WF SAGEDECRET.JP




In terms of creating the finished artwork, I have a hybrid process: I do sketches and inks by hand, and color the line work on the computer. How was collaborating with a brand? I’m a huge fan of eyeglasses and vintage style—I wear a pair of ’50s cat-eye

frames every day, so working with Ray-Ban is really exciting. They define classic American style. Plus, the stories are such great adventures. For a cartoonist, getting to draw an environmental activist living in a tree is a lot of fun.

sage de crêt: photographed by alexander wagner. stylist: mitsu tsuchiya. grooming: shu yamaga. photo assistant: melissa prentki. styling assistant: nami takagi. model: myles pimental at re:quest. all clothing by sage de crêt. opening ceremony: photographed by kate lacey.


What was your process in illustrating the stories for Ray-Ban? With comics you want to work as dynamically as possible—get across a feeling of excitement while conveying the classic look of the glasses. I did lots of sketches, looked at a lot of Ray-Ban’s frames and got to work.




tee commerce




FROM LEFT: teespring founders walker williams and evan stites-clayton


“THERE WAS this dive bar in Rhode Island that was known for letting people in with, like, a Pokemon card,” says Evan Stites-Clayton, 23, recounting the unlikely inspiration behind the T-shirt start-up he co-founded two years ago with Brown University classmate Walker Williams, 24. When that bar, Fish Company, was eventually shut down, the underage undergrad population saw red, and Stites-Clayton saw an opportunity. “Everyone was going crazy on Facebook and Twitter,” he recalls. “Walker and I said, ‘We can make some money from this.’” Armed with designs for a “Free Fishco” T-shirt, the pair approached a local screen printer, only to learn that the job would cost $1,000 and take two weeks, an eternity in outraged-college-kid time. So the team took the novel approach of accepting pre-orders. “We realized that people didn’t really care


SCUDERIA FERRARI COLLECTION BY LOGIC3 “The Ferrari of headphones” seems like simple marketing hype, but this collection, inspired by the automotive titan’s Scuderia F1 racing team, raises the bar to luxury levels with a flashy body, ultra-soft interior, and a sound that purrs as beautifully as it roars.

NANO HIFI Nano Hifi’s units, brand new to the U.S. market, pack quite a bit—multiyoke loudspeaker technology, Bluetooth capability, an iPod dock— into a sleek, barely there design because, when it comes to home audio systems, it’s the music you want filling your room— not the equipment.



about the shirt, but they were willing to pay to tap into that fervor. It was like they were buying into this communal rage.” They ended up selling about 500 tees and pocketing $2,000. Two years later, Teespring is re-creating the process on a much larger scale. Anyone can upload a design to the site and have classmates, fans, followers, or friends purchase their shirts, which are all screen-printed, rather than volume-produced by lower-quality digital printing. Similar to Kickstarter, the order is placed once a required level of funding is achieved; the higher the level, the lower the cost. In January, Williams and Stites-Clayton entered the latest class of Y Combinator, the renowned start-up incubator. In June, Teespring posted monthly revenues of over $1.5 million for the first time. Not a bad haul for a business that still operates out of a shed in Millbrae, California. Teespring is now growing so fast that its founders haven’t even met the dozen-plus employees handling fulfillment, customer service, and other non-tech jobs in the company’s Rhode Island office. Success, however, hasn’t changed Stites-Clayton. “I believe in living reasonably,” he says. “I live by the philosophy of spending only when it’s needed.” Like, say, investing in a nicer shed? “We are planning to upgrade to an actual office,” he insists.

To say that the latest addition to the Grand Theft Auto franchise is bigger and better would be an understatement; the world has been increased exponentially, to the point that all previous GTA cityscapes could be combined and still dwarfed by Los Santos. In addition to the sprawl, the ability to play as three characters with unique narratives makes the scope of the sequel simply stunning. Hours of game play will turn into days; this, it appears, is a long-term project. AVAILABLE IN SEPTEMBER FOR PS3 AND XBOX360.


Designer Suda51 returns with Killer Is Dead, a game that follows a government agent armed only with a sword and a cybernetic arm as he executes shadowy villains in Kyoto. The frenetic hack-and-slash style elevates the game beyond simple button-mashing, and the seamless transitions between game play and cinematics keep things rolling along briskly. It’s a success that other designers would give their right arm— cybernetic or otherwise—for. AVAILABLE IN AUGUST FOR PS3 AND XBOX360.


At this year’s E3 conference, Ubisoft CEO Yves Guillemot called Rayman Legends one of the company’s top five titles ever. So, yeah, no pressure. Luckily, the platform game—which focuses on Rayman and friends being transported into a mythical world through a mysterious painting— is addictive and easy to pick up. And the decision to use a local multiplayer setup instead of online play ensures that Ray and co. aren’t the only ones getting sucked into a fantasy. AVAILABLE IN SEPTEMBER ON WII U, PS3, XBOX360, AND PS VITA.


Not on your itinerary. Designed for those who love open spaces, open thinking and open expression, this is where travel creates possibilities. Where style is necessary. Connectivity keeps up with you. Social scenes are vibrant. And the only direction is forward. This is Aloft Hotels. Different. By design.

Book now and enjoy two free drinks.

Š2013 Starwood Hotels & Resorts Worldwide, Inc. All Rights Reserved. Preferred Guest, SPG, Aloft and their logos are the trademarks of Starwood Hotels & Resorts Worldwide, Inc., or its affiliates. For full terms and conditions, visit Not all properties are participating in this offer.


FOR CHEF JEFF MAHIN and his friends and family gathering around the dinner table is a daily ritual. “That’s the constant,” explains Mahin, the 29-year-old behind Chicago’s Do-Rite Donuts as well as the Stella Barra Pizzerias and M Street Kitchen in Los Angeles. “No matter what country it is or whether they eat earlier or later, food is a common language, and that’s what I want my restaurants to reflect.”

A couple of years ago, after having worked in prestigious kitchens from New York City’s Nobu to The Fat Duck in Berkshire, England, Mahin opened Stella Barra, with the goal of taking food back to basics while maintaining the quality ingredients and taste-bud titillation of fine dining. “There was so much smoke and mirrors,” he explains of his previous experience with fancier fare. “I wanted to go back to what cooking was when I was growing up.”

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pure moods for chef Jeff mahin, oBsessive consideration of everYthing from ingredients to amBiance has helped him conQuer chicago and l.a. BY millie cotton. photographed BY James elliot BaileY


Taking advantage of Los Angeles’ local bounty—from fresh produce to wheat farms— Mahin’s artisanal approach has seen Stella Barra blow up in a way he never dreamed possible. The success of his restaurant, and mentions on multiple “30 under 30” lists, hasn’t allowed the hard work to come to a halt for Mahin, though. “Every day I’m on the line working or doing service with the guys,” he says. “I want to cook for the rest of my life. If I stop cooking, that would mean I’m not following my passion.” While describing his favorite pizza, which is topped with kale and spinach, his extraordinary enthusiasm for food is evident. And it’s this ardor that inspired him to open two new restaurants in Chicago this fall, one a pizzeria, and the other focusing on New American cuisine. But good-looking and good-tasting food doesn’t fully satisfy the entrepreneur. For him, the success of his restaurants falls just as heavily on the atmosphere. “The M Street Kitchen is the neighborhood restaurant that I never had growing up,” he expains. “There are customers who know every staff member, and they just come and hang out every day. That’s just what I wanted it to be like.”

(chow) drink this:

kindred spirits 4 3

1. Black Barrel shady lane .75 oz. Mount gay Black Barrel rum .5 oz. cointreau 7 dashes angostura bitters 7 dashes peychaud’s bitters 4 oz. brut champagne

stir all ingredients except the bubbly with ice and strain into a chilled cocktail coupe. top with champagne and garnish with an orange twist.

You have Your rum drinkers and You have Your whiskeY drinkers, and rarelY do these two tYpes tango. But that’s a mistake Because, as summer slides into fall, rum can suB in for whiskeY in a waY that’s as crisp and light as the changing season. here, kYle ford, cocktail and spirits expert for rémY cointreau usa, offers a few rum-centric recipes that succeed in the sincerest form of flatterY. 2. Black and ginger

3. red Bird

2 oz. Mount gay Black Barrel rum ginger ale lime wedge 2 dashes angostura bitters

1.5 oz. Mount gay Black Barrel rum 1 oz. cointreau .75 oz. lemon juice .5 oz. campari

pour rum into a rocks glass with ice. top with ginger ale and bitters. garnish with a lime wedge.

shake and strain into a chilled cocktail glass. garnish with an orange twist.

4. Mount gay Manhattan 2 oz. Mount gay Black Barrel rum .5 oz. sweet vermouth .5 oz. dry vermouth 2 dashes bitters

combine all ingredients and stir with ice. strain into a chilled rocks glass. garnish with a twist of lemon.

space invader:

exchange alley

locals only:


When it comes to the freshest culinary talent in France, Paris-based restaurant guide-turnedsuper-brand Le Fooding never misses. And since Marseille was recently named the culture capital of Europe, who better to clue us in to the local food scene? Here, Julia Sammut, a Le Fooding critic based in Marseille, shares her list of the best spots in town.






A modern trattoria run by Pierre-Antoine Denis and Stéphanie Nardoca, two culinary fanatics who only think about food. They roam Italy, from Naples to Turin, bringing back the best ideas and serving them with vigor and good conversation. Whether in the dining room, on the terrace, or on the patio, when you see the daily specials on the chalkboard, you can’t help but give in. Special kudos for the appetizers—endive leaves with creamy Gorgonzola, springtime vegetables in bagna cauda—but also for homemade ravioli in sage butter, sprinkled with Parmesan. Magnifico! 24 cours Julien

The quest for Bouillabaisse is neverending on planet Mars. There’s always someone asking: Where is the best one? Besides those made by friends in a beachside cabin, Calypso’s version is worthy of the prize. It’s presented according to the rules of the game, with five different fish, simmered together and enriched by a main course of rock fish. The soup comes first, with croutons, rouille, and aioli, then the fish is de-boned right before your eyes in the idyllic, old-fashioned surroundings–all blue, with a view of the sea. 3 rue des Catalans,

Marseille’s most mythic pizza joint. Fabrice Giacalone holds the secrets of Sauveur Di Paola, a master Neapolitan, who imported the first wood-fired pizza on Marseillais soil back in the ’30s. Giacalone continues the tradition of his moitié-moitié pizza (half emmental cheese, half anchovies on tomato sauce) and never skimps. Tomatoes arrive extra fresh to be pureed in house, the basil in bunches, the emmental in rounds, not to mention the top-quality flour. As a bonus, Giacalone also serves specialties from his native Sicily. 10 rue d’Aubagne,

The near-champion of MasterChef 2010 opened this spot when she returned to Marseille. Sit near Georgiana (she dresses some plates on the large communal table) and have a frontrow view! She’s got an eye on everything, chatting without losing track of what she’s cooking. A plat du jour evolves as she makes it: Start with chicken, finish with fish and a dreamy garniture of buttered kale and leek salad with lime zest. The dessert stacks up speedily—flaky pastry crust, lemon curd, whipped mascarpone, and raspberries. 19 rue Saint-Jacques,

I am starting to get to know Fabien Rugi—his fishmonger banter, his pure Marseillais accent, and his fish shop and restaurant on the boulevard de la Libération, rugged and perfect for those who like the real taste of unadorned seafood. I come to buy fresh fish, of course, or to kick back with an anemone beignet, sautéed Mediterranean sole, or a Marseillais Fishe&Shipe (registered trademark) with flatbread instead of fries, deep-fried fish, and a good aioli to dip it in. Paradise on the sea without the view! 7 blvd. de la Libération,

A scan of the dinner menu at Paul Gerard’s East Village restaurant, Exchange Alley, quickly reveals the chef’s affinity for Southern cuisine. The South is, after all, where the native New Yorker developed his style after leaving Manhattan for New Orleans at 20 years old. His appreciation is expressed via appetizers, pairing mussels and smoky andouille sausage and “jambalaya balls” with dirty gravy. But Gerard is a New Yorker at the end of the day (as pals Anthony Bourdain and Tom Colicchio can attest), and he infuses both the food and the restaurant’s mood with his downtown punk sensibilities. Think: an electric guitar on the wall and a hearty helping of “Paulie’s Braciola” on your plate. mallory rice

424 E. 9th St., New York, NY or call 212.228.8525 locals only: illustrated by kyle fewell. drink this: photographed by cobra kai.




decatur & sons

In the Middle Ages, if your father was a blacksmith, you became one, too. If he was a carpenter, you also learned the craft. These days, if your pops is a claims adjuster, you’re probably running in the opposite direction. Third-generation barber Thorin Decatur, however, felt right at home in the family business. “I’d gotten to know my grandfather through barbering, and working as a barber has helped me to better understand what he did and how he spent his life,” says Decatur. “He gave me a sense of tradition in great service.” He plied his profession at New York’s popular Freemans Sporting Club until opening his own spot, Decatur & Sons, in the depths of the industrial-cool Chelsea Market. With leather chairs, wide plank floors, and vintage fixtures, it gives off quite the edgy man-cave feel. “Aesthetically, I wanted the shop to be an interpretation of a contemporary 20th-century Americana vibe. Manly but comfortable, without trying,” Decatur explains. This mantra also carries over into his desire for Decatur & Sons to go above and beyond the proverbial shave and a haircut. “We’re more than just a barber service,” he says. “We make social connections with everyone who gets in the chair.” JADE TAYLOR

