Page 1


Mick Jagger


FOUNDER Robert Gartside

EDITOR-IN-CHIEF Chaunce Hayden

PUBLISHERS Jairo Arias Chaunce Hayden


LeAnne Aciz-Stanton


ACCOUNT SALES Chaunce Hayden Jairo Arias

CONTRIBUTING WRITERS Chantal Cyr Mike Wise Jenny Filicky Chaunce Hayden Amanda-Kathryn



MICK JAGGER: THE ROCK LEGEND . . . . 42 Naked Truth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Mancave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 The Orange Lantern. . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 VDKA 6100 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Women’s Fashion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Men’s Fashion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Industry Spotlight: Mac Murphy’s. . . . . . . . . . . . . . . . 26 Sports: WWE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Keith Richards: The Face of Rock. . . . . . . . . . . . . . . . 32 Posh Model. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Motormouth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Music News. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Between The Sheets. . . . . . . . . . . . . . . . . . . . . . . . . . 50 20 Percent. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Otto D.

Leanne Aciz-Stanton

Nikki Rose


Verne Troyer Keith Richards



6 33 48

Alan Tecchio

Chaunce Hayden


There are so many things I’d like to rant and rave about that it makes my head want to explode. The country is completely divided, the Kardashian’s still live, Matt Harvey sucks (he’s finally gone) and I can’t find beard dye that matches my pasty face. Yeah, there’s a lot to talk about. But I think I’ll use this space to give some props to the reason this magazine look so awesome. Mark McNabb our Art Director. Mark is the reason I’m able to publish this magazine while I live in Ireland for reason’s I’ve already addressed in past issues. I’ve been publishing magazines for 30 years and a year ago was becoming increasingly frustrated by the revolving door of artist who came and went. Some much faster than others. But in their defense the job is thankless, time consuming and can age you 10 years per deadline. So I don’t begrudge the fallen who have tried and been defeated by the demands of designing a magazine from scratch which includes creating professional looking ads, captivating editorial and dealing with yours truly which has to be a nightmare on to itself. Mark came to me after I had put an ad on Craigslist and without question his portfolio was indeed impressive. However, we ended up going with another artist and once again how the mighty feel. Lucky for me and the magazine Mark answered my call and without missing a beat stepped in and for the past year has virtually created a monthly masterpiece. How he does it I simply don’t know the answer. But I’m thankful. So after one year of busting his creative ass for MN magazine I would like to say thank you Mark. Now get to work!

Chaunce Hayden Publisher @Chauncehayden

Jason Tez

Angela Pompelli-Butler


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ONE LAST GOOD-BYE by Chaunce Hayden

We recently sadly lost actor Verne Troyer. Here’s a look back and my interview over lunch with the star during better days.... Chauncé Hayden: I can’t even begin to imagine how busy you are these days. Verne Troyer: You have no idea! But that’s a good thing, no? Definitely! But it gets very tiring. How has “Austin Powers” changed your life? Drastically. Especially going out in public. I try to wear a hat and sunglasses when I can, but it doesn’t seem to help. At just 32 inches tall, I would guess it’s not easy for you to blend in. What kind of reaction do you get on the street? People will yell out a lot of lines from the movie, or people will come up to me and do the Fat Bastard voice. It’s something I’m sort of getting used to. Many critics are saying that in “Austin Powers: Goldmember” you steal the film.  I’ve heard that.  Why do you think people are saying that? Because Mike [Myers] keeps coming up with a great script. There’s a lot of great characters in the film and luckily I’m part of it. I’m just trying to take advantage of it while I can.  The fight scenes with you and Mike Myers in the “Austin Powers” films are hysterical. Is it a slam-dunk laugh when a man 32 inches tall fights another man who’s considerably taller? Oh yeah! Most definitely! I used to do stunt work, and it always was funny and great comedy when someone tall fights someone my size. You can’t go wrong. Have you ever had a real fight? (Laughs) When I was a kid, yeah.  Did you win? I gave somebody a bloody nose one time.  When was the last time you had to actually fight? Not since I was in school.  How close are you to Mike Myers? He’s just awesome! He just called me to thank me for everything I did with the film.  He’s just amazing! He’s down to earth and a very funny person. Have you read any of the reviews for “Goldmember”? I really haven’t had that much time. Besides, I don’t really care what anyone has to say about the film. They can say what they want. But if you look at how much money the film has made, you’ll see that people like it. I mean, that’s all that counts. 


RIP Verne...


I guess that’s one of the benefits of being in a big film. I saw your photo spread in Playboy and it made me a little jealous. Who wouldn’t be? Do you find that women are fascinated with what it would be like to have sex with someone your size? I don’t know about that. I can’t comment on that.  So you won’t tell me if you actually slept with a Playboy model? I’ve heard the same rumors... that’s all I’ll say. How do you get along with Hugh Hefner? Hef is awesome! Do you have groupies? Sure. What’s your best pick-up line? I don’t need a pick-up line. Do hot women pick you up like a little boy? It’s happened before. But those women aren’t thinking. When they do it, I ask them to put me down and I tell them that I’m a man. Some women just don’t understand. Once the woman gets to know me, it’s totally different.  Ever dream what it would be like to be six feet tall? Not at all. I’m happy being the person that I am.  Is it hard for you to get work as anything but the character Mini-Me? I’m trying to get away from that just because of the popularity of the character. Hollywood stereotypes a lot of different people. I’m going to try and change that, but I know it’s going to be difficult.  Would you date a woman your own size? Definitely! It all depends on the person.  Size doesn’t matter. How’s your health? No problems at all. Why did you decline to promote “Goldmember” on Howard Stern? I just don’t do Howard. Why not? I won’t do Howard Stern because he asks the most stupid questions. He doesn’t show respect to anyone. I mean, I’ll watch his show every now and then, but I refuse to do his show because I know what he’s going to ask me. Which is? How big is my penis, that sort of thing. The guy is calling me to do the show all the time. You have no idea! But there’s no chance. I’ll never do his show. I’ve hung with the guy off the air a little bit, but I’ll never do his show. With Howard it’s all about controversy and it’s just not going to happen. What is the dumbest question you’ve ever been asked? There have been so many dumb questions that I’ve been asked I wouldn’t be able to remember them all. Will there be another Austin Powers movie? And if so, will you be in it? I hope so! I would love to be a part of it if there is. If you talk to Mike [Myers], tell him I’m available.


How would you describe your life? Is it difficult being you? I wouldn’t necessarily say it’s difficult. It’s definitely challenging. Just trying to get used to the popularity surrounding my character and going out in public is sort of weird. It’s very hard to get used to that. What was your life like before “Austin Powers”? I used to work for the telephone company. I was doing pretty well and would have been fine had my acting career not taken off. When did you first realize that you were different than other kids? I never really felt different from other people and I guess that’s just because of how my parents raised me. They taught me to be very independent and self-sufficient. I didn’t get treated any differently than my older brother and younger sister, who are both normal size. Have you ever gone through a period in your life where you were depressed over your size? No. That’s amazing. See, I don’t know what it’s like to be tall. I was raised in such a way that I learned to appreciate who I am. I think that’s why I’m so successful in the entertainment field at this point.  Are there any benefits to being 32 inches tall? Obviously! If I wasn’t the size I am, I wouldn’t have had the opportunity to be in the movies. My size has opened up a lot of doors for me. In fact I just did a short film, no pun intended, called “Bit Players.” The film was invited to Sundance, and although we didn’t win anything, it was well liked. I’m working on scripts all the time.  When does it suck to be small? It really doesn’t suck to be small, but when you walk into the bathroom and you can’t unlock the door to get out... that’s when it sucks. Are you offended by dwarf tossing? I look at it this way. I wouldn’t do something like that, but if somebody is doing that for a living to support their family, then it’s their choice. It’s nobody else’s choice.  What’s the deal with you and the Playboy mansion? I’ve heard things. Here it comes. Well? What do you want to know? Are you having sex with Playboy centerfolds, or are the pictures I’ve seen posed? Posed. Are you telling the truth? (Laughs) No, I’m not! I’m always invited to the Playboy mansion.

