Credit is due:
Chief Editor: Marc Saleme Creative Director: Ashley dâ€™Avignon Goodwin Poetry Editor: Kyle Crawford
Contriubutors: Matt Caputo Ruffeo Hearts Lilâ€™ Snotty Anthony Goicolea North Pole Records
questions, comments & submissions: firstname.lastname@example.org visit us on the web: www.thebenefactormagazine.com paper queries: The Benefactor 3804 SE 39th Ave. #10 Portland, OR 97202
Anecdote from the creative director: A back and foth between the Chief Editor and the Creative Director, true story: CE: I don’t think we should include all those images, this is a literary magazine. CD: Well, I don’t want to read, I’m putting in more images. CE: No. This is not an art magazine. CD: We can accompany them with interviews, would you like that? CE: *Stink eye. CD: Hmm...looks like I design the magazine so, I guess I could just slip them in at the last minute before it goes to print, you wouldn’t find out until it was too late. CE: You know, working with you is unpleasant. Long, tense pause with glaring. CD: *Heave white Russian in chief editor’s direction. CE: *Heave white Russian in creative director’s direction. Here’s when the chief editor gets on his bicycle and storms away while the creative director crafts a solution after toweling off her face and mopping up two splattered and wasted white russians: the twosided edition.
ÂŠMMIX All rights reserved. The Benefactor Magazine
Matt Caputo What can we say about illustrations and what can be said for their illustrators? “Illustration” gets a bad rap in the high art world because often it seeks a purpose outside of itself, providing a “real job” namely. And any real artists knows that real jobs are for suckers. So, let’s call these “works on paper”. High art likes that. The following works are done by Brooklyn artist Matt Caputo. Matt and I discussed a discrepency in our respective art educations. He went to a commercial art school; I went to a fine art school. He was encouraged to make work to meet the needs and ends of others. I was encouraged to explore my artistic whims. “Compared to fine arts, their illustration program was really a commercialized marketing world. I was always looking to find some middle ground where my work could be considered a fine arts illustration. Something that really didn’t work for me at art school and is probably one of the reasons why I haven’t gotten much work in the illustration field. Currently I’m working on a project that really gives me no room for creativity and I’ve been putting it off every chance I get.” Now I know nothing about marketing and everything about picking my own brain for brilliance. So, where’s the middle ground? We’re creative people, we want to explore art for its own sake and we also want to get paid. We can’t all be famous and few of us are going to give up our visions entirely to make money. It’s nearly impossible; it’s not in most of us. The more of a real artist you are the more you’re fucked. There’s no moral to this story. Life isn’t fair. I’ve been publishing this kick-ass magazine for almost a year now with no financial return. Someone see our brilliance! Where are the benefactors?! God help us! Any thoughts? Email email@example.com.
A little bit about yourselves: Names of designers, favorite pre-sixteenth century musical instruments, what you do when you’re not making hot ass designs…
Fuck around, They call em’ nameless, ruffeo, bobby-macks and sometimes R. Mackswell Sherman. Seriously feeling the Vocoder. Lil Snotty goes by the name of Sarah Jones, sister of the Mike Jones from you guessed it: Houston Texas. I would have to say my fav pre 16th century instrument is the sounds of leaves crunching underneath camels feet. I like to wax lyrical with twisted geniuses in Bushwick, stumble around and spit froth freestyle raps to locals who threaten to murder me at first but then end up filming me on their cell phones for Youtube with such popular titles as: CRACKER OF THE YEAR: SPITS GAME, STANDS UP!!! I am a mean ol bitch who puts the V in diva. I bench press twice my weight, Im a god dam man-killa-priest. Plus I enjoy cooking a nice meal for the ones I love. Mostly I’m just anxious and bothered. Tell us about Mackswell’s experimental puppetry/speed rap performance art, your role.