75 ninth avenue, new york, ny, 646.470.7288

HOLD E V E RYTH I NG It was once acceptable to simply wash from head to toe with a nondescript bar of soap, but in recent years the growing number of grooming offerings suggests that a dude is expected to look and smell like he cares. This isn’t a bad thing, except when it

comes time to travel. Cramming a dopp kit into a weekend bag or carry-on means sacrificing other necessities, like clean underwear. Dion Nash of Triumph & Disaster has sorted this out by collaborating with his bag designer cousin, Matt Nash, to create a rucksack featuring a zip-off dopp kit. Now, instead of making space for your shaving

cream and face wash, simply stash them in the leather toiletry bag and zip it directly onto the bottom of the satchel. Each rugged canvas and Italian leather bag is hand-sewn and features cool details like a vintage coin sewn into the pocket for luck and a patch with the owner’s name. It will make hitting the road a lot less grueling. KATIE DICKENS

place beyond the pines

the triumph & disaster rucksack by matt nash, $395,

APPY TRAILS You’ve cycled your ass off all summer. Your legs are shaved, your tan lines distinct, and your helmet hair nearly permanent. After three months of meteoric mileage increases, you are an unstoppable beast—until the hurricane-force winds pick up or the mercury drops below 40 degrees, that is. Cue the Wahoo Fitness KICKR power trainer, a high-tech contraption that transforms your road bike into an indoor stationary one. Pop off your quickrelease rear wheel, guide your chain over the device’s rear chain rings, and pedal away. Boring, right? Wrong! The KICKR connects to your iPhone or iPad using Bluetooth and the Wahoo Fitness App, offering a variety of route simulators and real road feel. Channel your inner Bradley Wiggins with the built-in power meter, charting your watts per minute on your way to Tour de Franceesque glory in your living room. Or try Kinomap, an online sharing site, which provides videos of real routes that invite you to virtually ride the hills of San Francisco, the cobblestone streets of small European towns, or the wicked switchbacks of the Alps, all while controlling the resistance based on your chosen course’s elevation. Riding indoors can’t compete with the thrill of the open road, but thanks to the KICKR, your legs won’t know the difference. EVAN CAMPISI wahoo kickr power trainer, $1,100, decatur & sons photographed by jai lennard. illustration by daniel kent. still lifes by rowa lee and kate lacey.

For Bottega Veneta’s inaugural men’s fragrance, the brand’s creative director Tomas Maier chose to evoke the perfect northern Italian hideaway, a rough-hewn wooden cabin in the shadow of the Dolomites that’s surrounded by coniferous forests, wildflower-dotted meadows, and a glacial stream. A leathery note figures prominently into the scent, which makes sense, as the storied design house focuses on old-school leather craftsmanship and even founded a school to apprentice future masters of the hide. All in all, it’s fresh, rugged, and not at all reminiscent of your dad’s aftershave, unless your father happens to be a classy Italian dude. KD bottega veneta pour homme eau de toilette, $80 for 1.7 fl. oz.,


Normally, I spend Independence Day at a friend’s annual barbecue in Brooklyn, then head over to the Hudson River to watch the fireworks. Pretty standard. But this year I celebrated in a way that is decidedly nontraditional: I went to London. Fortunately, the team over at ASOS (which stands for As Seen On Screen, if you didn’t know) invited me to spend the long weekend Brit-style, hanging at a party for one of

their latest projects and taking a tour of their headquarters in Camden. When I fly into Heathrow on the morning of July 4, I notice that there is something different from my last trip here. Sun! Lots of it, in fact. Last year, I remember gray skies, wind, and wearing a wool sweater. This makes me super happy. I’m staying at Shoreditch House in East London, and let me tell you, you want to stay here

when you’re in town. It has two great restaurants and a huge rooftop pool. Plus, Shoreditch is like the London version of New York’s Williamsburg neighborhood, with lots of new stores and cool restaurants. My first stop is a meal at Chicken Shop to enjoy the U.K. version of BBQ: some grilled bird, a burger, fries, and a salad with beets, peas, and green beans. That’ll do it! Later that day, I meet with the ASOS team and attend a party celebrating their ongoing collaboration with PUMA, called ASOS Black x PUMA. (So far they’ve created two collections together.) The party is at BoxPark, which is just across the street from my hotel. It’s a really cool venue that was built around the time of the Olympics and is like a hyper-curated mini-mall with a massive outdoor beer garden on the roof. I drink a lot of beer with the

25 to 30 outfits per day. For NYLON Guys, I’m usually maxed out on styling after six or seven). They’ve also come up with a pretty amazing way of eliminating all the terrible things about shopping online— free shipping, free returns, tons of product information, and detailed pictures on the site. I’ve been an ASOS shopper for a while, but this visit is pretty eye-opening. It’s not lost on me how lucky I am to have caught such a sunny and warm time in London. And luckily, that kept me from feeling too bad about missing my usual barbecue in Brooklyn. Not to mention that I had a few extra days to hang out in London before my flight back. I can highly recommend spending an afternoon at Shoreditch House’s rooftop pool. And I’d suggest ordering the Pimm’s Cup, but personally, I’m having a moment with beer.


local crowds. (They drink beer at parties like we drink cocktails. It was something to get used to.) And because a party isn’t enough, the brands also made an awesome zine to showcase the latest ASOS Black x PUMA collection. The zine, which you can scan with their app to purchase clothing or listen to music, features a bunch of really cool guys who are down with the brand. One of them, Thristian bPm—who founded Boiler Room, the club-night webcast inspiring FOMO worldwide—supplied a playlist that you can instantly download. The zine also features interviews with people like photographer Michael Mayren and illustrator Daniel David Freeman. On day two, after a quick breakfast, I head over to ASOS HQ, which looks like an old theater on the outside but is, in fact, a super-sleek and modern office. It’s incredible how much work they do here (to give you an idea, they shoot models in

CLOCKWISE FROM TOP: the pool scene; asos hq; asos hq part two; asos black x puma dj thristian bpm; the party bar.


By nIcolas sTEcHER

FiFty-two years aFter unleashing an iconic two-seater on the world, Jaguar treks to italy, the

birthplace oF the sports car, to prove its 2014 F-type was worth the wait. photographed by bradFord gregory


AS WE PLOW through the forests of Umbria, the cacophony of a dozen Jaguar F-Type exhausts can be heard echoing through the bucolic river valley. Press the throttle and the F-Type’s supercharged V6 growls with eager hysteria, but it is during the downshifting— when the exhaust overrun crackles and pops like witches’ brew—that a smile will undoubtedly carve itself on your face. While we duck around corners and zoom up empty straights, the elegant roadster demands the attention of every pedestrian, cyclist, farmer, and schoolboy who’s lucky enough to catch a glimpse: an Anglo predator unleashed in the wilds of Perugia. It is here that I recognize Jaguar’s implicit suggestion; it’s an audacious move, assembling a small fleet of British roadsters to invade the very heartland of Italy, the once and future sports car Mecca. I guess Jaguar is ready to make some bold statements. Wars have been started for lesser affronts. When it was first unveiled at the 2011 Frankfurt Motor Show under the skunkworks title “the C-X16 Concept,” the car that was to become the F-Type was labeled “breathtaking.” Unfortunately, as a model moves from concept to production-ready reality, the years spent in development—and the corners cut to hit cost benchmarks— usually allow pundits to slowly catch their collective breath. Not so with the eventual progeny of the C-X16. Although on the surface the F-Type moniker sounds prosaic, it is anything but: The reference is of course to the last two-seat sports car Jaguar built, the landmark E-Type. That was over a half-century ago, however, so it’s clear with the F-Type


that Jaguar is hoping to stir some of that lost romanticism that once breathed wantonly in the long, tubular hood of that iconic car. And if Jaguar wants you to forget some of those years in between—those dark decades marred by Lucas electronics and rudderless Ford ownership—well, can you really blame them? Seeing as the F-Type was recently awarded World Car Design of the Year (and since you have eyes of your own), there’s really little need to explain the aesthetic magnetism of the F-Type. When talking about two-seat sports cars in general, you’re already dealing with the lingerie model segment of automotive design. So it’s no surprise that Ian Callum—widely considered one of the best designers on Earth—attacked the project with lustful abandon. What, no room for a child’s seat, you say? Where am I supposed to put my Pampers family pack? Shut it, Mrs. Doubtfire: The province of the F-Type is not to shuttle your infant poop factory to swim class; it is to stir the loins. And, oh Lord, does it ever. Starting with the glowering glimmer of its seductive headlamps, up the long hood and across the sweeping character line on its profile, through its thick rear haunches, and up to the E-Type-referencing horizontal taillights, the F-Type is stunning. Mouthwatering, even. It sits low to the ground, the profile one straight horizontal slice front to rear. It’s no wonder Jaguar released the F-Type as a convertible before its inevitable coupe brethren; like the lingerie model that was its muse, the car was designed from Day One to drop its top.

But lucky for Jaguar and its somewhat infirm-but-healing pedigree, the F-Type is not all vacuous looks. From the ground up the car was designed with performance in mind. Featuring an all-aluminum chassis and aluminum alloy body panels, the F-Type not only saves precious poundage from the high-strength, lightweight material, but also gains remarkable firmness for what is usually a compromised convertible frame. Hit corners with passion; the F-Type won’t trip on shaky ankles. Its short wheelbase, perfectly balanced 50/50 front-to-rear weight ratio, rear-wheel-drive setup, and eight-speed ZF automatic transmission combine to make the car an absolute joy to drive. Engage the Dynamic Mode and the F-Type grows ever more feral—the suspension tightens, the steering becomes more taught, the throttle mapping gets juicier, and the paddle shifts quicken. Unfortunately for us, Jaguar only supplied the second-tier V6 S model—an upgrade from the base V6, but a step below the hallowed V8. Sure, we would’ve loved to have gotten our hands on the 495 horses of the V8, but the V6 S’s 380 hp 3.0L engine never left us wanting for power, its supercharger eschewing any turbo lag and delivering plenty of torque (339 lb/ft) from the giddyup. Jaguar did not fail its vaunted sports car heritage. It delivered a vehicle that performs as ably on the oil-streaked racetracks of England as it does exploring the beauty of Italian landscapes. And if it just so happens to catch you a lingerie model while you’re traveling between the two, well, you can thank Callum for that.

test drive:

2013 bmw m6 coupe A little SeCRet: i used to love BMWs. My very first car was a 1981 BMW 325i, a gleaming white gift from my pops when he unexpectedly moved to Phoenix over a summer holiday. then, about 10 years ago, my dad bought a 1985 BMW M6, one of the most beautiful cars in the brand’s storied history. i coveted that low-slung streetballer like a man lusting after his neighbor’s wife. this part’s no secret: everyone used to yearn for a BMW. then, designer Chris Bangle came around, added the infamous Flame Application across the lineup, and the smoldering embers of my desire were squelched. thanks, Chris, for allowing me to move on to other obsessions, like my current Four Rings S4. But something has changed in Bavaria, and an automaker that had lost its way through the Desert Of Amorphous Design has found its compass, recaptured its mojo. And in no automobile is that more apparent than in BMW’s third-generation M6 Coupe. BMW’s once aimless design direction has returned from its desert wanderings, thirsty and determined to reclaim its stake. When i first saw the M6 parked in my driveway this was clear—its Sakhir Orange metallic paint absorbing the sun’s brilliance, the deeply stamped lines slicing its personality on the squat aluminum body, the exposed carbon-fiber hood a crown of next-level technology. the prodigal son has returned. even with its diluted looks, performance has never been questioned in Bavaria, and now with the Bimmer’s new M6, its shell matches its guts. Under the


long hood pumps a 4.4-liter heart good for a supercar-worthy 560 horses, its power mated to a seven-speed double clutch transmission with paddle shifters. Featuring direct injection and twin-scroll turbochargers, the V8 is what gives the M6 its pec-flexing muscle. the engine is a beast, reaching its full torque of 500 lb-ft at an astoundingly low 1,500 rpm—meaning the quite massive two-ton, 193-inch-long sled is throwing haymakers as soon as your toe touches the aluminum gas pedal. that’s 0-60 in four seconds flat. Driving the M6 on the street will make you feel like an MMA fighter knuckle-dragging his manhood through the crowd at electric Daisy Carnival. Of course, it’s a BMW so all this will cost you. Plenty of amenities come standard with the seemingly manageable $105,000 price tag, such as electrohydraulic dampers, lane departure warning, active blind spot detection, side- and top-view cameras, automatic high beams, full leD lights, soft-close automatic doors, and peerless 20-way power seats with four-way lumbar support. But the ceramic brakes with matching 20" alloy wheels will pop $10K on the bottom line, a requisite necessity on a car this heavy. Add another $3,500 for the gorgeous Merino leather interior, and before you know it, you’re flirting with a $130,000 vehicle. Pricey, yes, but a helluva camel to ride in on from the desert. NS

sTaTIsTIcs: EFFIcIEncy: 14/20/16 mPg (cITy/HIgHWay/comBInED) 0-60 mPH: 4.0 sEconDs ToP sPEED: 155 mPH (lImITED)/190 EuRoPE HoRsEPoWER: 560 HoRsEPoWER @ 6,000 RPm ToRQuE: 500 lB-FT @ 1,500 RPm cosT: $108,350 (BasE)/ $125,595 as TEsTED


PHoTogRaPHED By JamEs EllIoT BaIlEy.