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Mon: $6 Cheesesteak w/fries Tues: $6 8 oz. Burger w/fries Wed: $6 2 Boiled/1 Deep Fried Dog Thur: $6 Pizza





Home to Local & National Touring Artists

A sister to Dingo’s Den, Dingbatz is all about live music. With a full service bar that keeps the drinks flowing all night, Dingbatz features a sweet stage, professional sound system and a spacious floor to accommodate all your headbanging, rocking and moshing needs.

620 Van Houten Ave • Clinton • 973-471-1145 Check Out Dingbatz on Instragram at



n 12-3 pm Sat & Su ree Purchase t n E h it w ls ia Drink Spec imosas $15 Bottomless M o's Vodka Bottomless Tit 24 Bloody Mary $


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Life is a Fiesta, Eat it Up! Live Music @ Wyckoff Moon 9:30pm The Suborurbons May 18 Live Music @ Wyckoff Moon 9:30pm SNAFU May 19 Live Music @ Wyckoff Moon 10:00pm Home Brew String Crew May 26

Live Music @ Wyckoff Moon 9:30pm Black Diamond June 8 Live Music @ Englewood Moon 10:00pm Moose & The Bulletproof Band w/ special guest Peter Scance June 9 Live Music @ Wyckoff Moon 9:30pm Rockwell June 9

10:00pm Highly Trained Professionals June 16 Live Music @ Wyckoff Moon 9:30pm Another Time Band June 16 Live Music @ Wyckoff Moon 9:30pm Blend June 22

Live Music @ Live Music @ Wyckoff Moon Wyckoff Moon 9:30pm 9:30pm Nobody’s Fool Live Music @ Q/Que June 2 Englewood Moon June 23 21 E Palisade Ave, Englewood, NJ 07631 • 327 Franklin Ave J, Wyckoff, NJ 07481 •

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Vinyl Attic MAY 12

Doc Lane MAY 18

Last Minute MAY 19

Chain Reaction MAY 25

Danger Days MAY 26

15 Firehouse Lane, Paramus, NJ 07652 • 201.652.4443 •

M a r ga r itas • F ood • L ive M usic • D ancing



217 Route 3 East, Secaucus, NJ 07094 • 201.552.2545


GOING DEEP By Otto D Man Cave (Otto D)

It’s A Given That it’s easy to be brave from a distance!

Yes Grill Sergeant!



Beer Dice With Beer

The folks at Artisan Dice have figured out how to make dice out of hops, and they look incredible. So these dice are literally made primarily of crushed up hops, with a coating of crystal resin to keep them from falling apart and inlaid with brass so they have actual numbers. Just think of all the different beer games you could play with your beer dice. Roll, drink and roll and over! But be warned these dice can be pretty pricey.

Attention! Summer is right around the corner so shape up and grill up. If your looking for the most portable eye catching grill on the market, then you need to report to the Grill Sergeant, on the double! Just set the serge down on a level surface, unclip his green helmet, fill the base with charcoal and you’re ready to cook some meat. The twelve inch grill sits above your burning coals to give you plenty of space to work with. Put the helmet lid over the top again and you can really seal in that smoked flavor. When everyone is fed and the mission is complete, simply store the compact Grill Sergeant away in the back of your pickup until your next weekend on leave. (Please Burn Things Responsibly)

The Bierstick Beer Bong

This product is a revolutionary drinking device that has changed many lives in well, lets just say in some unspeakable ways. The Bierstick is a syringe-like drinking device that creates the perfect drinking experience.  No mess, no foam, and easy to suck up, this stick of love puts other drinking devices to shame. With just a few seconds you can drink up to 24oz of your favorite beverage with ease (lets stick with beer, not whiskey). The friction fit mouthpiece allows the liquid to flow at a consistent pace to ensure a smooth, enjoyable chug. The mouthpiece also creates almost no foam and carbonation for smooth consumption. Remember the bigger the belch, the happier the customer! (Please Belch Responsibly)

Levon Arakelyan from Arinj, Armenia began chipping away at the earth back in 1985 when his wife requested he build a root cellar beneath their home where she could store potatoes, however once he started, he simply couldn’t stop. Levon was motivated by dreams and visions in which a voice told him he must continue carving the cave (I hear voices). He worked every day, often for up to 18 hours with little rest and only his small hand tools to carve the hard rock, shunning traditional support structures or power tools. He included stairs, halls, twists, and multiple rooms going as deep as 70 feet beneath the house. He also created small shrines and artistic carvings all throughout the cave system, giving it a properly sacred feel. I would say this is as real of a man cave that I’ve ever seen.


Master Levon’s Divine Underground Cave

NHRA Classes

There are several classes in NHRA (National Hot Rod Ass) racing and my top 3 are your usual suspects.


1. Top Fuel: Balls to walls, the fastest-accelerating machines in the world, 10,000-horsepower Top Fuel dragsters are often referred to as the “kings of the sport,” and with good reason. They are capable of covering the 1/4 mile in less than 3.7 seconds at more than 330 mph. Just imagine in 1 second how fast your launched. Powered by a supercharged and fuel-injected 500-cubic-inch adaptation of the famed Chrysler Hemi engine, Top Fuel dragsters can burn up to 15 gallons of nitromethane fuel during a single run. Constructed of chromoly steel tubing and carbon-fiber composite, Top Fuel cars are 25 feet long and weigh 2,330 pounds in race-ready trim. 2.Funny Car: Not Funny “haha”. Funny Cars can run in the 3.8-second range and are capable of speeds in excess of 330 mph. Funny Cars are powered by the same supercharged and fuel-injected 500-inch engines as Top Fuel dragsters. 3. Pro Stock: Often called “factory hot rods” because of their resemblance to production-based automobiles, Pro Stock cars are some of the most technologically advanced machines in drag racing. Pro Stock cars must conform to precise measurements and weigh no less than 2,350 pounds. Pro Stock engines use electronic fuel injection and spec gasoline and are restricted to a maximum of 500 cubic inches. They can make in excess of 1,300 horsepower. A competitive Pro Stock car can run in the 6.5s at more than 210 mph.