I GOT A MOTHER FUCKING B.A. IN EXPERIMENTAL SPEED RAP SET TO THE VISUAL MELODY MAKERS OF OBJECT THEATER. (from TESC) No fucking joke, once I opened up for SMEGMA at Reed college with my group ‘An American Breakfast Snack.’ It was, of
course, the story of a steamy love affair between NAMELESS the unicorn rapper, boy wonder and a HOOVER VACUUM CLEANER. I built a shower out of sheet metal that actually spewed diced pineapple, black beans, string beans, eggs, canned peaches and cereal all over the sex scene.. Portrayed between a mini unicorn and a mini vacuum cleaner, meanwhile I was wearing a unicorn costume I sewed myself (my first big sewing exhibition, that lead me and snotty to launch RHLS), while Joe Millionaire, other rap star/producer of Breakfast Snack, opperated a real hoover vacuum arranging white noise to a beat. I duct taped a mic to my face and narrated the whole jugernaut of a tale in speed rapping form. Afterwards Smegma and I blazed a massive blunt, in the Chapel we were performing at. I drank a bottle of tequilla on stage. I never washed the shower. Rotten Pineapple is the destinct aroma of putrid gaping asshole. Its probably still sitting in a closet in my old dead beat Olympia apartment. Joe Millionaire aka Grandpa Shanks is still the best producer in the north west, maybe the best alive anywhere. www.imeem.com/tag/grandpa shanks and to hear us with vocals check out myspace.com/americanbreakfastsnack (The Benefactor is based in Portland, OR) Tell us about your Seattle stores; do you know the company your clothes are keeping there?
We used to do it up with Pretty Parlor real tough, she was a wise sister who schooled us from the very beginning (2006) about things like putting hang tags in your seams, and the importance of pockets. We’ve done some real “special” fashion show appearances, we haven’t really been in touch with Anna Banana sinse we moved out here though, Zardoz bless the soul of that woman, she’s upholding integrity and excellence for handmade designers.
These days Jake and Rebecca maintain a fresh lil boutique available during shows at their all ages music and art venue called Healthy Times Fun Club. We’re outfitting them for their wedding in March (pausing for an emotional moment of honor, being felt presently, sigh). Sitting over there in Brooklyn, do you have anything to say about fashions in the Pacific Northwest?
Dude, I seriously respect flip flops worn with socks, my friend typecast once sang an athem to northwest cool-guy power: “SAND WILL GET UP IN YOUR SHOE IF YOU LIKE IT OR NOT! FLIP FLOPS DON’T GIVE A FUCK WHEN YOU’RE WEARING SOME SOCKS!” That pretty much sums it up. I do kind of miss... err color, so sick of seeing everybody wearing black and gray. hmm, once I saw a mime and a bear having a fist fight in Freeway Park, Seattle, those guys looked pretty sweet. Are your fashion stylings well-received all over, or do you find some regional cultures more primed and receptive?
I dont know but I wish i did. We sell at shops all over the States, a website for Russians in russian, Australia, a comic book store in Finland, a boutique in Canada, Iceland inquired this week... Its not as though any particular demographic gravitates, our clientele doesn’t necessarily wear gigantic- obnoxious glasses or anything.... What pulse are you keeping time with in your creative heartbeats?
No Fear! Dave Mathews, U2, Al Gore, Jamiraquoi....
No, fer real
Q and A
though, I am super inspired by kids like Bizzart -Bay Area true noice artist/rapper/visualist, MNDR, is my fucking girl, shes up on some detroit-booty bass- techo -rap shit Im still wrapping my brain around, she’s Oakland based/NYC, looks like we have a collab on the horizon. Still got love for Anticon, fuck all you haters, Why? wears our short shorts/ Ts and usually keeps a nice depressed/inspired melancolly coming from our speakers. Marisa Olson (NYC Multi-media) is out of her fucking mind. Dolly, Loretta Lynn, you know what is up. Who are your fashion friends?