“OK, we’re gonna head to the boneyard right now,” barks Dirtfish Rally School instructor Nate Tennis into the crash helmet wrapped tightly over my cranium. I’m already nervous from the five rounds we’ve taken around the twisting mile-long gravel course located about an hour outside of Seattle, and the word “boneyard” is probably the last thing I need to hear. I gingerly push the gas pedal of the Subaru Impreza WRX STI hatchback that’s wailing away before me as I aim down a straightaway, eyeing the upcoming 90-degree corner with acid in my stomach. “Now, throttle up!” crackles Tennis’s voice again, and I begin following a series of rapid-fire commands. A spray of words—Throttle! Left! Brake! Release!—are shouted; somewhere along the line, I fail. Suddenly, all I see is an explosion of mud splattering the windshield and the sound of rock and dirt debris peppering the Subaru like hail. I look at Nate. He’s smiling patiently like a Buddhist monk explaining a koan to a simpleton. Something tells me he’s been through this before. Rally driving is similar to driving on ice. The main thing to remember is to load the weight of the car accurately so, when the time comes, the correct


wheels have the necessary weight on them for proper grip. When you’re driving a car with the pedigree of an all-wheel-drive Subaru STI—winner of six of the last seven Rally America Championships—you’re going to have an advantage over most other peons. But the Impreza STI is still a turbocharged 300-horsepower wolverine that demands your full attention. Get caught gazing out at the snow-dusted crest of Mount Si in the distance and you’re finished. So here’s how it goes, in theory: You’re headed straight, about to hit a left-hand turn. When you approach, rotate the wheel left—but never more than half a rotation. This will cause you some panic, as you’ll notice the car doesn’t change direction. That’s because there’s no weight on the front tires. This is when you release the throttle, which will shift the weight of the car forward and engage the front wheels. Suddenly, as they dig into the gravel, you’ll be turning. If you did everything correctly, the car will rotate out underneath you, its ass flying outward like a seasoned swing dancer. When this happens, re-engage the throttle and the wheels will start spinning, propelling you in the direction of the next hazard. In reality, what you’ll certainly be facing is corner after corner of either turning the wheel too much, of releasing the throttle too quickly, of re-engaging the throttle too quickly, or of abusing the brakes like a Spanish inquisitor. All of these will lead you into a pile of dirt or a pool of brackish waste. There is no PlayStation reset button, only the cold sting of humiliation. Here’s where the expertise of the Dirtfish instructor is highlighted: I would’ve killed me if I’d had to deal with someone as inept. Tennis just dealt with the mud baths cheerily. “Car control, ultimately,” he says when asked what the Dirtfish course’s main objective is. “Usually in other environments, even on the track, you slide a little bit and it’s usually a big moment. In the rally situation, you’re sliding all the time, and you’re learning how to actually control those slides and just gain a lot of control overall with the car itself. Granted, you don’t want to slide everywhere; we do

“THERE IS NO PLAYSTATION RESET BUTTON, ONLY THE COLD STING OF HUMILIATION.” still want to keep the car as clean and tidy as possible.” Looking over at the muck covering my Subaru from head to tail, the conclusion is clear: If tidy is the ultimate goal, it’s obvious I failed. I think I need another day at Dirtfish. NS



test drive:

2014 mercedes-benz cla45 amg MERCEDES-BENZ is in the luxury game. It’s a profitable game, but one that must be played with a plotting worthy of Tyrion Lannister. For luxury is not as luxury does but rather as it is perceived, and if Benz is going to rest on its throne, it had better tread carefully when aiming down-market, lest that Tristar on the hood lose its diamond-chiseled glimmer. This is why you have not seen an A- or B-Class Benz on American shores. While tiny, peppy, fuel-efficient Benzes skit across European highways like waterbugs, no such pedestrian imports have made their way here, where exclusivity must be protected. Until now, that is. Built on the underpinnings of the A-Class comes Mercedes’ first foray into the compact market here in the USA, the CLA250. We had a chance to get into Benz’s courtship to the lower classes this winter in St. Tropez and were heavily rewarded for the experience. Dubbed the “Baby CLS,” the CLA shares its big brother’s swooping roofline and “four-door coupe” looks. Although front wheel drive (FWD), its clever design hides the bulky architecture and gives the car a RWD look, while also bestowing the CLA with the best aerodynamics in the game. As an entrylevel option for aspiring luxury buyers, the CLA250 will revolutionize Mercedes-Benz. Now they’ve allowed their performance arm, AMG, to get a hold of the CLA250 and irradiate it with gamma rays, transforming it into the CLA45. The first step was switching the car from FWD to Benz’s 4Matic AWD. Although it’s called AWD, during regular driving the CLA45 gives all its power to

the front wheels. If things get squirrelly and you lose grip, it can then shift up to 50 percent of power to the rear axle. The other AMG-affected areas are the CLA’s engine, exhaust, and suspension. The AMG Sports Suspension is as can be expected—handling is super sharp, with absolutely no body roll on corners. The exhaust? AMG is famed for its exhaust notes, and for a four-banger, the AMG Sport Exhaust System’s automatic flap offers a unique sound. That being said, looking at the signature four-bar badge on the trunk will whet your appetite for the guttural roar of their famed V8s. Sadly, it’s a sound you will never hear. The real AMG nerd-work comes from the CLA45’s engine. At just 2.0L, its hairraising 355 hp output makes it the most powerful four-cylinder ever, and second only to the McLaren P1 in power-per-liter, which translates to fun. Sure, it takes the twinscroll turbocharger a bit more revs to get spooled up, but when it does, the CLA45 is a whopping good time, and a much more affordable entry into the AMG realm than has ever existed. If this is Benz’s gilded love letter to the masses, then that diamondchiseled Tristar is safe. For now. NS STATISTICS: EFFICIENCY: N/A 0-60 MPH: 4.5 SECONDS TOP SPEED: 155 MPH (LIMITED) HORSEPOWER: 355 HORSEPOWER @ 6,000 RPM TORQUE: 332 LB-FT @ 2,250 RPM COST: $48,350 (BASE)/ $53,000 AS TESTED







portrait: akiko higuchi. still lifes: george underwood.




portrait: akiko higuchi. still lifes: george underwood.

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portrait: akiko higuchi. still lifes: george underwood.

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So what doeS it take to create one of the moSt diScuSSed biopicS of the year? a dream team, for StarterS. meet actor JoSh Gad, compoSer by david walterS & aShley baker. photoGraphed by bryan Sheffield. type illuStration by Sakke Soini

John debney, and director JoShua michael Stern, whoSe combined effortS have made JobS a muSt-See for apple friendS and foeS alike.

THE ANSWER, according to Josh Gad, is bacon. Not the answer to everything, mind you. But when the waitress at The Bowery, a bistro on Sunset Boulevard in Hollywood, wonders aloud how Brussels sprouts, once reviled by folks everywhere, became one of the most drooled-over items on the restaurant’s menu, Gad is quick with a theory: “It was when we realized we could put bacon on them.” Mystery solved. This is the 32-year-old South Florida native’s specialty: figuring out how to make the unpalatable voraciously consumable. Take, for instance, The Book of Mormon, a musical offensive enough to make the Great White Way blush bright red. His disarmingly sweet portrayal of the nerdy, naïve LDS missionary Elder Cunningham won over even the stuffiest theater critics, helping the production earn nine Tony Awards, and a

josh gad photo assistant: graham walzer. grooming (josh gad and joshua michael stern): helen marrayfinlay. grooming (john debney): erica sauer at the wall group using bumble and bumble.

what mothers are for. “When I moved to New York, I desperately pursued Saturday Night Live,” he says. “They did not reciprocate.” In 2005, discouraged by rejection, Gad called his mom to tell her he was heading to law school. “She said, ‘I will be so disappointed if you do that,’” he recalls. “I couldn’t believe it. I thought my Jewish mother was going to be thrilled when she heard I wasn’t going to be a starving actor!” A week later, Gad landed his first role on Broadway, in the hit musical The 25th Annual Putnam County Spelling Bee. “Moms just know,” he says, laughing. Gad’s ascent has been steady, but not without setbacks. In May, NBC announced the cancellation of 1600 Penn, a refreshingly original yet under-watched White House comedy that he created, executive produced, and starred in. “I loved the idea of being on television, but I don’t love the business of being on television,” he says. “It’s draining to sit and wait for the numbers to come in. If a

movie bombs, at least you know immediately. It’s living in the middle that’s scary.” Ironically, due to a release change, Gad and his Jobs colleagues have had to do some sitting and waiting, as well as fending off some early skepticism. Besides the obvious difficulties of shoehorning 20 years of technological innovation into a little over two hours, cynics questioned Ashton Kutcher’s ability to bring much beyond an eerie physical resemblance to the role of Steve Jobs. How could the guy from Dude, Where’s My Car? embody the greatest innovator of the last century? Gad vehemently defends his

co-star’s performance. “I was blown away by his execution,” he says. “He gave me an incredible springboard to bounce off of. He would walk onto set and point to the tiniest little computer chip and say, ‘This shouldn’t be here.’ The prop guy would say, ‘Why not?’ and Ashton would say, ‘Because this wouldn’t have been invented for another three years.’ I did extensive research, read 10 different books—but his preparation blew mine and everyone else’s out of the water.” Apple co-founder Steve Wozniak— whom Gad portrays in the film—poured gas on the critical fire when he called the script “atrocious,” a judgment Gad found premature but understandable. “I put myself in his shoes, and I don’t know how I would feel about anybody playing me while I’m still alive,” he says. “But I approached it with absolute reverence. It’s an interpretation. Unless we had cloned him, not everything would be exactly as he remembers it.” Wozniak would be wise to buy a ticket and give Gad the benefit of the doubt; his “Woz” is at times sneakily comedic (and not just because of a frizzy hairdo and beard that Gad equated to “living in a patch of Sherwood Forest”), and at others heartbreakingly emotional. He’s the moral compass to an increasingly irate, relentlessly driven Jobs, and the scene in which he tearily tells his longtime friend and collaborator that he’s leaving the company they built together is among the film’s best— and arguably the most impressive display of range in Gad’s comedy-centric career. There’s likely another motivation behind Wozniak’s tepid review; the computer mogul serves as a consultant on Aaron Sorkin’s upcoming biopic—a film that Jobs has largely existed in the shadows of. Gad, however, believes there’s room for both. “Did we really need two Capote films? No,” he says. “Do they each offer something wonderful and valid? Yes. It’s a commentary on the nature of Hollywood: Every story is recycled.” The idea of creative double-dipping doesn’t bother Gad a bit. A child of the ’80s, his dream projects are all reboots of beloved classics. “There are three movie sequels that I would kill to either be a part of writing or starring in,” he says. “Twins, Goonies, and Ghostbusters.” The first is nearing fruition: Gad recently finished the first draft of Triplets, a follow-up to Ivan Reitman’s 1988 comedy, which will see Danny DeVito and Arnold Schwarzenegger reprise their roles alongside Eddie Murphy, playing their long-lost brother. Sound crazy? Maybe it is, but he’s determined to do justice to the original. “I won’t hand this script in until it is exactly the movie my generation would want to see,” he vows. Improving on something that everyone already likes? Gad knows the secret to that, too. DAVID WALTERS

the composer:

john debney EvEry icon needs a theme, and when it came time to conceptualize one for Steve Jobs, director Joshua Michael Stern looked to Hollywood’s go-to composer John Debney, whom he had previously worked with on Swing Vote. “it was fraught with a bit of danger,” admits Debney, who has developed scores for both television (he’s won three Emmys) and films ranging from Sin City to The Passion of the Christ, for which he was nominated for an Academy Award. “you usually have the good guys and the bad guys, but Steve was a more elusive character. Some might say he wasn’t the most warm or magnanimous, but he had a noble purpose to benefit mankind and create devices that would be revolutionary and lasting.” Debney’s task was to sufficiently demystify the man in order to interpret him with instrumentation. “i wasn’t able to directly talk to family members, so i had to depend on a number of things that were written about him,” he continues. Debney’s primary resource was known on-set as “The Bible,” a heavily researched dossier on Jobs that the filmmakers had assembled before starting work on the film. He also went out in the field. “Honestly, the one thing that helped me the most—and this sounds rather mundane and silly—was that i hung out in Apple stores numerous times,” he says. “i wanted to observe what this great visionary had created, and how it affects our daily lives. That was really an eye-opener. i would observe the comings and goings of people, and just how incredibly ingrained in our daily lives these devices are.” During the writing process, Debney was struck: “i saw a lot of myself in Steve,” he says. “When i was starting out as a young musician and composer, i had a dream, and i was also driven. i had this music in my soul that had to come out, no matter what, and i think Steve was a very similar type of guy. He was very demanding—he had these ideas that he innately knew would benefit mankind—and he was not going to let anything get in his way. Sometimes, the cost would be personal relationships, but he did it nonetheless, and we’re all beneficiaries of that.” When Debney took to the synthesizer, he “wanted to create a score that exemplified the place and time and paid homage to the pop music of the ’70s, when Steve and the guys were starting out,” he explains. “But ultimately, i went with something i thought Steve might like.” Jobs’s taste in music was notoriously eclectic, ranging from jazz to The Beatles, and Debney drummed up a score that referenced The Byrds, Bob Dylan, and even crosby, Stills, & nash. “We created a bigger, more orchestral sound for the triumphant moments in the film,” he explains, but for Jobs’s theme, Debney relied heavily on the piano. “in some pieces of music, it’s the motor,” he explains. “in other settings, the piano is playing bits of Steve’s theme in a very lonely way—he was sort of

a man on an island, really. The piano ended up sounding rather mournful and solitary.” Working on the film affected Debney profoundly. “i went from observing him as an iconic guy, not unlike a Walt Disney, to realizing that he was a man who was terribly troubled by his own ambition. He knew he had something to do, and yet emotionally, it would affect him that his unending drive could hurt people. Ultimately, he did feel that, but he would sublimate it for the greater good. And that’s where i found the nobility in Steve.” When the film was first screened at Sundance, Debney met one of Jobs’s early collaborators, chris Espinosa, who joined the company at age 14 in 1976, when it was operating out of Jobs’s garage. “He mentioned that he loved the music i had created, and he said that Steve probably would have loved it too,” he recalls. “That really won my heart. i hope that’s the case.” AShLEy bAkER

the director:

joshua michael stern SoME filMMAkErS would pause before taking on the story of Steve Jobs less than two years after his death, but Joshua Michael Stern approached the project with relish. “I couldn’t resist,” admits the director. “It was daunting and extremely ambitious, but in retrospect, it was a good idea. On some level, doing something relatively soon


makes it fresher and more impactful in the consciousness of the viewer, as opposed to doing it five or 10 years later, when I think it would be sort of a footnote.” Stern was given the script by a financier who was a fan of his film Swing Vote. Originally coming in at 180 pages, Stern and his collaborators trimmed it to a “very manageable length.” But the film is still remarkably inclusive, covering an actionpacked period from Jobs’s early twenties, when he first launched the company in his garage, to his late thirties, when the prodigal son was coaxed back to Apple. “To me, it was a story of a prince who starts the kingdom, gets overtaken and exiled for 10 years, and finally comes back, having learned his lesson,” muses Stern. “The denouement is the sense that he has returned, and can do what he always set out to do.”