What Makes

A Bar?: A History & Sit Down With

By Amanda-Kathryn (aka RamblesofRed)

Left: Faatz Burger Above: John Joseph of Precision PerformX Enterprises LLC & Orange Lantern Manager on Duty Frank Above: Chili App Opposite Page: Brenda & Allison

I am so happy to announce that Spring has finally came to us! With the weather finally improving, and the school semester ending, I now have some time to enjoy the bar scene for a bit and catch up with some friends. My first stop for some RnR? The Orange Lantern in Paramus. I was able to have a sit down with 24-year employee Brenda Brundage before karaoke started, to talk a little about the history of this awesome bar, and what has kept it going for so long. Starting off as a lit lantern and a dream, The Orange Lantern wasn’t always the pub we all know and love. Purchased by Grandfather Herman with money from his business Paramus Dairy in 1933, the land began as a dirt road on 17 before becoming a gas station and package store. Fun fact! During the prohibition era, the store secretly sold moonshine to its patrons before finally converting into a bar and restaurant once prohibition was concluded… the rest was history. Since then, the OL (as locals call it), has been passed down from generation to generation. Once Grandfather Herman died, son Eugene “Bus” took over the business before retiring in 1980 and handing over the reins to his son and current owner, Gene Faatz. Gene’s hope is to keep the tradition going by handing the torch to his grandson Stephen, but only time will tell what will become of this historic bar once Mr. Faatz retires. As I looked around, it wasn’t hard to see the history that has come in and out of this place. Firstly, if you check out the dining area, you’ll notice a big frame of photos of patron’s past on the wall next to you. It is awesome to see how many people have come in and out of this place, and how much it has changed over the years. As I continued my tour, I noticed some NASCAR car hoods hanging on the wall and became curious on their significance to the establishment. Brenda explained to me at one point, the Orange Lantern used to sponsor race vehicles. If you decide to pop in, ask her to see the neat memorabilia, and even check out the race décor above you. It’s something you don’t see every day and adds a little something extra when grabbing some food and drinks with pals. Another cool aspect is that one table includes seats from actual sports stadiums! You’ll get the best spot in the house for watching live entertainment by the stage, and a nice view of the big screens surrounding the huge rectangle bar. One thing that hasn’t changed besides the history this pub brings is the sense of community it instills in both its patrons and surrounding neighbors. To keep people coming back, Orange Lantern believes in, “keeping things as they were from years ago.” According to Brundage, “This is Paramus, this is

home.” She, along with the rest of the staff, also believe in going above and beyond with their service. I came to know that this philosophy didn’t just pertain to serving drinks, but also charity work as well. Some active projects include Toys for Tots and Pig Roasts/Block Parties to raise money and donations for groups in need. It’s not hard to see why this bar maintains such a good presence. They plan on continuing to volunteer and stay active in their communities by helping whatever, and whenever they can. On my visit Wednesday, I could say that this is one of the friendliest staffs I have come across in the bar scene. I needed a good meal, and my waitress was more than helpful in suggesting the perfect starter. I began with the chili appetizer, which came with tortilla chips on the side. The chili was thick, not too spicy, and topped with melted cheese (mmmm so good). It’s worth a try if you are looking for a hearty starter that isn’t the typical fries plate. After that epic starter meal, my stomach needed a rest! I caught up with my friend, John Joseph of Precision PerformX Enterprises, as he was prepping for his karaoke show that night. Now if you are karaoke junkie like me, you MUST check out Orange Lantern’s karaoke night on Wednesdays. John’s sound and song selection is amazing, and the Orange Lantern staff is great at keeping the drinks flowing all night ensuring a good time for all. To conclude my evening, I decided to try one last food item that I’ve heard A LOT about. This item is the famous Faatz Burger. Now you may think…”another burger, big whoop.” Well, let me say you would be wrong. Coming with sautéed mushrooms and onions, bacon, cheddar, lettuce, tomato and fries, this burger is worth its reputation and then some. It is piled high and every meat lover’s dream. Don’t forget to give this a try in between karaoke sets, you won’t regret it! Upon writing this article, I learned two important lessons from the Orange Lantern: I learned about history and how important it is for a bar to remember where they came from to get where they’re going, and the importance of a bar staying good not only to its patrons, but its community as well. The Orange Lantern’s rich history, charity work, and awesome staff and nightlife events continue to make it one of NJ’s most welcoming and honored establishments, as well as a staple to its surrounding community. If you are looking for a place to hang your hat for the night, stop in for their famous Faatz burger and thriving entertainment. You won’t be disappointed, and thanks for the awesome time Orange Lantern staff!








THE TALENT IS IN THE CHOICES VDKA 6100 is a passion – a passion we love sharing with fellow vodka purists. We make VDKA 6100 in Reporoa, near Lake Taupo on the North Island of New Zealand, using fresh seasonal whey that we source from the Bay of Plenty Region. Our whey is fermented using a rare strain of yeast that we imported from Ireland over 30 years ago and have been hand cultivating in Reporoa ever since. The purity of the ingredients means we only need to distil VDKA 6100 a few times; ensuring that the character is retained. We filter through carbon ‘rockets’ and then blend with extraordinary, locally-sourced natural New Zealand spring water.

The result is a truly distinctive, elegant, luxurious vodka.



VDKA 6100 is gluten-free, sugar-free, lactose-free, and free from chemical additives. It has been tested against the best, and it’s one of the purest vodkas on earth. None of this should come as a surprise because New Zealand is one of the purest places on earth. Miles and miles from anywhere, out in the middle of the Pacific Ocean, it is truly a land that pollution (and attitude) has yet to discover. It’s a quiet part of the world, New Zealand. Truth be told we’d rather keep it that way; but this vodka is too good to keep to ourselves. Vodka is often described as a colorless, odorless, and flavorless alcohol…. not VDKA 6100. The unconventional composition makes our vodka smooth in the mouth with a taste that hints at citrus and white pepper. VDKA 6100 also has extremely low levels of methanol (the nasty compound that makes bad vodkas ‘burn’ your throat) creating unrivaled smoothness. Daring choices were made creating it. A discerning choice is now yours to enjoy. VDKA 6100. The Drink of Choice.

THE CHOICE OF A NAME Is there a story behind how we chose the name VDKA 6100? Of course. It was chosen for a very specific reason. ‘6100’ pays homage to the distance between the source of the vodka and the birthplace of the brand. The distance between the territorial

waters of New Zealand, from which the product is sourced, to those of the United States, where the brand was born, is 6100 miles.


And we just liked the sound of VDKA!

VDKA 6100 is the result of a carefully chosen team working in collaboration.


The story starts with us, Artisan Spirit Merchants (ASM), an Australian owned boutique spirits company, who uncovered this extraordinary source of vodka in New Zealand. We assembled a team that included master blenders from Lion Co. in New Zealand; packaging designers in the United States and France (including Joe Doucet from New York), and international mixologist Aisha Sharpe.

The result of our pursuit is a global vodka brand for those with discerning tastes and sophisticated choices.

These are all specific choices; made because each element is the finest available. In designing the bottle we worked closely with leading bar managers from the United States and Australia and incorporated their feedback in the finished product. The result is a beautiful bottle that truly stands out in the vodka category and emphasizes VKDA 6100’s place as an unconventional ultra-premium vodka. Our design and marketing team … love it! The master distillers who have to make it and fill it … not so much!

THE CHOICE OF UNDERSTATED LUXURY We made bold choices when we designed VDKA 6100: A whey base, New Zealand origin, natural spring water, a large decal label, no frosting, and a uniquely shaped bottle. Brave choices that depart from category conventions. The result is an outstanding vodka and a brand that is a contemporary expression of luxury. Now you decide.


Robert De Niro also helped us with the design, packaging, branding and positioning of VDKA 6100.


We chose to house VDKA 6100 in a beautiful reverse-tapered, proud shouldered glass bottle made using the clearest glass available today. It’s wrapped in an off-white heat set textural decal label, sealed with an Italian synthetic cork closure, and finished with a Spanish foil seal.