We’re part of a collective, which is a movement called Parachute. It was spearheaded by Rob Kalin founder of Etsy, in Redhook. The posse includes Michael Jacobsen, Zooguu, Cubist Literature, Junk Prints, Desira Pesta, Acorn Letterpress, Led Thread, Parachute Hi Fi, Tough Dumplin Records, Reiter8, and RHLS. Built on three principles: Upcycling, Co-production and Shop Local. RHLS also adores and is inspired by Take Off Your Clothes, Hithers to Dithers, Paperdoll Fashion and Well Hung Scarves. Do you have any heroes who also embody the responsible production ideal you’re championing?
RE Load Bags. Ellie Lum, the “E” in RE Load took me on as an intern right when we moved to Seattle from Olympia a few years back, when we were just getting on our feet. They buy all their materials from USA companies, and maintain, producing a shit ton of one of a kind, custom courier bags. They have fair wages for their seamsters,
who make everthing by hand in Philly. From Ellie I learned the overall scheme of management, and helped me visualize a business model that was based around a smart, problem solving community. If many more creative-minded people put a little bit of functional product into the market, a movement we’re indeed seeing on the rise as we speak, all of America could be “clothed” locally, sustainably, more beautifully, more smartly. Do you see our generation more interested in entrepreneurial activity than the several previous to us? Are we more American than our parents? What does capitalism mean to you?
You sweet ass motherfucking intervention passion fruits, I like this question!!! The dollar is the last vote, the only vote, the only real power I think North Americans have to make change. CAPITALI$M, unfortunetly is being manipulated by collective unconciousness. I think putting emphasis on the power of choice is a damn threatening idea to delapitated-reptillian, socially malnurished tradional capitalists. We can really apply just a small amount of common sense here and make giant leaps: Buying your geer locally means boycotting unfair working conditions and de-regulation overseas, It means a healthy local ecomomy and for god’s sake it means finally putting art back into fashion-- supporting the progession of aesthetics. Dont shop at the mall, those idiots (GAP designers) keep handjobbing one dominant safe brand that decides what will be cool 12 months before it comes out, then all the other big boxes scramble to rip off the first big box, people are still wearing baggy, ill fitting tan cargo pants, even those who wish they could make a statement but they dont know how. We will offer alternatives. Do we see our generation more interested? I think the fact that our
Q and A
line keeps gaining more and more momentum, that we are carried at national/international independant boutiques like Patricia Field means even the mainstream consumer is supporting it, way to go players, you’re not as dumb as the GOP wishes. Second-hand romance is another product of industry. If you like to design clothing, maybe the Gap will hire you to design boring clothes, if you love photography, maybe you can work in a portrait studio pumping out clichés all day. If more artists were able to produce their work as a sustainable livelihood the world would be a better place. How did you get started? What was the mental process like? Do you have any advice for the rest of us?
Mackswell and I were hungry, literally, eating from the food bank, dumpsters (which is cool but after mesquite tofu 12 meals in a row...) Macks was trying to promote hip hop, and rap himself for a living, I was itching to apply my schooling in social health and urban planning to something meaningful. We started stenciling and altering shirts to sell at rap shows. People bought them. The Oly crowd was really supportive and so we were like “fuck it we’re just smoking our own hogs and doing psychadellic dances all the time, why not do this thing for real?” We auditioned at the OCP (Olympia Clothing Project). This was a volunteer run space above Dumpster Values (vintage clothing and records). To our surprise they accepted us and we did fairly well for a brand that was a few weeks old. We learned custumer relations early on which I think was a huge edge. We started with an overall perspective of process, not just making garments, but presenting, representing the OCP handmade philosophy and selling things. My advice to people just starting out is basically... make something out of absolutely nothing. Meaning dont spend a bunch of time and mon-
ey on supplies, advertising or legwork running around pitching stuff to stores who dont get it. Simply lock down your collection, photograph it in a flavor that represents you, make a website with a ripped version of dreamweaver, our at a local library, media lab if you’re lucky enough to have something like that around. Have a blast off party at your local venue, house party location, and invite the coolest media group around to write a story, or write a story about it yourself, send it to blogs, send it to online/ offline magazines, film it and put it on Youtube. Get your local economy interested in the life and growth of your brand. They are a part of it. Marketing through friendship. Then make a catalog viewable on your website and kindly ask permission to borrow boutique owners time, or send them a t-shirt with a link to your on line catalog. Let the orders come in, that way you are paid before you start producing. I should have asked first, do you have a day job?