One of Stern’s boldest choices was casting Kutcher in the title role. “There was a push to get an unknown, but when Ashton walked into the meeting, it was like he was already the character,” he says. “Beside the fact that he looked like a young Steve Jobs, he was, as a human being, so invested in technology and Jobs himself. Ashton had already studied his loping walk and his mannerisms. For this movie to pop, this particular actor needed to feel exciting. There’s something extremely interesting and provocative about Kutcher as Jobs. It only adds to the mystique.” Hiring Josh Gad was “kind of a no-brainer,” he says, even though he admits Wozniak was “specific,” and therefore tougher to cast. “Josh had such pathos and empathy,” says Stern. “In the scenes he’s in, he’s able to represent him so wholly and completely that the audience senses they know that guy.” To tell the story, Stern admits that he was “a bit handcuffed” by some of the facts. “The poetic and dramatic license that was taken was much more about how we approached all those things that we know of, rather than re-creating, embellishing, or fictionalizing a moment to make it more dramatic,” he says. But because Jobs was so enigmatic, it offered Stern a unique opportunity to shape the public’s perception of an icon. “I approached him very much the way you approach any dramatic figure, regardless of who he is and what he represents,” he explains. “He’s a character with a rise, a fall, and a direction. I don’t think I had a real awareness of Jobs until he entered that phase of giving the keynote and productrelease speeches, donning the black mockturtleneck shirt and round glasses. I was curious about who he was and how he presented himself to the world.” Stern has a long history with his subject matter—he did, after all, write his first screenplay on an Apple II. “I actually had a carrier for it—it was three feet tall, almost like luggage,” he reminisces. “It was one of those things you could barely afford, but when you got it, you owned something extremely exclusive. That was always the intention, on some level, with Apple products. It wasn’t just a piece of technology, but something that set you apart—something cool.” Although Jobs is a far cry from hagiography—“I don’t think Jobs’s family or Apple are going to want to touch this at all,” he concedes—it did prove popular with the company’s old guard. “We showed the movie to all the original people who started Mac, and they loved it,” he says. “One of the things they said was that things might not have happened exactly like that, but they happened that way a hundred times over. That’s all you can do—give a sense of what was going on, and be truthful to that.” Ab

JULY 24th

new york city

music hall of williamsburg not for girls.

JULY 31st chicago

lincoln hall

AUGUST 10th los angeles

el rey theatre




coming soon


that ’70 s show

U.k. Darlings The 1975 cUe Up an aDDicTive, eclecTic mix on Their self-TiTleD DebUT. by William gooDman. phoTographeD by shane mccaUley

“IMAGINE IF YOU woke up one morning and all musical genres were gone,” muses Matthew Healy, the ponytailed frontman for British quartet The 1975. He places his palms on a long wooden table at Universal Music Group’s Manhattan offices and closes his eyes for Zen-like emphasis: “You’d look at your record collection with such fresh perspective—all connotations completely gone. You’d experience it in such a free way.” This is a mission statement of sorts for the band, raised in a suburb of Manchester on Paul Simon, Glassjaw, and Eminem. They’ve been riding a growing wave of buzz across the Atlantic since last summer, when BBC Radio 1 DJ Zane Lowe championed their slick, new-wavey single “Sex.” This spring, “Chocolate,” a colorful electronic jam, stormed the U.K.’s Top 20. The band opened for Muse at London’s Emirates Stadium in May and for the Rolling Stones in Hyde Park in July. “Mick Jagger asked us to do it,” says Healy. “That’s fully mental.” Following a world tour this summer, their self-titled debut LP, co-produced by Mike Crossey (Arctic Monkeys, Foals), is set to arrive stateside in September. But things weren’t always so sunny—for the first five years, The 1975’s eclectic sound worked against them. “They couldn’t put us in a box,” says drummer/producer/“sound designer” (and Heath Ledger doppelgänger) George Daniel, recalling the many record labels that tried to market the group and failed. “We


were told we were schizophrenic songwriters who hadn’t honed our style and didn’t know what we wanted to be. Well, we did know—we just wanted to be many different things.” Adds Healy, “We got scared when labels would say, ‘You don’t know who you are.’ When you’re 20 years old, you think, ‘Hey, maybe we don’t.’ For one show, I grew a beard and wore a leather trench coat, like Neo from The Matrix. I had a mini nervous breakdown. But we realized, ‘Fuck this! We don’t need anyone telling us what to do.’” Not far from the stomping grounds of Britpop legends like Oasis and Stone Roses, Healy and Daniel, along with classmates Ross MacDonald (bass) and Adam Hann (guitar), started their first band at age 13. “We were just idiots who wanted to hang out together,” remembers Healy. They started gigging under names like Talkhouse, The Slowdown, and Drive Like I Do. They settled on The 1975 after Healy discovered a book of beat poetry with the previous owner’s account of his descent into madness as well

FRom lEFT: george daniel, matthew healy, adam hann, and ross macdonald.

as “1 June. The 1975” scribbled inside. The band landed a manager in 2009, but label resistance led them to self-produce three EPs—Facedown, Sex, and Music for Cars—all eventually released by London indie Dirty Hit within the past 12 months. After inking with Vagrant/Interscope, they recorded their final EP, IV, with Crossey co-producing, developing the working relationship behind their upcoming debut full-length. “The album is a culmination of the past five years,” says Healy. “Every song has at one point been the most important thing in our lives.” The tracks slide fluidly from dancey to brooding. Lyrically, Healy explores themes of hardship and longing—stuff he’s had plenty of experience with recently. “Settle Down” addresses his “tireless” attempts at hooking up with a friend, he says. Another track, the album-closing piano ballad “Is There Somebody Who Can Watch You,” is a touching tribute to his little brother. The guys are genuinely stoked for the coming year on the road. “What we care about are girls, weed, and music,” Healy jokes. “That’s it.” But then, almost immediately, he enters serious mode again, adjusting his leather jacket (less Neo, more Brando) before driving his final point home: “I just want people to feel about our record the same way that we’ve felt about records we love. If that happens…well, what a beautiful existence.”

Š Ferrero

a little less conversation with right thoughts, right words, right action, franz ferdinand return to their roots while keeping their eyes fixed on the future. By Barry nicolson. photographed By david titlow


Just over a year ago, Franz Ferdinand announced a surprise show at Nice’n’sleazy, a tiny Glaswegian dive bar the band hadn’t played in at least a decade. For drummer Paul thomson, accustomed to DJing there on weekends and “having absolutely no one give a shit,” it was a bit of a moment. “I read on twitter that people were queueing around the block and that the tickets sold out in 15 minutes,” he recalls over beers in guitarist Nick McCarthy’s North London kitchen. “And honestly, it was quite heartening to know that we could still sell 100 tickets in Glasgow. It was like, ‘We’ve still got it!’” Not that Franz Ferdinand ever lost it, of course, but it’s been almost five years since their last album, and frankly, we were starting to worry. During that time, the guys have busied themselves with everything from side projects to production jobs to—in guitarist Nick McCarthy’s case—a puppet staging of The Tempest, but British indie always seems a duller, drabber, more sexless place without them. These days, Franz Ferdinand make albums only when they feel like it, and that’s never quite often enough for the rest of us. “When we were making our second record (2005’s You Could Have It So Much Better), there was a lot of pressure on us to get into that cycle of releasing something every two years and touring endlessly,” frontman Alex Kapranos explains. “With this one, we

FROM LEFT: bob hardy, paul thomson, nick mccarthy, and alex kapranos photo assistant: keith beckles. shot at mkii studio, london.

felt much less scrutiny. We didn’t do any interviews, we didn’t tell anybody about the ideas we were having. And when you don’t talk to anyone, you don’t feel like people are constantly watching you. It was more like how it was before we’d even released a record.” He’s talking about Right Thoughts, Right Words, Right Action, the band’s fourth LP and one that seems to herald a return to the taut, spring-wound sound of their 2004 debut, though Kapranos balks at the suggestion. Recorded in London and rural Scotland, with infrequent trips to Oslo and Stockholm in between, the band deliberately eschewed what Kapranos calls “the omnipotent presence of a big producer, which is often needed by bands who are unsure of how they want to sound,” instead deciding to produce

it themselves, with a little help from Bjorn Yttling, Hot Chip, and Todd Terje. Listening to the new album makes one realize just how many imitators have emerged over the past decade of British guitar pop. “It’s a bit arrogant to say you’ve shaped a generation,” muses Kapranos when asked about Franz’s influence. “But I don’t think there was anyone who sounded like us before our first record, and then a specific sound evolved from that. It’s a compliment, I suppose, but what I don’t like is when I hear bands who obviously sound like us say, ‘We’re really into early Josef K and Orange Juice, with a bit of the Fire Engines and The Fall, Sparks, and Roxy Music....’ Oh aye, are you now?” Kapranos laughs, mostly at this bit of near-cockiness, since the band as a whole have made it clear that they’re not fans of “legacy” talk, even with Franz Ferdinand’s 10-year anniversary imminent. “Fuck that shit,” McCarthy replies when the topic comes up, his thoughts, words, and actions entirely focused on what’s next. Kapranos concurs: “We’ve never been nostalgic people. I mean, who gives a shit about the past?

at HoM e H e’s a toU rist For a small city often lodged in the blind spot of the industry’s myopic, London-centric worldview, Glasgow, scotland, continues to produce great new bands, sometimes to much fanfare, sometimes to none, but almost always with what Chvrches’ Martin Doherty describes as: “an attitude of selfdeprecation running through it.” He blames the rain. “If you look at it over the years, the bands can often sound fairly depressing!” Doherty’s band throws a dash of pop triumphalism into that mix. Fronted by vocalist Lauren Mayberry, Chvrches are one of the year’s most buzzed-about groups, but they still operate out of a basement flat on Glasgow’s south side, and Doherty describes the city as “beyond just being our home. the scene here is really tight-knit. We all know what it feels like to play to 20 people in the 13th Note [a legendary local venue], and it’s important to us that we never lose that.” that DIY ethos stretches back to the early ’80s, when Postcard records made Glasgow a mecca during u.K. indie’s golden period. the influence of that era is still evident today—Franz Ferdinand would be unthinkable without orange Juice, and Glasvegas owe an existential debt to the Jesus and Mary Chain. In the ’90s, meanwhile, Glasgow’s wry, contrarian spirit provided a counterpoint to the self-congratulatory reign of Britpop, via bands like Belle & sebastian and the heroically bleak Arab strap. Chvrches, however, belong to the city’s less-celebrated tradition of electronic music. Glasgow’s soma Quality recordings were instrumental in launching Daft Punk, and club culture has always had a strong foothold, but it’s enjoying a real renaissance through acts like errors, Conquering Animal sound, and Doherty’s personal favorite, the LuckyMe collective. “their stuff—the stuff by Hudson Mohawke, rustie, and All Caps—is never off my stereo,” he says. “those guys really seem to be taking the reins and bringing electronic music to the fore again, which can only be a good thing.” the Glaswegian scene is ever shifting and difficult to define. But whatever the future holds, one thing is certain: It might be gloomy, but it’ll never be dull. BN WHAT TO DOWNLOAD


tHe aMaZinG snaKeHeaDs

Divorce Brutal,

Recently signed to Domino Records, this hotly tipped trio make a demented psychobilly racket that’s best experienced live, where songs like “Where Is My Knife” give the band a sinister, maniacal edge.

uncompromising, and brilliant, Divorce’s self-titled debut is a righteous assault of cheese-grater guitars, no-wave aesthetics, and rad saxophone solos.

Post The We Can Still

BarroWlanD BallrooM

Picnic label is home to some of Glasgow’s best new bands, including these guys, whose recent mini-album Cavalcade was a joyous exercise in angular, melodic indie.

There is no shortage of great small and midsized venues in the city center, but to get a real taste of what Glasgow crowds are like, make a beeline for the Barrowland Ballroom, a local institution with an unbeatable atmosphere.




Monorail MUsic Surely

BlYtHsWooD sQUare

the only record shop where you can watch a gig, eat a first-class vegan meal, and then buy rare and desirable vinyl from indie legend Stephen Pastel, Monorail is a must for any musicminded visitor.