Melania Trump’s Head-turning White Hat Steals The Show From beanies to baker boy, panama to boaters, we’ve cycled through every hat trend recently. But, for spring, there is a new hat of choice, and it’s unmissable. Thanks to designers like Missoni, Awake and Jacquemus, hats have received the supersize treatment, but the topped-off look from the season came far from the runway and instead turned up on Melania Trump. Donald and Melania Trump held their first state dinner on Tuesday evening, welcoming French president and First Lady Emmanuel and Brigitte Macron to the White House. In preparation for the occasion, Melania Trump welcomed her guests, choosing a $2500 belted asymmetric crepe blazer and skirt suit by Michael Kors Collection complete with a statement-making, broad-brimmed stark white hat, specially designed and commissioned by Herve Pierre. The hat has already taken over twitter with some online commentators comparing the style to Beyonce in the Formation video, while others compared Trump to Jude Law as the young Pope. The striking ensemble also drew other pop culture comparisons from the wardrobe of Scandal’s Oliva Pope - a character played 

Fashion Trends To Watch

All The Trimmings If it moves, shimmers or glitters while you walk, then wear it. From Saint Laurent’s cloud of a dress covered in white ostrich feathers and softshouldered coats shot through with sequins and floral embroidery at Dries van Noten and Rochas, to the swish of all-over fringed dresses at Celine and Balmain, designers have embraced lavish detail, turning catwalks into parades of exotic birds. This is fashion as its most frivolous, fully expressing its function of beautiful escapism: even should the world burn, dance like a phoenix.

Trench Kiss Fashion’s yen for transforming wardrobe staples into items of pure beauty continues apace. This year, it’s the turn of the trench coat, originally developed as an alternative to the heavy greatcoats of the First World War. Sarah Burton at Alexander McQueen offers a trench delicately threaded with black rose embroidery while Celine’s capecoat was joined at the hem to create a garment of almost highwayman-like romance. But it was John Galliano at the original house of deconstruction Martin Margiela who won this particular game: slicing trenches with feathers, splicing them with mirrored squares and cinching them at the waist with crimson kimono belts.

New Denim Denim tends to resurface as days get longer but, in 2018, ditch easy Californian vibes in favour of dark tailored denim. Tom Ford’s sharp jacket (worn with matching bra and trousers) is cut with broad, wing tip shoulders, inspired by the designer’s 1980s heyday, while enormous turn-ups complete MaxMara’s sleek all-in-one. At Versace, Westernstyle shirts are paired with gold lace and leaf print ball skirts. But it’s Mugler’s denim corset top that takes the play of opposites to a delicious extreme. The key styling tips? Wear denim over denim and keep collars buttoned high.

Ethical Fashion Earlier this year, with the immortal words “I don’t think it’s still modern,” Gucci’s CEO Marco Bizzarri announced that the luxury label was going furfree, joining others including Giorgio Armani, Calvin Klein, Vivienne Westwood and longtime eco stalwart Stella McCartney. Animal lovers the world over have let out a huge sigh of relief. Gucci’s decision represents a monumental step in ethical fashion, as shoppers clock onto some of the world’s most pressing challenges - of energy, of waste, of pollution, of human and animal rights. Sales of ethical clothing in the UK alone were up by 22.4 per cent in 2017 in a sector worth £36 million, according to Triodos Bank and Ethical Consumer. In short, seekers of vegan leather boots, organic cotton t-shirts and recycled plastic board shorts: go wild.

Steel Wheel ad

Menswear Get Shorty

Stuffed Skirts

Shorts slam back into mens fashion in 2018 - but we don’t mean easy-going cargo or safari styles. Prada dealt out red micro boxers with sportswear detailing, while Louis Vuitton offered lean-cut black leather shorts. Often, short shorts were paired with otherwise conventional pieces - a suit jacket at Thom Browne, slouchy tweed at Dries van Noten – to create a styling tip for the ordinary punter: go as brief as you care to and then pretend nothing else is amiss.


Designers are using a spirit of rebellion as well as a continuing fascination in genderless fashion to push identity frontiers. Skirts for men appear in the work of eternal provocateur Vivienne Westwood as well as Thom Browne, Alexander McQueen, Loewe (helmed by JW Anderson) and Craig Green. The bifurcated leg wear known as the trouser is now just one option. Think kilts, think sarongs, think exoticism, think new definitions of masculinity. You’re halfway there.

Great Outdoors

Silhouettes are going supersized with loosely structured jackets and trousers billowing from shoulders and from hips, as if their wearers have ever so slightly shrunk. Big jackets – often over matching trousers – show form at Ermenegildo Zegna (in pink), Kenzo (in purple, with shorts), Y/ Project (enormous and embroidered with silver). High waists – the waist a new focal point – topped trousers so exaggeratedly wide, they were two cuffs short of a zoot suit. The effect is an oddly glamorous dishevelment; a dashing, faintly devilmay-care boyishness. Chaplin never looked this good.

The rugged outdoors continues to hold fascination for designers and wearers alike and it’s not hard to see why. Where better to explore tropes of traditional menswear than in a range of handy water-resistant hoodies, tracksuit tops and tracksuit trousers in technical fabrics with all the right zips and pulleys? Except, 2018 being what it is, nothing is quite as it seems. Valentino’s anorak is decorated with elaborate detailing, Kenzo’s comes in candy colours. Z Zegna’s sailing gear is as yellow as the sun and Hermes’ duffle coat is as sleek as they come. Practical and pretty: what a winning mix.

One For All Few themes have dominated menswear catwalks like workwear. In 2018, it’s the turn of the boiler suit, the all-inone, the jumpsuit – perennial favourite of mechanics and aviators - to take, controversially, to the stage. We say controversially, because it’s hard to work out quite where to wear Prada’s sexy navy zip-up onesie, Alexander McQueen’s palm print take on the shape or Missoni’s pyjama check. To the office, on a first date, walking the dog, to lunch with the in-laws? But that’s the beauty of this look. You can make it your own. And isn’t that what fashion is all about?


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GREATEST ROYAL RUMBLE HAD IT ALL! The Greatest Royal Rumble show was much like the match itself — it started slow and, though predictable, ended strong. The WWE Network special Friday in in Jeddah, Saudi Arabia, felt part house show, part WrestleMania. There was plenty of pageantry — even lots of pyro — but a lack of substance outside of a few matches. The jumbo-sized card did not include the WWE’s women, even on the kickoff panel, because of the country’s laws. The company reportedly made more than $100 million for the event and is said to be paying its women performers in a big way even though they did not appear on the show, which featured the first 50-man Royal Rumble match.