A What?! I walked off the worksite of my College Pro Painters management job 3 years ago to start RHLS with Sarah, with my middle finger in the air screaming fuck the cops like 2Pac, with two cocks. But honestly its a good trasition question from the last about starting your business. The painting job and college grants is what got us going. Its very wise to start out with a day job and a little capital or you just sit there suffering and crying all the time. “Independent and local” provides more options, more individuality. Why aren’t people demanding this more?
One, I think a lot of people aren’t demanding it because they dont know its a possiblity or an option. Two, people feel like they have
Q and muthafuckin A
“style success” when they buy the thing that makes them identify with their social group. However I think its just a short matter of time before people who wear styles that aren’t screaming “independant pha-shun!” will discover a safe handmade alternative, its on etsy. Three, its only on certain websites and specialized micro boutiques/ its not readibly accessable. Further a lot of companies are just starting out right now, reinventing the process. We’re working hard to figure all this out at Parachute: the legal, the creative, the production, the access. And it will all be available to the public in the next 6 months. Describe your feelings about androgyny.
Now that Im out of the uber liberal NW Im really happy I dont have to think about this so much anymore.. You know? I think Sarah and I are definietly androngonous beings. But thats just what we are.. back in Olympia I used to waver between being super lady like and super mannish at the same time, like I’d wear snotty’s Bubble Gum jeans and a squeeze myself into a bomber jacket and then rap about my metaphysical vagina all night long with a bunch of thugs, at battles and shit. Meanwhile I had a huge red beard, sometimes a little eyeliner, lip gloss and this ladylike aesthetic from the neck down. Its really confusing. It think its just how I ended up. Our clothes kind of embody that too, like their tuff and sexy. I always find myself putting more purples and pinks into the mens wear, and more greys and blues in the womens. I guess I never figured out what androgy truly is. I think its a byproduct of our rapidly progressing social environment. Like fuck it, I have a non dominant gender. Finger my manjina. Fuck my ego, I dont care.
What inspires the designs?
The designs are born out of necessity. We were biking to our workshop in seattle in the rain all the time so we needed the sars guard hoody to protect our faces from rain and keep our hoods up over our helmits. Mackswell kept losing his fanny pack and wallet so we created the nekkin brace, â€œa fanny pack for your face.â€? If we perceive a need or a deficit in design we fill the void. What do you want to make people look like?
TRANS meets TRON. We want people to look like its the year 2020. My little pony chopped and screwed with Sir Mix-A-Lot. What are the sexy elements of these pieces?
We dont size descriminate even though we ourselves are pretty average shapes. We want to celebebrate the big girls, show off their curves, and flatter the 5 foot ones. We want the fellas to shoot from the hip, wearing something fitted, pha-shun forward boosting their confidence and individuality. Shop the line at rhls.com
Anthony Goicolea I think what first drew me to these images was the ability to look at them over and over and always find something new to think about. In a time when art is often very simple, in a new era of symbols and poppy, punctuated art, it was refreshing to see these paintings piling on the detail. You can reflect on themes of gender, sexuality, personal and implied power--these pieces are pretty loaded... but I don’t need to interpret for you. The second set of images are drawn from old family photographs taken in Cuba prior to Anthony’s parent’s immigration. The dinner table scene is composed from a series of these photographs taken at different times, a sort of falsified family reunion. The photographic reference suggests the illusion of an actual moment in time and space. National identity, familial identity, and disconnectedness come to mind. Send your thoughts to firstname.lastname@example.org. I should add: Anthony has a couple books out, one of illustrations and another of his photography which is equally bangin’. You can pick them up on Amazon.com. (Twin Palms press)
The Arsonistâ€™s Son
North Pole Records Starbage Hands Press
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