If money’s no object, book a room at this luxe mecca for international travelers.

KelvinGrove art GallerY anD MUseUM

casUal seX These fellow We Can Still Picnic alumni are making waves with their louche, Postcard-influenced strain of post-punk. Check out their ace debut single, “Stroh 80.”

Hotel inDiGo For luxury on a budget, this spot in the city center is handy for just about everything.

Nestled in a palatial gothic sprawl that’s a sight in itself, Kelvingrove has rightly become Scotland’s most popular tourist attraction. Best of all, it’s absolutely free.


JASON BIGGS may have the most famous penis in modern pop culture. As American Pie’s good-natured goof Jim Levenstein, he memorably defiled a fresh-baked pastry and, to cement his status 13 years later, went full-frontal in a sequel, American Reunion. Biggs, however, is hoping that his latest role, in the Netflix series Orange Is the New Black, may finally get the focus off his private parts. Good luck with that.

stress case.” His wife suggested he imagine that she had died, a motivator that backfired. “Then I’d be single!” he teases. “Give me something that would make me cry!” After that approach failed, he found himself relying on his honest-to-god thespian chops. “It’s like acting school. It’s the people I’d make fun of—theater school people,” explains Biggs. “‘What? You’re going to be present in the scene and listen? Fuck that!’” Despite his initial reluctance, he was pleasantly surprised

by the results. “I’m much more comfortable doing funny, stupid stuff,” he admits. “But it was really interesting.” Biggs may not end up starring in a Terrence Malick film or waxing philosophical about his “craft” anytime soon, but he is keen to change some perceptions, and Orange may be just the project to do it. “I’m peeking over the crust. I can see the land of cakes and candies,” he jokes. “But I’ve still got one leg stuck in the Pie.”


In Orange, Biggs plays Larry, the underachieving fiancé of the recently incarcerated Piper Chapman (Taylor Schilling). The show, based on Piper Kerman’s memoir of the same name, was created by Jenji Kohan, and portrays life in a women’s prison with an edgy, darkly humorous tone similar to Kohan’s previous effort, the Showtime series Weeds. In one of the season’s subplots, while Piper is serving time in a federal penitentiary for a decade-old drug-running stint, lonely Larry becomes obsessed with “edging”—getting just to the brink of orgasm and then stopping, with the goal of attaining a kind of sexual euphoria. So, yeah, good luck with that. “It was crazy,” says Biggs, sitting at a café in Eagle Rock, a boho outpost on L.A.’s east side. “That episode was directed by Jodie Foster, so here’s Jodie coming in, and I’m masturbating the first day we’re working together. She’s like, ‘Um, OK, so…I don’t know much about what you’d…,’ and I was like, ‘I’ve made a career of this. Don’t worry. I got this.’” Later, when he phoned his wife (actress Jenny Mollen), he recalls saying, “Today I jerked off in front of Jodie Foster. What’d you do?” Old habits aside, the role in Orange is a new turn for the 35-year-old Biggs, whose recent TV work, on the short-lived CBS sitcom Mad Love and as a voice actor on the Nickelodeon animated series Teenage Mutant Ninja Turtles, didn’t exactly equip him for the Netflix series’ moments of heavier drama. In preparation for a scene in which his character was supposed to get choked up, Biggs felt out to sea, so he asked his wife for advice. “She can cry on cue—literally, boom!” says Biggs. “I was freaked the fuck out. A



stylist: skye stewart-short. grooming: juanita lyon at celestine using armani cosmetics and bumble and bumble. blazer by topman, shirt (underneath) by jack spade, jeans by diesel, shoes by vans.


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MORE THAN 20 years after launching Merge Records with their debut single, “Slack Motherfucker,” Superchunk are humming right along. This month the band releases its 10th studio album, I Hate Music. On the



record’s title track, bandleader and guitarist Mac McCaughan laments music’s failures—namely, its inability to bring back the dead—while acknowledging its capacity to fill our lives. Despite being two decades deep into the

muck of it all, the singer’s still got that mad-kid squeak in his voice. Ask him about what the record is getting at, and he’ll play it coy: “Love, death, the role music plays in your life through all that—the usual stuff records are about.” I

Hate Music isn’t heavy so much as grown up, though the guitars blaze as loud as ever and the pulse remains antic. Firmly ensconced in the indie-rock canon, Superchunk can make whatever sort of album they please. “We have patient fans,” McCaughan says, “but it’s still exciting, finishing a record. It’s never as easy as you think it’s going to be, but being around this long means we can kind of do things at our own pace.” Naturally, McCaughan took his sweet time savoring his favorite parts of the music he hates the least.


My family had a Super 8 projector, and my dad would project Disney cartoons, but they were silent, so he’d put on Exile as the soundtrack. I still have my dad’s copy; it’s the record I’ve heard the most and never gotten tired of. Plus, it’s a double album, and you open it up and there are these crazy pictures of a guy with Ping-Pong balls in his mouth and lyrics that say “shit.” I remember thinking, “I’m probably not supposed to be listening to this.”



One of the first real punk records I bought. By the time it came out, they were legendary. I had heard so much about them, and it was as good as I wanted it to be. Every song is memorable. It was all so immediate, and it gave a template to understand what is hardcore or punk rock. You wouldn’t need to listen to anything else.


Growing up in America, you think you know guitar music, and then you hear what they do with guitars in West Africa, and it blows your mind. I’m not saying that I could’ve gotten my brain around this in 1982 when they made it, but by the time it was reissued over here I was ready to have this AfroCuban masterpiece chugging along 24 hours a day. It’s effortlessly propulsive and easily transcends language, geography, and time gaps.



I stand by this record, but I was a huge fan—I bought imports and everything by the band I could find. I would go to the mall and buy all the different Australian versions of, like, Powerage. We had the 8-track in my parents’ van and at some point the stereo broke and we couldn’t get that tape out of it for a really long time, so if we were driving in the van, we were listening to Back in Black.



They came through Durham on that tour and played in a church basement. I thought I knew what punk rock was, but on that record there are so many other crazy things going on that it doesn’t sound like any other band that was playing punk. Minutemen just sound like themselves.



This record, starting with the first single, “So. Central Rain,” is so indelible. It had a different feeling—you sort of associated it with punk rock, but it was jangly and poppy. Reckoning made it OK to listen to stuff that was a little fey, and introduced the idea that it could still be powerful.



If you buy a lot of records, you’re always excited to find a version of something you already know you like that suddenly expands the bounds of what you thought that thing to be. As I get older, I’m often in search of beauty in music, which takes a lot of shapes, obviously. With Susie on drums, Craig Taborn on piano, Jennifer Choi on violin, and Ikue Mori on some tracks, this album is an explosion of kinetic beauty that sounds like little else in improvised music or anywhere.


Not my favorite hip-hop record of all time (that’s probably Paid in Full) or even the best RunDMC album, but when this came out, I had it on one side of a tape (the other side was Wonderful and Frightening World of The Fall) on a crosscountry family trip, so I put in a lot of time with their second album that summer. So funny and unself-conscious—one of the few records my sister and I could agree on in 1985.


I went to see the No Nukes movie in the theater and Springsteen is the best thing in it. Afterwards, I went with my parents and got a copy of The River on tape. Our van was broken into and everything in it was stolen, but I cried because they took our tape of The River. It’s an awesome album.



SOME PEOPLE LIKE to hike at the Hollywood Reservoir; Sharlto Copley prefers to stalk baby coyotes. About a mile and a half up from Hollywood Boulevard, a lush little ecosystem has emerged around Los Angeles’ man-made lake, complete with rabbits, squirrels, deer, and, yes, coyotes. “People don’t believe me because I’m in L.A. They don’t understand there’s actual wildlife here,” he says as we begin our 3.3-mile trek around the perimeter. Five minutes into our journey, he points wildly at a large turtle paddling in the water below. “See! I told you! Turtles!” Since moving nearby six months ago, Copley has mountain biked here nearly every day. It reminds him of growing up in Johannesburg, South Africa. Sometimes, he says, you’ll see the turtles mating: “They, like, sniff each other’s noses and then go around behind….”

The 39-year-old actor, best known for playing the craven corporate tool-turnedcockroachy alien in District 9, is basking in a hell of a lot of good fortune—and not just because we’ve spotted a snake. (“So cool.”) Not only has he settled into life as an Angeleno, he’s also enjoying a career that has suddenly gone turbo. For today’s stroll, Copley looks the part of Discovery Channel explorer—khakis, fitted military green T-shirt, baseball cap shading his chiseled features— but in fact he just wrapped a string of highprofile projects all due within the next year: This month, he stars opposite Matt Damon in Elysium, his first re-teaming with District 9 director Neill Blomkamp; in October he plays a diabolical baddie in Spike Lee’s remake of the South Korean revenge thriller Oldboy; and next summer, he’ll be seen in Disney’s big-budget fantasy Maleficent, as the nemesis and onetime lover of Angelina Jolie’s Sleeping Beauty villainess. Not bad for a guy who made his bigscreen debut just four years ago. District 9 was a sleeper hit at the box office, and it went on to snag a surprise nomination for Best Picture. Even Elysium co-star Matt Damon was giddy to meet him. “He went, ‘Dude, I voted for you at the Oscars!’” recalls Copley with a laugh. But the sudden flood of attention hasn’t gone to his head. “Maybe I was old enough and cynical enough at the time [to know] it would be a constant battle to get work and do cool things,” he says. Copley has continued to go the extra mile for parts, landing the role of Murdock in Joe Carnahan’s The A-Team by improvising scenes on the fly from his hotel room, and putting himself on tape to audition for Maleficent. Acting has always been his first love, especially when it calls for a certain degree of physical transformation. As Elysium’s Kruger, the henchman responsible for keeping “illegals” out of a utopian metropolis for the very wealthy, he’s rigged up like an Autobot. “My ideal characters are anyone who could become an action figure,” he says. Creating mayhem is not merely an on-camera activity for Copley; pranking has become the key to ingratiating himself with his A-list co-stars—or so he says. While Damon was away visiting family during production, he wrecked his trailer the way Kruger might. He also went after Jolie. “Everyone was like, ‘Ooooh, I wouldn’t do that if I were you.’ But she was a good sport. The way she got me back was pretty controversial, actually,” he recalls, coyly refusing to offer any specifics. “She does not mess around.”


stylist: christine baker. grooming: melissa dezarate. shirt by ag jeans, sweater (underneath) by gant, pants by vivienne westwood.





DECIDE WHO’S NEXT IN MUSIC Help select the next Project: Aloft Star winner and you could win too. Check out the top five Project: Aloft Star finalists and cast your vote at for a chance to win three nights at any Aloft hotel. Voting ends August 20, 2013.

Check back in the October issue to see who won.

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CHAIN OF FLOWERS CARDIFF, WALES MEMBERS: Sami Hunt, Joshua Smith, Ross Jones, Rich Clarke, Daniel Anderson



JAPAN MAY HAVE the cherry blossom, but Los Angeles has the jacaranda tree, an arboreal Pollock splattering color from its branches. Here, in the Glassell Park neighborhood, its flowers leave a lavender blanket on the asphalt. Just a few blocks away, on Avenue 43, Los Angeles’ oldest gang, the Avenues, once had an outpost, but today a craft beer bar serves artisanal sauerkraut. Back among the jacarandas, the strums of an acoustic guitar waft from the window of a gunmetal gray house with white trim. They belong to Ty Segall, the explosive, prolific, multitasking-yet-mellow guitarist who turns garage rock into an art form. Last year, the 26-yearold performed on three records, and this month his seventh solo album, Sleeper, a sea change of a release, comes out on Drag City. Segall left San Francisco for L.A. just three months ago, but the transition has not been seamless. “Our gas just got turned off,” he says, kind of groggy at 7 p.m. He wants a coffee but can’t heat water, so we head outside. A brown, late-’70s Volvo has just pulled up into the driveway. “Hey man, where you going?” his buddy implores, a lady friend waiting passenger side in high-waisted jeans, floppy hat, and shades at dusk. “Coffee,” Segall replies. He’s wearing a Canadian tuxedo—blue Levi’s, Wrangler jacket— his blond hair flopping on his collar as we walk to the café. It’s closed. But Segall doesn’t sweat it, sauntering back to the house. In the living room are two acoustic guitars lying flat near a futon. Next to the tiny television sits a combination TV/VCR and a Source Family DVD, the recent documentary about a ’70s love cult and psychedelic rock band. Segall heads to his studio and sits on an amp in front of a unicorn wall hanging, surrounded by a menagerie of gear and snaking cords. From this perch, he tells his story. He’s from Laguna Beach, Orange County’s taciturn yet white-washed ocean-side town. He grew up happy, and music was all that mattered to him. “There were no venues, so we had to do it ourselves, play shows in backyards and in each other’s houses,” he says. “There’s no history there. They tear down a grungy old surf shack and put in an Outback Steakhouse.” History has always been on Segall’s mind and in his music, from T. Rex riffs to fuzzed-out grunge outbursts. Segall likes it loud—and analog. “It’s all recorded in here,” he says, gesturing to his studiohovel and a behemoth sound machine. And from this musky space has come Segall’s most intimate and alluring album, full of acoustic guitars and porch-stompin’ melodies, violins woven into warm tape hiss. On Sleeper’s “She Don’t Care,” his falsetto howl grips the listener; his fingers dig deeply into the strings, where gritty dissonance melts into traditional pop structures. It’s clear that behind Segall’s affable, lighthearted demeanor is pain. “I came to L.A. to be closer to my sister,” he says. His father passed away recently, and his family had begun to fracture. Sleeper is where it all comes out—just a voice, a guitar, and emotions stripped bare. He loves his work. And he loves his girlfriend, the subject of the album’s rapturous title track, a symphonic homage to watching her sleep by his side, he explains. The woman in question, who just got off work, is now standing in the door frame of their bedroom. He grabs her by the waist, and suddenly it’s the end scene of a movie, those seconds before the credits roll, as the jacaranda glows outside, backlit by the setting sun.