While none of the seven titles defended changed hands, the WWE didn’t leave Saudi Arabia without controversy. Roman Reigns should be the Universal champion whether you like it or not and no matter what the referee’s decision was in his steel cage match against Brock Lesnar. Reigns, in a physical bout that was better than their subpar clash at WrestleMania, speared Lesnar through the cage onto the floor near the ramp for the finish. By rule, you can win the match by being the first person to leave the cage and have both feet hit the floor. Though Lesnar’s back was first to hit, his feet didn’t hit before Reigns’. Lesnar’s legs were elevated on the destroyed portion of the cage as Reigns rolled off and touched the floor. The commentary team tried to explain during the replays why the referee ruled Lesnar would retain his title, until they realized they couldn’t. At that point, whether you believe it was planned or not, they relented that Reigns could have some controversy on his hands. WWE needs to eventually build off this. It might be the best route to finally putting the strap on Reigns. The moment — along with Titus O’Neil purposely tripping his way under the ring while entering the rumble match — was one of the highlights of a strong latter portion of the show. The rumble itself moved quickly even with 50 guys. Daniel Bryan – eliminated second

to last by new rival Big Cass — entered first and lasted a record one hour, 16 minutes and five seconds. Cass was eliminated by the victorious Braun Strowman, one of the clear favorites coming in. He was awarded a large trophy and a green belt after a record 13 eliminations. The match was a mid-card paradise for the most part with enough legends and top guys to make it work. Returning Rey Mysterio and Chris Jericho both were given their moment. Even Hornswoggle made an appearance. Shane McMahon pulled off his coast-tocoast and was eliminated when Strowman threw him from the top rope on the announcer’s table. Kofi surviving elimination while on Xavier Woods’ back was among the usual Rumble spots that made the match enjoyable, despite plenty of unknown NXT call-ups. While there was a clear winner to the Rumble match, the feud between WWE champion AJ Styles and Shinsuke Nakamura is still searching for one after a double count out. This match was on a similar level to their WrestleMania one and further raised the heat around their feud by showing us a side of Styles we hadn’t seen before. After taking another low blow and breaking the pin by grabbing the ropes, something snapped inside Styles. He unleashed a physical fury on Nakamura. Styles dove into him and went crashing into the announcer table, pounded him in the barricade, used a chair and hit one last Phenomenal Forearm. This feud should have your attention in a big way now.



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Keith Richards


That was the other thing I couldn’t go through, trying to outdo somebody else’s. Everybody’s got a different way of telling a story - and has different stories to tell. But Chronicles was fantastic. That was the benchmark. When we started, I told James a few school stories and said this is what I remember. But within a week, James had found the guy I was talking about, and got the confirmation that this story would hold up. After that, I started to get more confidence in my memory. I mean, it’s been pretty fried.

Why did you decide to do the book?

guitar player. So when I’d run out of ideas or taped the stories, we’d sit down and play some blues. But it’s weird to drag through your whole life, because in the process you’re actually living the damn thing twice. As we went on I was shocked by thinking, “How did one guy go through all this?” And then I realised it was me! It put my past into a more coherent perspective. Before doing the book I’d look upon my life as incredible, disconnected episodes, and in the process of doing the book I managed to make sense of it. When I finished I felt more exhausted than after three years touring with the Stones. I felt a weight had been lifted off my shoulders.

I’ve actually got to like critics in the last year! It’s like, “Wow, thanks pal, let me buy you a drink!”

The Stones had just finished the last tour, having been away for three years, and I knew there was going to be an inevitable gap where we would all be sitting around thinking about what’s going to happen next. And the idea came up just at that moment, and it seemed the perfect thing to keep me occupied. It just seemed the right point in the story so far. And then other things fell into place and I knew that I had a couple of years to do it, basically.

What did you want to achieve with the book?

I couldn’t have told the story without him. In some uncanny way he captured the strength and breadth of the story. I’ve been friends with James for years, so he was used to my rhythm of speech. It helps that he’s also a very good blues

That I’m a much meaner bastard than I thought. But at the same time, I realised how much friendship had meant to me, and how much my friendship had meant to other people, which I hadn’t thought about before. This is the rock’n’roll life, and you had to invent it as you went along. There was no textbook to say how you operate this machinery. You didn’t know you were always walking on the edge of disasters, and there’s nobody to turn to and say, “How did you feel?” because no one had been there before. It was very exciting. Still is, in a way. There are loads of things people wish I’d done, and some things I wish I’d done! You become a cartoon character, and I can play that to the hilt, and I know that people have come up with a great story and they go, “He didn’t do it, but if he’d thought about it and he’d been there, he would have done it.”

You were the rock’n’roll blueprint. I hope so, and it’s very nice of you to say so.

You’re also very selfdeprecating in the book... I’ve slowly grown into that. When you’re supported by millions all over the world, you can either go nuts, or try to feed off the goodwill. I always felt that it was my job to give back to them as much as possible. I want to make better records, better shows. So it’s about reciprocation - there are millions of fans, and if you get that feedback, especially from an early age, it’s indescribable. It’s the same with the Beatles, John Lennon in particular. It’s something you have to handle all the time. I’ve never taken it for granted. I just happened to be at the right place at the right time.


You’ve been fairly transparent about the partnership between you and James, and that’s earned you a lot of credit.

writing the book?


I just wanted to tell it from my point of view, and the incredible escapades we got involved in. It would be enough for most people’s lifetimes if just one of those things happened to them. But I wasn’t expecting the incredible reception that it’s got. It’s got me into a semiliterate area people thought I was just a moron. I’ve actually got to like critics in the last year! It’s like, “Wow, thanks pal, let me buy you a drink!” I thought they were going to drag me through the mud, as I’m used to that, but in actual fact it sort of elevated my opinion of myself. I don’t want get bigheaded here, as I always play myself down, but I’ve been pleased. To me, my biggest fear is getting a big head, and that is when I get the hammer. Because it’s very easy in this game to believe you’re something special. Just look at Brian Jones - he died from it.

What did you learn about yourself


Up until Life, Bob Dylan’s Chronicles had set a new bar for rock autobiographies...


You spend a long time describing London after WWII. Even though my memory of the war is pretty much nonexistent, as I was only 18 months old, I still had a sense of sirens and collective fears. But as you’re growing up in the Fifties, you’re thinking this has got to change, it’s too tight, the atmosphere, it’s too restricted. The others running the joint want us to go back to the Thirties and we can’t. And I guess as I was reaching the age of 15, 16, you’ve got the energy and you’re bursting to escape. Plus, I fell in love with blues music, and that was where you found roots and a form of expression we didn’t have in England. But as I was growing up, my mother was listening to a lot of Billie Holiday and Ella Fitzgerald... You hear things on the BBC, and then you start to bump into other guys who are into it, too; you realise it isn’t just you sitting in a council flat. There are other guys out there listening to music, and somebody’s got a new record from America and you’re immediately at their house. You bring a bottle of beer - that was your entrance fee - and you sit around and listen to records, which is nuts but it’s beautiful. It was very innocent.

Yeah, there is talk about that, but basically I want to get the Stones back together and give it one more bash. I think they’ve got it in them. But it’s about timing and an awful lot of very careful diplomacy.

Mick didn’t love the book, did he? Mick was obviously a bit peeved, but that was yesterday and this is today. We’re two guys divided by life.

That I’m a much meaner bastard than I thought.

Were there parts you really didn’t look forward to writing?

I really didn’t want to go through and remember the death of my son. You spend a lot of time trying to bury that kind of s***, not bringing it up again. That was the hard one for me, to relive that. You don’t forget s*** like that.

In the book you describe using drugs as gears. What gear are you in these days?


How many stories couldn’t you include?


Has this given you a taste for doing a bit more writing?

I’m pretty much in neutral.

There were a lot for legal reasons. Especially concerning families who didn’t even know that one of their relations was a drug dealer. A lot of my friends were very well brought-up boys, and I wouldn’t want to upset the family just to name somebody. Everybody was experimenting and everybody was a pirate, especially in those days. In the club subculture, actually in every sort of culture, there are some very interesting people down there, but it’s a great leveller where you find out who’s one of our people or who’s full of s***; who would stick by your side in a tough situation, and who would rat you out. It’s not the most pleasant world to be in, but I do think it’s kind of necessary to keep one foot in the gutter.