While Chain of Flowers deny taking inspiration from The Cure, it’s impossible not to compare the two. Aside from sharing their name with a song by the goth-pop gods, they exist on the same fuzzed-out, guitar-heavy melancholic plane—minus the makeup and Robert Smith hair. Truth is, the quintet was raised on hardcore punk, as evidenced by their DIY ethos—so far, the CoF discography consists of “Sleep” (limited to 70 cassettes and 300 seven-inch vinyl records) and “Chained/Spit” (limited to just 100 cassette tapes), both of which were self-released. They’ve been together just a little over a year, but with their SoundCloud plays steadily creeping toward the 15,000 mark, and a new release in the works, things are starting to look just like heaven for the Welsh rockers. KIRA COLE PLAY THIS: “Spit” photographed by tyrone cc.

SAN FERMIN BROOKLYN MEMBERS: Ellis Ludwig-Leone, Jess Wolfe, Holly Laessig, Allen Tate

Founded just last December by the classically trained composer Ellis Ludwig-Leone, 23, San Fermin seamlessly combine sweeping, orchestral strings with despondentcool lyrics. The band’s self-titled debut album was written by LudwigLeone, mid-breakup, during a six-week trip to the Canadian Rocky Mountains. Upon his return, he enlisted Lucius’ Holly Laessig and Jess Wolfe as well as vocalist Allen Tate to provide vocals for the songs’ Hemingway-inspired narratives. “Sonsick,” the first single off the album (out September 17), is perfect for those moments when you could very well be starring in your own romantic dramedy. GRETA GARMEL PLAY THIS: “Sonsick”


JOE SWANBERG wrestles out of a backpack and settles into his corner seat at a quaint French café in Beverly Hills. The utilitarian accessory, in addition to his practical, low-key wardrobe of a button-down shirt and slacks, confirms that Swanberg is neither a filmmaker like, say, Justin Lin of Fast and Furious 6, nor an actor like Vin Diesel. His latest—the blue-collar romantic comedy Drinking Buddies, which he wrote and directed, and the horror-thriller You’re Next, in which he takes an on-screen supporting role— are not your typical brain-anesthetizing popcorn fare. “I’d actually go see Fast and Furious 6,” Swanberg concedes, digging into a ham omelet. “But I would hope you’d go see Drinking Buddies because you’re burnt out on summer blockbusters and looking for a little nourishment. And I’d hope you’d see it if you love beer.” In 2005, Swanberg directed Kissing on the Mouth, a no-budget, mostly improvised film about post-collegiate relationships, starring himself and his real-life wife, Kris. Since then, Swanberg has quietly built a legacy of realist films that would do Cassavetes proud, including Hannah Takes the Stairs (starring a young Greta Gerwig) and the 2011 mise en scene Silver Bullets. He’s become a guiding force in the unfortunately named “mumblecore” collective, which, according to Swanberg, isn’t much of a collective at all. “We met at South by Southwest,” he recalls. “Ti West and I became really good friends and still are, but I never knew Jay and Mark Duplass or Andrew Bujalski super well. Mostly we’re doing our own stuff. [But] as all of us start doing bigger projects, we can be more helpful to each other.” The bigger projects include forays into the horror genre, which Swanberg became infatuated with after watching West make his breakout films The House of the Devil and The Innkeepers. Swanberg fell in with Adam Wingard and Simon Barrett on their 2010 thriller A Horrible Way to Die, and then wrote and directed “The Sick Thing That Happened to Emily When She Was Younger,” one of the most chilling segments

of the criminally under-seen V/H/S. You’re Next, a home-invasion gorefest, takes the dabbling a step further as a brilliant addition to the horror canon, one that will not only thrill you, but also leave you satisfied as you cheer its tough-girl protagonist (played by Sharni Vinson). To boot: Swanberg’s character comes off as a complete tool at the beginning of the film, but by the end, he’s earned the audience’s affection. How many horror films can do that? Drinking Buddies, meanwhile, finds Swanberg back at his romantic roots with a fraught relationship dramedy centered around a pair of best friends and brewery co-workers, Luke (Jake Johnson) and Kate (Olivia Wilde), who have sexual chemistry despite both being otherwise committed. It’s typical Swanberg: a largely improvised film, with a hyper-realistic feeling, like watching people do things that you shouldn’t be

watching them do. “The big question we asked ourselves was, ‘Can men and women be friends?’” says Swanberg. “In high school and college, it’s very fluid to have friends of the opposite sex. Then, as you get married and start to have a family, it’s a little weird if your best friend is another woman.” Swanberg will soon have to confront a personal conflict of his own—You’re Next opens the same day as Drinking Buddies— but he views the box office competition as a blessing. “Soderbergh recently said that he used to be embarrassed that he was a filmmaker,” recalls Swanberg, polishing off his omelet. “It seemed so wasteful, and you spend all this money. But as he traveled around the world, he realized it’s one of the few things that Americans do that people like. Suddenly he started feeling really proud. It’s a great joy to be involved in something so likeable.”

stylist: skye stewart-short. grooming: tracy moyer at celestine using bumble and bumble. shirt by w.r.k., shirt (underneath) by topman, jeans by levi’s.



sweater by denim & supply ralph lauren, shirt (underneath) by h&m, pants by carlos campos, hat by gents, bracelet by scosha.

AARON PAUL is freaking out, but not for the reason you might think. Yes, Breaking Bad, the show that has transformed his career and life, is about to air its final eight episodes. And yes, it’s safe to say that Paul is freaking out about that, too, if in a more low-grade, existential way. But his immediate state of excitation has to do with his current location, the Stanley Kubrick retrospective at the Los Angeles County Museum of Art, and what is hanging on the wall directly in front of him: the two matching baby-blue dresses worn by the creepy twin sisters in The Shining, a favorite of his. “Kubrick is one of the reasons I fell in love with film,” says the actor, pulling out his iPhone to snap a pic.

Meeting here was Paul’s idea. Though he lives just a few miles away in West Hollywood, the actor has been on location for the past two months shooting the big-budget driving flick Need for Speed, and he didn’t want to miss the exhibit. Still, as he giddily bounds through the museum dressed in a faded stars-and-stripes denim shirt, jeans, and Converse—a look more Easy Rider than A

Clockwork Orange—it’s hard not to attach a little symbolism to the choice of venue. The fact is, if Kubrick were alive and creating today, he might be working in TV, very possibly on AMC, home of Mad Men, The Walking Dead, and what may be the network’s ultimate synthesis of artistic vision and addictive entertainment, Breaking Bad. All of these series are obsessed over and dissected the way film junkies used to talk about actual movies; the men behind them, like Breaking Bad creator Vince Gilligan, are our modern-day auteurs. “You want to talk obsessive?” asks Paul as we pass by the intricate preproduction drawings for Dr. Strangelove. “Vince will have an hour-long conversation about the color of toenail polish when Skyler is stepping onto the bathroom mat. His attention to detail is insane.”

jacket by levi’s vintage clothing, shirt by robert geller, pants by andrea pompilio, shoes by prada, sunglasses by gucci, aaron’s own necklace and ring.

robe by louis vuitton, shirt (underneath) by levi’s vintage clothing, pants by boss green, shoes by converse by john varvatos, hat by burton x bionic.


Given all that, 20 years from now, it’s easy to imagine LACMA hosting a retrospective celebrating our own “Golden Era of Television,” with exhibits featuring Tony Soprano’s wifebeaters and the lopped-off wax head of King Robert Baratheon from Game of Thrones (Paul’s favorite show). And of course, there will be the Breaking Bad gallery, illustrating for the throngs of tourists how a luckless and spineless high school teacher named Walter White transformed himself into a ruthless drug kingpin with the help of a meth-head named Jesse Pinkman. As we walk through an area of the Kubrick exhibit featuring the elaborate 18th-century costumes from Barry Lyndon, a film neither of us has seen, we have some fun curating a hypothetical Breaking Bad display. “Wouldn’t it be great to have, like, an ‘Evolution of Jesse’ fashion section?” he wonders. “When the show started, I could easily fit both my legs into one of Jesse’s pant legs. He didn’t know who he was, and he was trying to be something he wasn’t. Now, he’s still in his ridiculous bedazzled shirts, but at least the clothes have kind of shrunk a bit.” I wonder which of these memorable ensembles he took from the set as a keepsake. “None,” he says regretfully. “I actually wish I had taken an entire outfit, just to have it in my closet. So when I’m feeling depressed, thinking about the days I was on Breaking Bad, I can dress up like Jesse Pinkman and have a whiskey by myself.” The fact that Pinkman has been around long enough to sartorially evolve is testament to the man who plays him. Now a well-worn part of the show’s lore, Pinkman was only supposed to stick around for a season, teaching Walter (played by Bryan Cranston) about the meth trade before being summarily killed off. The two actors’ chemistry (pun intended) saved Jesse from a premature death—and eventually earned Paul two Emmy nominations and one win. It may be an exaggeration to say that over the past four and a half seasons Pinkman has emerged as the show’s moral center—he did shoot a chemist in the face— but he’s certainly retained more humanity than Walter White, especially when it comes to protecting women and children. Cranston, who has become one of Paul’s closest friends, says Jesse Pinkman’s soft core is something the writers largely picked up on in the actor first. Paul has such a weak spot for animals, explains Cranston, that after a hard day spent cooking fake meth on set in Albuquerque, the two would often go to the local zoo so that Paul could feed a giant tortoise named Big Boy. “He must have been 600, 700 pounds,” says Cranston. “He’d stretch out his neck to be scratched and Aaron’s eyes would just light up. He just loves innocence.” As Paul wanders the museum, that childlike exuberance is on full display. It’s like whatever is in front of him is the coolest, most engaging thing he’s ever seen, whether it’s a scale model from 2001: A Space Odessy, or a long-haired, overeager Breaking Bad fan named Bryce. When Bryce first approaches, Paul’s reaction is so enthusiastic that I assume the guys must know each other from way back. Turns out, they have met before—yesterday, when Bryce approached Paul at Amoeba Music. Rather than use this as an excuse to end their conversation, Paul spends 15 minutes coaching Bryce on how to get his name called on The Price Is Right (as you can see on YouTube, a young Paul made it all the way to the Showcase Showdown, though he only walked away with a desk). As Bryce takes notes, Paul explains his strategy: “I had a giant CBS bumper sticker on my back that I bought at the gift shop, so I was like a walking billboard. I knew what I was doing. Just be so animated and so excited because that’s what they want.” I’m not sure he was faking it. Paul’s openness is charming and infectious, but there will always be those who take advantage of it. In Albuquerque, while filming Breaking Bad, he would frequently host impromptu gatherings at his house. “Friends would come over and they’d bring other people and pretty soon he was having a party where he mostly didn’t know anybody,” remembers Cranston. No wonder he suffered a couple of break-ins. What did shock Paul was the reaction to his subsequent tweets, which suggested he felt safer in L.A. “People came up to me saying, ‘So

you hate our town?’ And I was like, ‘I don’t hate your town. I just hate getting robbed. What are you not seeing?’ But I wish I hadn’t said that. It made the front page of the paper there. It was on the news... two nights in a row!” Such experiences don’t seem to have jaded him, or even made him particularly wary of engaging with strangers. “What’s so great about Breaking Bad,” he says, after he bids Bryce farewell, “is that we don’t have a huge female fan base, so I don’t have young girls screaming my name, but I turn grown men into young fangirls. The show’s not for everyone, but people who watch it are fanatical.” He fully realizes that many will be disappointed by the ending—no matter how good it may be. “Even if it’s perfect, people just don’t want it to end. I don’t want it to end! The entire last day I was walking around on set saying, ‘This is terrible, this is just awful, why is this happening?’ It became kind of a comedy because I was so tragic,” he says. “Do I think it’s all downhill from here? Absolutely!” He laughs, but he’s not entirely kidding. Just before filming that final episode, Paul and Cranston met at Cranston’s house in Albuquerque to read the script side by side for the first time. “We started by reading it silently to ourselves and then we realized, well, that’s dull,” says Cranston. Instead they read it out loud, assigning characters. It was fun at first, but soon became heart-pounding. Eventually they came to the words “End of Series.” “Bryan and I just looked at each other in stunned silence for a good 15 to 20 seconds. There was no more, that was it, it was done—seven years from the pilot to that moment.” After the episode wrapped, there was a little party at a nearby bar with the crew, including a guy from the art department who was also a tattoo artist. Half-joking, Paul floated the idea of commemorative Breaking Bad tats. He was surprised when a handful of crewmembers signed on, but he was downright floored when Cranston got onboard. It would be his first one, and he hadn’t even cleared it with his wife. Cranston opted for a tiny version of the “BrBa” from the show’s title card on the inside of his finger. Paul took his inspiration from a monologue delivered by fixer Mike Ehrmantraut (Jonathan Banks) in the third season; “No Half Measures” is now scrawled across his back. Later, over a thin-crust pizza at the museum’s restaurant, Paul reveals his only other tattoo: a tiny EKG of his wife’s heartbeat inked around his ring finger. “I’m a hopeless romantic,” he admits. “Bryan says that I’m like the guy in the middle of the desert with my arms outstretched, just wanting to share love.” In May, he married a stylish, blonde antibullying activist named Lauren Parsekian. (She has a matching tattoo on her finger.) They met two years ago at Coachella, though it

took Paul another year to ask her out. Paul cites concertgoing as his one true addiction; he estimates he’s seen Radiohead at least 15 times. He wanted their wedding, held at the Calamigos ranch in Malibu, to mimic the festival experience. Foster the People played a set, and the lead singer of the Brooklynbased band The Shivers performed “Beautiful,” the couple’s song. Before the ceremony, Paul e-mailed the lyrics to the entire guest list. “At one moment, everyone just started singing the chorus to Lauren,” says Paul. “And her first reaction was, ‘Wow, how does everyone know this song?’ And then she was like, ‘Ohhhh, I know what’s happening!’” The sing-alongs, the matching tattoos, the fact that the two literally shared their first kiss on a Ferris wheel: These are things that would make a more cynical man roll his eyes, and I haven’t even mentioned that John Mayer played the fatherdaughter dance. But Paul could care less. At the wedding, among the A-listers and folk singers (and whichever of these categories John Mayer fits into), the 250-person crowd also included a large contingent of Paul’s clan from Idaho. He was born in Emmett, population 6,500, though his family eventually settled in Boise, a big city only if you’re coming from Emmett. Paul’s father was a Baptist minister, which explains his first acting gig: baby Jesus. His upbringing was “pretty intense and very strict,” he recalls. “I had my first beer at 19. I definitely read the Bible many, many times. Luckily I was also the baby, so I got away with a lot more than my [three] older brothers. But there was no tolerance of drinking or swearing.” He landed his first real girlfriend in the eighth grade, but when she cheated on him with one of his best friends, Paul retreated further into theater geekdom. He calls the decision to graduate high school a year early and move to L.A. at age 17 “the easiest of my life.” Despite the fact that he sort of broke bad in his own way—moving to then-sleazy Hollywood and easing off religion—his parents never chastised him, and they’re now huge fans of his show. That’s not to say his family always appreciates his choice of roles. His grandmother was particularly perplexed by his decision to appear in a remake of The Last House on the Left. “She asked me, ‘Why do you play such mean, crazy people all the time?’” recalls Paul. “I told her, ‘I don’t know, Grandma. I guess they’re more exciting to play.’ She slapped me across the face and said, ‘Shame on you!’ Cut to a screening of the movie. My character is going psycho during a murder scene, and in the middle of the theater my grandma is smiling ear to ear, so excited to see her grandson on the big screen.” Paul’s knack for playing dubious yet sympathetic characters has obviously made him a hot commodity in Hollywood, though he claims to attract way too

many “come be our drug addict!” offers. He did agree to play an alcoholic in James Ponsoldt’s film Smashed, about a booze-fueled relationship, but only because he could relate. “I dated a girl who was a severe alcoholic,” he says. “I didn’t know that when we first started seeing each other, but I realized later on, I am drinking a lot right now.” But in general, he’s trying to heed the advice offered to him by Cranston, who remembers all the “lovable goofy dad” parts he was offered after Malcolm in the Middle. “My advice to Aaron is: Break the mold. You make an impression, and then once it’s done, walk away and look for something completely different,” says Cranston. “Because anything he does that is similar to Jesse Pinkman will be compared to Jesse Pinkman.” Paul seems to be taking that advice to heart: His next gig is the lead in a Disney movie based on a video game. “Need for Speed is going to surprise you,” he promises. “When it was placed on my lap, I thought, I don’t know if I want to be a part of something like this. I judged it before I read it. I had nothing against the Fast and the Furious movies; they’re super entertaining. But that’s just not what I want to be involved in. But when I read it, I was surprised at the story and how much heart it has.” Paul plays Tony Marshall, an underground racer who has been falsely imprisoned. When he gets out of jail, hell-bent on revenge, he drives cross-country in 48 hours to confront the people who ruined his life. Director Scott Waugh says he cast Paul because he reminded him of another legendary driver. “Steve McQueen wasn’t a pretty boy,” he explains. “He was rugged and tough, but he also had a soft side.” Waugh, a former stuntman himself, wanted Paul to do as much of his own driving as possible, so he enrolled him in an intensive course, where he learned how to do crazy maneuvers like “ride the slide,” using the e-brake to glide the car sideways toward the camera. “If his acting career doesn’t work out, he’ll be a great stuntman,” jokes the director. Paul also had to bulk up. “I wanted him to have that racer’s body,” says Waugh. “So we got him a trainer and a dietician. I think he gained about 30 pounds of muscle.” Such are the perks of being a big-budget leading man, or at least not having to play an emaciated drug addict. Still, Paul says the movie star treatment did have its initial hiccups. The day Breaking Bad wrapped, the studio chartered a private plane to take him from New Mexico to a location in Mendocino. “I land. It’s 2 a.m. I’m in this little airport, but it’s closed, and no one comes to pick me up. I’m out in the middle of nowhere. The cell service was non-existent, so no one knows I’m there. I had just wrapped the highlight of my career, so I’m super bummed, and I’m doing something really exciting, but I’m standing in the middle of the rain just waiting to get picked up for two solid hours. It gave me time to think: ‘What am I doing?’” The second-guessing was short-lived. It’s amazing how driving really expensive cars extremely fast will make up for any misgivings. Plus, there’s the paycheck. “The reason I did this sort of film is to allow me to do my passion projects,” says Paul. “I need to be able to pay my mortgage. This is a really good business move that allows me to do low-budget films.” Or maybe even more TV— Paul recognizes that’s where so much of the great storytelling is these days. The It’s Always Sunny guys, buddies of his, already wrote him a guest part on their show, though it was shelved due to scheduling conflicts. And if a loveable sitcom star like Bryan Cranston can be reborn as an Emmy-dominating drug kingpin, who says the very talented Aaron Paul can’t follow that path in reverse? Paul may not have gotten any of Pinkman’s threads for posterity, but before we leave LACMA, I ask him if he took any mementos from Breaking Bad, the kind of stuff he might be asked to loan to a museum someday. He admits to walking away with Jesse’s “the capn” license plate, and Gilligan gifted him the pink teddy bear from the second season finale. “I really tried to get the RV door with the bullet holes,” he says, “but they wouldn’t let me have it.” It wasn’t anything personal—turns out, that vehicle is on its way to the Smithsonian.

stylist: j. errico. grooming: daniele piersons at exclusive artists using malin + goetz. photo assistants: curtis buchanan and steve lee. digitech: brandon jones. fashion assistant: alana rosenblum. shot at siren studios, los angeles.

sweater by saint laurent by hedi slimane, printed shirt (underneath) by giorgio armani, t-shirt (underneath) by obesity and speed, pants by dsquared², belt by mcq alexander mcqueen, shoes by bess, sunglasses by versace.

jacket by reformation, jewelry by jacquie aiche.





shirt and skirt by reformation, jewelry by jacquie aiche.

as Dianna agron sits down for lunch at the Chateau Marmont in West Hollywood, she flashes me a conspiratorial look. “are you good at captions?” she asks, pulling out her iPhone. “Because my friend put up a photo on her instagram and it says, ‘Photo caption, go!’” agron raises an index finger—her long nails painted white— and begins to flick through her feed. “i want to win, but it’s a really tough one,” she says, furrowing her brow. Finally, agron finds the picture in question, and can’t keep herself from giggling: Her friend has uploaded a picture of a nine-foot-tall statue of Colin Firth meant to commemorate his wet undershirt moment from the 1995 miniseries Pride and Prejudice. “it’s crazy, right?” agron says, passing the phone to me. i offer “Pecs and Prejudice” as a potential caption, since it’s hard to notice anything on the unnerving sculpture but Mr. Darcy’s massive, protruding nipples. “That’s good,” agron says. she taps it in while laughing, the will to win written all over her face. You may be familiar with that look of competitive resolve: In Agron’s best-known role as the cheerleader Quinn on Glee, she used her dewy beauty and soft voice to cover her character’s frequent cunning. She kicks that up a notch in Luc Besson’s new film The Family, where she stars as a mobster’s daughter who occasionally unsheaths a killer instinct handed down by her casually criminal parents, played by Robert De Niro and Michelle Pfeiffer. “Luc said she’s the most dangerous of them all,” says Agron, “because she turns so quickly, and you don’t see it coming.” From the start, Agron was Besson’s pick for the role, but the 27-year-old still had to endure a gauntlet of auditions, the last of which gave her the opportunity to read with De Niro himself. “At one moment, we’re just embracing,” she recalls, “and it’s not ending—and I’m not minding— but at the same time, I’m like, ‘This is fucking crazy! I’m embracing Robert De Niro right now.’” Agron says she finally shed her star-struck feelings two weeks into shooting: “I knew I wasn’t getting fired at that point—they had shot too much footage—and I went to dinner and sat with him and said, ‘What should I call you, by the way? What do you like to be called?’ He started laughing and said, ‘Whatever you want: Robert, Bob, Old Guy….’” Production of The Family stretched well into the fourth season of Glee, which limited Agron’s appearances last year; it came as no surprise, then, when Fox recently announced that Quinn wouldn’t be returning for season five. According to Agron, the decision was mutual. “It’s really bittersweet, because that’s been such a heavy part of my life for the last five years,” she says. When last we saw Quinn, she was attending Yale—and she’d just had a surprise onenight affair with Santana (Naya Rivera). Would Agron be happy if that’s where we left her character? “In bed with Santana?” she laughs. “Um…I think it’s kind of comical, if that’s where it ends. But then again, the second episode I ever did, [Glee creator] Ryan Murphy told me I was gonna be pregnant by episode four. So it wasn’t that surprising: At any given point, things could take quite a turn.” In any case, Agron is excited to prove that there’s more to her than her best-known character. “I remember when we first started doing Glee, journalists would ask me who my dream guest star was. I would say Christopher Walken, and you could see their faces fall: ‘Just say Justin Timberlake!’ For me, that’s so not what I was made of, and Twitter and Tumblr were an easy way to showcase who I really was and what I liked.” Social media also offered Agron a way to correct the tabloids, like when they reported that she was having a relationship with Captain America star Chris Evans, with whom Agron has only shared one 10-minute conversation at a party. “Now, it was a very lovely conversation,” she says, smiling, “and we talked about a lot of things, but that was all it was. And in the course of not seeing him for a year, we had a relationship in the press. I get that people will see you at a party and want to speculate about it, but there were articles that supposedly had quotes from his brother and his mother saying, ‘Dianna fits into our family too well!’ That is insane. They were legitimately making things up!” She leans forward, grinning. This whole thing’s been building to something: “And I ran into Chris a year later and said, ‘Listen, I have a bone to pick with you. I’m really, really pissed off: Your mom loves me, your brother loves me, but you haven’t called me at all!’” Agron cackles, remembering. There’s that conspiratorial look again. Caption contest, go!

“when we first started doing glee, journalists would ask me who my dream guest star was. i would say christopher walken, and you could see their faces fall: ‘j ust say justin timberlake!’”

stylist: ashley zohar at the wall group. hair: giannandrea at the wall group. makeup: georgie eisdell at the wall group. photo assistants: steven perilloux and wes klain. digitech: maria gibbs at versatile studios. retouching: steven meiers.

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photographed by ben morris. styling by allan kennedy

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thanks to a slew of cool cuts, prints, and colors, as seen on diiv’s zachary cole smith, suiting up has never felt less stuffy.

suit by marc jacobs, shirt by hugo boss, stylist’s own hat. opposite: suit by black fleece by brooks brothers.

suit by black fleece by brooks brothers, shirt and shoes by marc jacobs, stylist’s own suspenders.

jacket by emporio armani, shirt by paul smith, pants and shoes by ermenegildo zegna. opposite From top: overcoat and blazer by dries van noten, shirt and pants by prada, shoes by marc jacobs; jacket by diesel black gold, shirt and tie by paul smith.

jacket by marc jacobs, shirt and tie by paul smith, pocket square by brioni.

suit by bottega veneta, shirt and shoes by marc jacobs, tie by paul smith, stylist’s own suspenders.

shirt and pants by marc jacobs, stylist’s own suspenders.

model: zachary cole smith at request. grooming: adrian clark at the wall group. photo assistant: alex kodezero. digital: renee bevan. fashion assistant: sydney rose.