Did you read Ronnie Wood’s book?

Well, I think he tossed it off. Even Ronnie  would admit that. Ronnie’s got a much better story to tell than that book, that’s all I can say. Charlie’s book is the one I really want to read.

You haven’t glamorised being on the road. It actually wasn’t a very glamorous life; it was a lot of hard slog, a lot of hard work. We were taking care of two hours on the stage and the rest of it; I wouldn’t wish it on anybody.

How do you feel when you go back to Britain? It’s the only place in the world where I feel like a tourist, just because of the obvious changes. I always feel like a stranger, but I’m sure if I stayed there for a year that feeling would disappear. It’s just that I’m not there a lot. But I do love the old country. Get me down to Sussex and you have to dig me out.

Six months before the book came out I bumped into David Remnick, the editor of the  New Yorker, and all he could talk about was your book. He said that he was hoping you were going to explain the open G tuning. Which you did! I’m amazed by that part of the book, and how much response I’ve got from the guitar players of this world. It’s so difficult to put on to the page how you play an instrument, and I was amazed by the fact that I can, and I apparently made it fairly comprehensive. It’s got a lot of tips in there, and that was the one difficulty for me and James - I didn’t know how to put it into words. I know you have to do this and put this there, but on the page that will look dopey. But the translation worked.

And is there going to be a movie of the book? Yeah, there are feelers out at the minute. I’m in no rush right at the moment. Also, how are they going to find me? The idea of a succession of Keith Richards coming down is horrifying. Maybe when I’m dead and gone they can make a movie of it.

Why? Because I never trusted the pavement.






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Fly With Eagles - don’t run with turkeys!

Interview with “Nasty” Ronnie from Born To Ride Alan Tecchio /alan.tecchio

Your history involves fronting heavy metal band Nasty Savage in the late 80’s and professional wrestling but since this is a motorcycle column, I’d first like to talk with you about your magazine Born To Ride and the TV & radio show you also produce. How did that all start? Well, in the 90’s I was co-producing IWF Wresting at Universal Studios in Florida and also working a day job. All my friends started riding motorcycles and going to bike nights and stuff. I had survived my crazy days of riding a Suzuki 750 back in high school but had sold that years ago. I bought a Harley and soon after that my wife bought a Harley and we started riding and really getting into it. I saw how fanatical people were about bikes and the intense fever pitch that motorcyclists have. I came up with the Born To Ride concept in 1995. I got and kept going out with my friends every week and just started bringing a camera and filming demos and stuff. I would interview people and do reviews… Eventually I talked to a production company who initially did Ron Galletti riding the not believe a motorcycle Black Hills of Sturgis. show was viable and said, “Let me take a film crew to Daytona Bike Week ’95 and if I get a gig you guys can be my production company. So there I was in Daytona Beach on camera saying, “…and now a word from our sponsors” but we didn’t even have any sponsors yet! (laughs) Sure enough I put the demo together and got a bunch of contracts for sponsorships and I started my TV show Born To Ride. So the magazine was actually born from the TV show. 23 years and 1,156 episodes later Born To Ride TV is still going strong. How long after the TV show did the mag start?

The magazine came about five years later. I said to myself, “If I can be a TV producer, marketing and salesperson I can damn sure publish a magazine.” In my background from my heavy metal days to even the wrestling stuff I was always making flyers and cutting and pasting and laying stuff out, so it was natural for me to be a publisher as well as a producer and a performer. So I created Born To Ride Magazine and was able to give my sponsors and advertisers a full multimedia reach. Your magazine has a wide range of coverage in terms of charity events, bike nights, concerts, etc… but there’s also a section about motorcycle safety which being an MSF instructor myself, I found to be very cool. Well you know when I created Born To Ride I wanted to document the motorcycle lifestyle in a proper manner. So it’s very diverse and it’s the life and times of motorcycles and the people who ride them. So when you talk about diversity and being “Born To Ride” it doesn’t just mean born to ride a Harley. It means born to ride anything and everything. It’s about all people, young and old... Everybody’s riding motorcycles! Did you know women represent the fastest growing segment of the riding population at over 30%? It includes all kinds of people– Latinos, Asians, African Americans… there’s no limitations. That’s the coolest thing! And you can do it your whole life. I kind of equate it to McDonalds– Motorcycling gets you with the dirt bikes when you are young like McDonalds gets you with Happy Meals and in the end you enjoy a senior citizen discount and can still ride a trike til your 99. So the safety segment is about keeping this wide array of people who are united through riding, alive?

Has that had an effect on the magazine in terms of advertisers? Sure, say a GM of a dealership happens to see our focus on safety in the magazine. They may think, “Hey, these guys get it! They care about safety!” That may give me an edge over my competitors who don’t even care about safety. All they want to do is show a bunch of drunk guys shooting birds at the camera and acting cool. To me, safety is a big part of motorcycling and if you are a publisher we have a duty to put some positive stuff out there beyond charity rides and benefits and stuff. How often do you publish Born To Ride, the magazine?

Yeah, Nasty Savage was a band I put together around

Well, you’ve got to be all in. If you’re going to commit to something you might as well go for it. You’ve got to be a leader and not a follower. Blaze a trail man! Don’t look back– look forward. You can make mistakes but you can learn from them and it only takes one good thing to really be successful. But if you don’t feel the pain of failure you’re never gonna enjoy success. But then, how can you enjoy your success if you want more? So you really have to be on point as a leader and a visionary and not listen to what other people tell you how. You can take ideas and suggestions but you have to know in your own mind where you are going. Like in the band days, if I were to have listened to this or that guy who told me to sound like a certain band I would have had no direction. Two months later that same guy wasn’t even into the band he told me to sound like so… You have to just hunker down and set your goals in order to achieve them. And keep setting more goals. It’s all about how to be a better leader, be a better boss, be a better person. If you are a better person in your life and can add value to other people’s lives that’s the key. Work with other people’s passions. I’d rather give somebody the ball and let them run with it and score a touchdown than me be the person to score the touchdown. I’ll throw a block but I want to be on a winning team. You’ve got to win baby, win! If you’re not winning, you’re losing. I’d rather fly with eagles than run with turkeys.


I don’t want to totally neglect your metal band Nasty Savage since it’s where I originally heard of you. What can you tell us about the band and are you still gigging these days?

The biggest thing I am getting out of this interview is that you have always followed your heart in life when it comes to careers. From singing heavy metal to wrestling and now Born To Ride, you have consistently pursued a path that you are passionate about. You didn’t just get any old day job and work it your whole life.


We print eighteen to twenty thousand issues every month of the Florida edition. We’ve got editorial and photographer assignments as well as interviews, etc... I’m kind like Perry White the publisher of the Daily Planet newspaper who sent Clark Kent, Lois Lane and Jimmy Olsen out to get the stories. If they didn’t get what he wanted he was like, “Go out and get more, you didn’t get it right!” (laughs) Perry’s always push, push pushing… But along with that you have to sell, sell, sell and market and just really hustle. It’s about hustle but it’s good hustle. No smoke and mirrors… You have to be a visionary to be a publisher just like Perry White. So we started with the Florida magazine and then branched out to the Southeast into Georgia, Tennessee, Alabama, North and South Carolina. Then we do a whole ‘nother magazine involving selling, marketing and promotion. We try to educate sales reps and all that kinda stuff. It’s a lot especially when you add in the TV show, radio show and social media stuff. But we make it happen every month.

1983. We made a demo tape called Wage Of Mayhem and marketed and promoted it. When I think about it, I’ve been a marketer for more than forty years. We did six albums and toured till about 1990 and then broke up. That’s when I started doing the wrestling stuff and then of course Born To Ride. But through the years we’ve always done reunion gigs so it’s never really died. We’ve had a couple of changes in the band but last year we played New York at the Defenders of the Old Festival. That was in Brooklyn and we went to Portland and Germany last year to play at the Metal Assault Festival. This year we have four gigs lined up. In Tampa, FL, Milwaukee, WI, Lima, Peru and in June we are headlining the Strikefest in Los Angeles. I think we are also going to do San Antonio, Houston and Dallas. So it’s going and it’s great to get the band back together and play. It’s just cool to be able to play and still be notorious onstage. We still burn images in people’s brains.


Yeah, it’s very important to talk about safety in the magazine for that reason. Some riders don’t respect the power of their machines or even road conditions and that can lead to trouble. If the road sign says 45 mph there’s a reason for that! There are certain parts of the lane you should be riding in so people can see you. So I looked to include a message about safety and who better to go to than The Motorcycle Safety Foundation?! I mean, that’s what they do! We want to perpetuate safety and try to get riders to just be smart. I mean, why die? There are hundreds of things you need to be aware of while riding if you want to survive.


Mick Jagger THE ROCK LEGEND...


There’s no such thing as what really happened, and no-one can really remember what happened!



In the flesh, Mick Jagger presents a beguiling mix: part Elfman, part Monolith. He is, after all, one fifth of the Rolling Stones. Or a quarter, or even a third, depending on when you first acquired a taste for the band - or feel best represents their shining hour. He is, irreducibly, half of the Glimmer Twins, the songwriting/producing/mytholigising team comprising himself and Keith Richards, together the beacon of rock’n’roll that became a baton charge, and then a ticker-tape parade. Today he is simply  Mick Jagger  - the mind, manners and, latterly, mediating element of the Stones: largely responsible for Stones In Exile,  a long-form documentary released on Netflix and recording, in retrospect, the protracted, fractured recording of their  tenth and only double album,  “Exile On Main St.” A seemingly tortured process for Jagger on both accounts, each bears examination and reexamination respectively. Can I offer you some water? Mick Jagger: I’m having tea. I’m trying to keep awake. I’m still jet-laggedslightly. It’s funny how it works, it comes like, first day’s fine, second day you get tired around now.

Which way have you come? From LA. I’ve been mixing the extra tracks for “Exile On Main St.”.

How many? Ten or eleven.

Who holds the sacred ark of knowledge about the Stones?



I don’t. I had to go and look in those books which have been done over the years of the recording dates. And of course they’re not 100 per cent accurate - and they say they’re not. But if you read more than one of them, it’s like a restaurant: if three people tell you it’s good you know it probably is good. But the guys at the record company had a guy who really knew about the history of the Rolling Stones. And he’d send me these bootlegs and Keith would go, “oh that’s a really great one, I love that one”. But then after a while I sort of sussed that - as much as I wished they were - they were not from the “Exile”  [sessions]. So then you have to decide what is. So I had to sort of define  “Exile On Main St”. Because it wasn’t all recorded in one go in Los Angeles. So it’s got a lot of locations.

That’s a sort of philosophical argument, isn’t it? How far back do you go? Exactly. So I said, ‘so what’s the first track that was recorded that was used’ - it was actually Loving Cup  which was recorded in July 1969 or whenever - so anything from July ‘69 until the album was mixed is in “Exile” period. So I just picked tracks from that.

“Exile” seems to represent a total change in the way you and the band worked - am I right in assuming that? Not really. The more I thought about it the more I think it wasn’t at all different. Because the thing about “Exile” is it was recorded probably over the longest period of a proper Rolling Stones studio album. That’s not completely true, cause  “Tattoo You”  was as well. But it was a very long period anyway. Much longer than all the previous ones. So it’s over three years recording time. And we recorded it in different ways. We recorded it in Olympic Studios. And we recorded in my house in the country in England where we recorded some of “Sticky Fingers”. And we recorded some in Nellcôte which was Keith’s rented house in the south of

France, and we recorded some of it in Los Angeles. So it’s got a lot of locations.

Had you always planned to make a double album? I’ve no idea when that decision was made. I think it was probably that we knew we had a lot of nice tracks that we’d recorded in England that we wanted to release and then didn’t ‘cause we had all that trouble with Klein. So we wanted to wait until that was all sorted out, I think, before we released any more. I think that was part of it.

But at the same time “Sticky Fingers”  had been released... It was just released while we were starting, yeah.

And it had a fantastic reception. Yeah it was very good.

So you were under immediate pressure...


I’ve no idea why we went back into the studio so quickly. I’ve no idea why we didn’t go on tour then. One of the reasons, I think, was because Keith had so many drug  busts he couldn’t get a visa - that was one of the other problems. I think myself too, but I...

I read somewhere too that you couldn’t go into the States at that point. And then you look at the calendar and you see I went then - there I am. So it can’t be that. But I think there was a difference between visiting and going to do a tour. They would give you a very limited permit to, say, go for a couple of weeks, but they wouldn’t let you work. And I think that was the problem. And that’s probably why we didn’t go on tour. But I’m making that up.

But as I understand it, the central portion of the recording process that has gone down in history was the Nellcôte sessions… Yeah, there was a lot recorded there. As I say, it isn’t true that it all was actually. We were there the most time, but what we really produced out of that, and a lot of what we did there, was actually recorded first in other places. In other words, it wasn’t the first time we’d recorded it. I’m not saying we didn’t do anything in Nellcôte, but when you actually go through this process and look at it all, you realise that, although we were in Nellcôte a lot of the time, it wasn’t really only about that; the bit in Los Angeles was enormously productive and gave “Exile” a lot of the feel it never had when it was left in Nellcôte. And none of the vocals were done there so it’s not true to say that it was only Nellcôte.

Does it frustrate you then, that Nellcôte has become so emblematic?

A lot of coverage talks about the negative energy, the place was apparently a Gestapo headquarters? I don’t even know if that’s true - it doesn’t sound like it.

But people are always wanting to necrotise the Stones…

You’ve spoken before how it’s not your favourite record particularly... The thing about it is, it’s a great album  as an album. But when you start taking the individual songs out there’s not that many stand-outs. Let’s take a record like  “Some Girls”, you’ve got  Miss You  and  Beast Of Burden. These are kind of very focused songs. Whereas “Exile”, when it came out, wasn’t very successful because “ was the only single of any note. It didn’t have three singles on it which you’d still rather like in an album.

Things were getting very disorganised, a lot of legal trouble, a lot of drug busts

No it was definitely there before. But that was a massive bubble because you were kind of isolated. That’s not completely true because there were so many people around, you know, we weren’t unfriendly with French people or lived in some expatriate community. But it was a bubble.

Do you think the writing was reflecting the mood of the times? Or do you think people were channelling all of that through you in the first place? Well most of the writing, things like Tumbling Dice, was done in Los Angeles or in London, on tracks like  Loving Cup, or  Sweet Virginia. So none of that was influenced by this movement or anything. I know your question was slightly different, but when I started analysing the lyrics, a lot of them were written in Los Angeles about going on tour. Which is what you were going to do so obviously you’re

It’s very interesting.