Short of maybe ringo Starr, metallica’s Lars Ulrich is the world’s most famous living drummer. this is no small feat. Drummers are notoriously anonymous, arguably the most important musician in the band, yet often the least recognized—give the drummer some, goes the adage. this was never going to fly DOES PERFORMIng STILL FEEL THE SAME AS IT DID with Ulrich. outspoken and articulate, canny and self-aware, he was always as wHEn YOU wERE 17? When you lose yourself much the face of metallica as he was its tireless timekeeper. after emigrating from in the music, yes. We haven’t played Denmark with his family as a teenager, he placed the original classified ad in a Los the same set list in nearly 10 years—we angeles paper that caught the attention of James hetfield, and together over the play different ones every night. A lot ensuing three decades the two best friends changed the face of rock music forever, of obscure, deeper cuts. When you do merging a host of ’70s influences to create the sound that came to be known as that, you have to be on it, but when you thrash metal. metallica’s gift to the world was its brutal combination of melody and lose yourself in the music onstage, and ferocity; its first five albums are an indelible part of the rock canon, with Master of it becomes this moment of energy and Puppets considered a heavy-metal masterpiece. nine grammys, 100 million albums togetherness, void of thought, void of sold, and a rock and roll hall of fame induction later, metallica is busier than ever, momentary reality, it’s the greatest thing organizing the annual orion music festival, touring constantly, working on a new in the world. album, and gearing up for the release of Metallica Through the Never, a legitimately DO YOU HAVE A FAVORITE METALLICA ALbUM? No. badass 3-D concert film. We caught up with Ulrich at metallica hQ in an industrial They’re not being ranked by the same corner of San rafael, California. qualifications. They’re all different THE FIRST gUITAR RIFF I EVER LEARnED wAS FROM “I’m really into heavy metal. Do you know snapshots of where I was at different “OnE.” THE SECOnD wAS FROM “FADE TO bLACk.” DO YOU times. I’m really quite proud of the any Kansas?” REMEMbER THE FIRST SOng YOU LEARnED TO PLAY? whole catalog. We’ve never rested on I guess the first song that I really YOU AnD HETFIELD HAVE bEEn PLAYIng MUSIC FOR 30 our laurels; we’ve been unafraid most tinkered with and mastered was “It’s YEARS. wHAT’S kEPT THAT RELATIOnSHIP ALIVE? It was of the time; we’ve been curious; we’ve Electric” by Diamond Head. After the never about making it; there was never a been—I have a Danish word I’m trying first time I put the needle down on that plan. It was never artificial. It was never to translate for you—I guess daring. If record, I probably heard it 500 times in goal-oriented. He was the first guy some people, most of the aficionados, the next couple of weeks. that I met who didn’t sit and talk about consider the Load and Reload albums to making it and all that stuff. He just cared be secondary records, I would say—and wAS IT ALwAYS gOIng TO bE DRUMS? Primarily about music. this is the closest I’ll sound to being drums. I took some guitar lessons cocky—then I think we’re in pretty good early, but it was mostly Spanish guitar. I THREE DECADES OF METALLICA: DOES THAT FEEL CRAzY? shape. Those are still, in my eyes, pretty When you form a band at 17, nobody remember having a big argument with rockin’ records. I understand St. Anger expects to be able to talk about it 32 the teacher because he told me to is difficult for a lot of people, but I’m years later. It’s a mindfuck because put my left foot up, and that I had to really proud of the dare in that, and there are still elements of mischief and sit with the guitar in between my legs, the fact that we had the balls to see youthful anxieties and self-doubt and a kind of elevated by my left leg, and all something like that through and not continuous desire to better ourselves, the people that I had posters of on my pussy out in the fucking ninth inning. wall—Ritchie Blackmore, Tony Iommi, Ace whatever that means. Are we good wHAT’S THE TIMELInE FOR THE nExT ALbUM? We’re enough? Is this real? Do people really Frehley, Mick Box—didn’t look like that. probably three innings in. We’ve sorted give a shit? It’s like one day you expect That experience with the Spanish guitar through most of the ideas. Now we’ve somebody to come knock on the door killed the guitar thing for me. It was just got to shape them into songs, and and say: “You’re done squatting. This easier with the drums. then we’ve got to record it. Obviously, building really belongs to somebody wHEn YOU PLACED THAT AD AT 17, wHAT wAS YOUR IDEA OF else. The real band is going to show up in between staging your own festivals SUCCESS? Having fun. And I was a loner, so now and play.” We’re trying to make a and making 3-D feature films, some I guess it was also a sense of belonging real movie, but what if nobody actually of that stuff takes up a bit of time. We to something. The Sunset Strip, the always have one foot in both touring sees it? We still have a lot of moments music scene in L.A., playing gigs, going and recording, so we can at a moment’s of self-doubt. on tour, arenas—none of that crossed notice play a week’s worth of gigs in DOES AgE FACTOR InTO THAT SELF-DOUbT? It my mind. I made lists of all my favorite South Africa to “get out of the house,” New Wave of British Heavy Metal songs doesn’t feel like age is a big factor. as we call it. Then, we can go home and Fortunately, we’re dealing with four by Iron Maiden, Saxon, Diamond Head, write for two weeks, then work on our people who are responsible enough and Motörhead, and all I wanted to movie, and then go to China and Japan to take care of what they need to do do was find other people who would and Korea for two weeks. Then go back to be their best, especially physically. play these songs with me. It proved to to Marin and take our kids to school, Nobody goes disappearing for five days be very difficult because, at that time, and that’s kind of ideal happiness: or wakes up in gutters at eight in the heavy metal in America was anything shows and writing and gigs and travel from REO Speedwagon to Van Halen to morning. We stay healthy and in shape. and movies and carrots and broccoli We work out and eat carrots and KISS, so I would put these ads in the and cauliflower and jicama sticks, or paper, and people would call up and say, other strange vegetables. whatever they’re called.

grooming: christina flach at look artists.


from gangster threads to these sturdy,‘70s-inspired fall looks (and, occasionally, his birthday suit), there’s not much boardwalk empire star vincent piazza can’t pull off. by claire howorth. photographed by jimmy fontaine

cardigan and sweater (underneath) by missoni, sunglasses by ray-ban.

jacket and shoes by a.p.c., sweater and pants by gant.

vest by denim & supply ralph lauren, cardigan (underneath) by marc jacobs, printed shirt and pants by a.p.c.

It’s hard to imagine Vincent Piazza ever looking awkward. Not when you see him as Lucky Luciano, the baby-faced gangster of Boardwalk Empire, perennially turned out in three-piece tweeds. and not when you sit down with him to discuss Mafia lore, the superiority of Muji socks, or onscreen nudity. But one career and a few Men’s Wearhouse guarantees ago, maybe it was a different story. “I worked in finance for a few years at some midsize firms,” says the Queens native, going on to describe a “whole thing” of ill-fitting suits. We’re tucked into a table at Friend of a Farmer, Piazza’s favorite spot in Manhattan’s Gramercy neighborhood. He’s ordered the apple-topped cornbread and an iced tea after waffling on booze, because (I suspect) he doesn’t want to be drunk for his date

with a “special friend” later this evening. “I’d have shoulders hanging off the sides, the collar would be wacky…but through Boardwalk, I’ve learned so much about clothing, and style, that I’ve really come to appreciate what I wear.” On the show, that’s Prohibition-era nattiness, thanks to legendary Brooklyn tailor Martin Greenfield, who serves as a consultant. Right now, Piazza’s in a

“Stephen hawking: here’S a guy who can figure out quarkS and black holeS, and he goeS, ‘the great myStery of the univerSe iS women.’ and i waS like, man, i’m in good company. i ebb and flow, and See who can tolerate me.”

sweater and pants by hugo boss, hat by a.p.c.

soft gray tee, refreshingly un-skinny jeans, and weathered boots; for his date, probably some different scuffed shoes, shorts, and a linen shirt, he says. Think Newsies hits Bedford Ave. Piazza’s qualitative view on clothes—no more cheap duds, invest in key pieces, dress for your mood—extends to his life. Though we talk around her name, Piazza parted ways with Ashlee Simpson, his girlfriend of over a year. He claims the breakup didn’t precipitate an existential crisis, but he did start the new year introspectively. “It’s easy to become complacent, especially if you have a steady thing—any steady relationship, with work, with a person, with your family,” he says. “You stop listening sometimes; you’re not present.” As far as women go, he appreciates wit and confidence, but claims he “hasn’t quite figured them out, and probably never will,” before paraphrasing the quantum physicist Stephen Hawking. “Here’s a guy who can figure out quarks and black holes, and he goes, ‘The great mystery of the universe is women.’ And I was like, man, I’m in good company. I ebb and flow, and see who can tolerate me.” The stock-taking has also meant a selfimposed reading diet of 30 to 40 pages a day (Sebastian Barry and Justin Torres are two recent favorites); concentrating only on projects that interest him (in October, he’ll begin

155 sweater and shirt by prada.

shooting The Wannabe, a screenplay he optioned, with Michael Imperioli and Patricia Arquette); a trip to Sicily in July to do some writing and family research; and continuing to develop his Boardwalk character. Piazza’s Luciano— based on the actual Luciano, who became a Cosa Nostra kingpin—is a green gangster blossoming into a violent criminal: a thug, but not yet a murderer. “He’s starting to get it,” hints Piazza of Season 4, premiering September 8. The actor’s glossy mop of dark hair, coy halfsmile, and expressive brown eyes—which flicker easily between playful mischief in real life and violence onscreen—lend Luciano a sense of vulnerability and emotional heft. Unlike sartorial cues, however, onscreen emotions are something Piazza takes great care not to carry back into his own life. “I really have to police myself to make sure that body language, that temperament, that whatever, doesn’t bleed into who I am,” says Piazza. But he connects with his character on other levels, particularly their common ItalianAmerican heritage. Piazza’s father, a construction worker, moved to America from Sicily when he was 16, and later met Piazza’s German-American mother. The couple raised Piazza and his


jacket by g-star, vest and shirt by black fleece by brooks brothers, pants by boss black.

older brother in Maspeth, Queens, a firmly middle-class “but rough” neighborhood. His parents still live in the house he grew up in, which Piazza returns to frequently for Sunday dinners whipped up by his mother. Still protective of her little boy, she recently gave him a helmet for his birthday so he can safely rent Citibikes. Despite their shared ethnicity, Luciano is the first Italian-American Piazza has played on-screen. His cultural range extends from Columbian-Irish (as AJ’s drug-pushing buddy on The Sopranos), to Jewish (as Reuben in Polish Bar), to “the ambiguous American middle-of-the-road guy,” says Piazza, explaining that he feared getting stuck in casting-office Rolodexes as a mafioso. The first season of Boardwalk presented an sweater and pants by emporio armani, shoes by giorgio armani, sunglasses by ray-ban.

stylist: micah johnson. grooming: nico guilis at starworks. shot at lightspace studios, brooklyn.

opportunity for Piazza to do something that many other actors tackle later in their careers (and most, never at all): He joined Michael Fassbender and Jason Segel in the elite club of screen peen. “I’d only signed what’s called an ass waiver, not a frontal waiver. I was just going to be top-up, maybe my butt, which was still traumatizing,” explains Piazza, laughing. “Then the director calls me and goes, ‘So, there’s this great shot, and we feel

“i’d only Signed what’S called an aSS waiver, not a frontal waiver. i waS juSt going to be top-up, maybe my butt, which waS Still traumatizing.”

like we should use it. And it’s…the front of you.’ I’m just sitting there silent, because one of the lines in the scene refers to my ‘horse cock,’ and I was like, ‘I dunno, does it kinda defy “horse cock”?’ And he’s like, ‘No, no, you’ll be

all right.’ So I was like, ‘All right, man, use your judgment.’” Like any good actor, he reasons that the over exposure, at least, served the story. “I felt like it was OK because the scene was about my gonorrhea,” he deadpans. “So there’s an arc to the penis.” His mother might have thought

differently: “She’d call me after every episode and give me her review: the Mom Criticism. I told her, ‘Mom, do not watch episode six.’ She said, ‘I’m a grown woman. I can handle anything.’” That night, Piazza’s phone never rang.

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seems so far from Hollywood: no studios, no producers, no one telling you, “You can’t do this, you can’t do that.” Actors feel like, “This is why I got into making movies.” It’s a vacation from their routine—that’s why we’ve been able to attract so many big stars. lady gaga, for example. How do you address Her? I usually used her character’s name, but sometimes I called her Gaga or Stefani. Gaga really surprised everyone on set. I wanted to work with her because she’s so multitalented, and she kind of just blew everyone away. you Have a uniquely collaborative relationsHip witH your fans, wHom you crowdsource for ideas. are you ever stopped on tHe street? Pretty regularly. People not only come up and say that they want me to put them in one of my movies, but they want to die in one—specifically, at the hands of Machete. It’s considered a glorious death! wHat’s tHe worst macHete tattoo you’ve seen? I don’t know about the worst—they’re just amazing. There have been a lot of tattoos of Machete opening up his vest, covering up someone’s entire back. Danny [Trejo, who plays Machete] takes pictures whenever someone shows him.


It’s NOt tHE WORst tHING IN tHE WORLD to call up one of the industry’s most provocative directors and get his voice mail. Naturally, it’s awesomely cinematic: “In a world,” taunts a voiceover artist, “where Robert Rodriguez can’t come to the phone…” When the guy behind From Dusk Till Dawn, Machete, Grindhouse, and Sin City returns the call, his voice is so soft and friendly, it’s jarring. Rodriguez discusses the second film in the Machete franchise, Machete Kills.

Machete kills stars cHarlie sHeen, mel gibson, and sofia vergara, among otHers. wHo was tHe most discussed on set? Believe it or not, Don Johnson is the biggest star I ever worked with.


You don’t realize it until he’s on the set and everyone is clinging to his every word. I wanted to put him in this movie, but I killed him in the last one. What’d I do that for?

do you ever worry tHat all tHese big personalities will clasH during production? I’ve never had a problem with anybody, probably because of the whole vibe we’ve created here. It just

your movies Have given me nigHtmares. do you suffer from tHem yourself? I had regular nightmares when I was adapting the first Sin City. I thought, “I’m going to have to put more humor in this story.” Now, I take a sleep aid at night, and it wipes out my dreams. do you appreciate tHe creativity imposed by a small budget? Absolutely. Machete Kills is full of these spur-of-the-moment, inspired ideas, and you don’t overthink or overwork them. I’ve created a pretty snazzy world for myself down here: If we keep the budget tight enough, we can do anything we want. We’re able to make really big-looking movies, but they’re all smoke and mirrors. The amount of headaches that would come along with a big budget...that’s a hard trade-off when you have this kind of freedom. wHat’s tHe most texan tHing about you? Well, I do wear a cowboy hat.

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