Because it’s less well-known? And also because it’s sprawling and quite long; you could almost go into it and find something you don’t know, which is always interesting in a piece. Also, as we discussed, it doesn’t have any unity of time and place, it really doesn’t. In other words, it’s not a concentrated period of time. If you make a film in a concentrated two month period, you’ll somehow encapsulate what you felt in that period. Whereas if you record something over a three year period, you won’t. You just won’t. But you’re going to get something else.

Can we talk about the Dominique Tarlé pictures? Yeah they’re very famous.

What’s more powerful, hearing yourself as a young man singing as a member of the Rolling Stones, or seeing yourself as a young man in a Dominique Tarlé photographs or Robert Frank photographs? The photographs, they’re interesting. But when you actually hear yourself singing and talking, I’m telling Charlie what beat I want, it’s quite funny. It very much puts you in the moment more than any picture, the picture doesn’t put you in the moment because it’s a picture in a book. If you’ve got headphones on and you’re hearing what actually happened, the soundscape of it, it’s like, so immediate.

That seems to be an understatement. Yeah, up to a point. But I think it got organised as it went on. At the beginning it was very disorganised. We got more organised. There’s the musicians, but there’s also the tech, and if the tech’s not working it doesn’t matter what the


That famous bubble that people talk about - you’re either in the Stones bubble or you’re not in the Stones bubble - do you think it was created there, did you feel it before?

But as an album...


I think there’s something in it that, though... that Nellcôte thing was... even the bits that were recorded at Stargroves - my house in the country - it was a very sort of druggy kind of drug moment. Things were getting done, but they were getting very disorganised. I think what happened was that we had all these legal problems with Alan Klein and everything, and then we got a new business manager [Prince Rupert Lowenstein] and we were in a lot of financial trouble, a lot of legal trouble. There were a lot of drug busts. So we couldn’t go to America. So there was a tremendous amount of pressure. Then we had to leave England which had been our home and everything, where we had this kind of way of working. And then we made this decision - which was sort of foisted on us because we were painted into a corner - to go to the south of France. I think it was kind of destabilising. As Bill says, “we couldn’t get PG tips or anything”. Which is laughable - but it’s emblematic of how it destabilised people. Bill’s version of it was that he can’t get the tea he wants, but other people had different stabilising problems that were perhaps more difficult to solve. So it was very destabilising, so the work got very destabilised, people got very destabilised and they sort of turned inwards upon themselves,  even as a group, and lived in a bubble.

thinking about, “oh we’re going on tour”. Which were very popular songs of the period - you know, road songs, about girls on the road, going on the road. So I don’t hear the kind of confused, dark lyrics that some people hear, personally. I hear all kinds of other funny things. I hear other things but I don’t hear those. It’s a very mixed bag of things. One of the things about “Exile On Main St.” is, it’s a very mixed bag of musical styles: it doesn’t include any pop music - there’s almost no pop in it. There’s no Angie - I know that’s later but there’s no pretty tunes. There’s no great ballad on it, in fact there’s almost no ballads. There’s Shine a Light, but that’s a gospel song really. There’s a bit of country, there’s a bit of blues, straight covers, kind of hard rock. But all and all, it’s a kind of exhibition of styles.


Not particularly, no. I mean that’s just, all I did was, when I was speaking to the documentary guys (Stones In Exile) my point was that it was really boring if you only did Nellcôte. It was never gonna make 45 minutes, just Nellcôte. So we had lots and lots of other bits of the story of it that fortunately were in different locations.


musicians are doing really. It makes the musicians really frustrated. And we took ages and ages and ages to get it to work. And then, of course, you had all these hangers on and all that...

But did the fact that it was Keith’s property, running on Keith time, affect the actual dynamic of the process? Well yeah, it affected us up to a point, but we still carried on working if Keith wasn’t there. That’s what Keith says anyway. I heard an interview with him the other day and he said, “I used to wake up and I heard that they were playing and I used to say, ‘blimey, they’ve been playing without me all night’”. And if you look, the thing about “Exile”  is there’s a lot of musicians. You’ve got two piano players, you’ve got two horn players, Jimmy Miller playing drums sometimes. You’ve got all kinds of combinations going on Mick Taylor playing bass if Bill wasn’t there. I mean, the thing about records is, you can make records with two people. So it doesn’t really matter if everyone’s not there.

Yeah. I mean, on these outtakes I’m obviously not there on some of them, though I come in half way through. Or Mick Taylor’s not there. And on the tracks we recorded in Olympic, Keith’s not there. But no one actually reads the sheet or anything so they think, oh yeah he was on it. But it was all rather chaotic. And we made it more difficult for ourselves by making it a double album. That’s just doubled your workload.


A few years ago you famously returned your advance because you couldn’t quite remember... I just didn’t want to do it. Because, to be honest, doing two years on a book about your life is very hard work. And it’s also not much fun. Because that’s two years of your life you’re not doing something new. I’ve been like four months on this “Exile”  thing between this, that and the other, and getting this documentary film made, finding old tracks and old films and all that. And talking about how’s it going to be promoted. And what’s the point? I could have been doing something else, perhaps more interesting to me. But, you know...

The thing about records is you can make records with two people so it doesn’t really matter if everyone’s not there

So you think that side of it’s been slightly overstated in the constant retelling of the myth?


it never happened like that. Or - that happened, sure. Didn’t they take a lot of drugs - yeah, but they always took a lot of drugs, that’s not new. But that didn’t happen on that day or that wasn’t even recorded in that way, and that wasn’t even recorded there and how about... So you sort of discover those things. But ultimately it’s not really that interesting.

It seems to me you’ve never really had a rosebud moment as a band. You don’t want to go back to the very beginning which is something that other artists have been prone to do over the last ten or so years, to go back and find that kernel of their youthful enthusiasms and make an album in front of a fire playing an acoustic guitar or whatever. It almost seems to be a function of bands now that they put their stall in order. They’re taking possession of everything, every last... Doesn’t that interest you? No it doesn’t. I just like to move on and get on with things. And I was very reticent about having to do all this work on Exile. I don’t mind doing it. I’m not sure if I’d ever want to do it again though. I think it’s all fascinating and I think “Exile” was like an interesting time and everything, but it’s very difficult to try and explain to people. Because people have their own opinion and you don’t want to change their opinions of what they think. Because it’s much easier to go and tell the story of  “Exile”, the story you think that they would prefer to hear. But the more you delve into it yourself then you find out actually what happened on the day. You think, “oh I see what actually happened”. It isn’t really like people say,

But you’re portrayed as somebody who is very controlling… I assure you, the last thing I want to do is control this. I tried to delegate as much as I possibly could, I mean... in the end everyone in the Rolling Stones wants to wants to hear it - it’s not just me. Everyone wants to listen to it. But I wanted to delegate all of it to other people, which I more or less have done.

Has it been an enjoyable process? Yeah, it’s quite good fun up to a point. It’s quite good fun because, of course, it’s completely subjective and everybody’s got their points of view and everyone’s got their mythical part of it as well.

It’s the Robert Evans thing of my story, your story, and the truth. Yeah, of course, there’s no such thing as what really happened. And no one can really remember what happened. I mean, Bill’s the one that tries to say, “oh you know, we only recorded 40 per cent of the time”. And yeah but, if you’d have been in the recording studio for four months, you never would’ve gone in for four months everyday Bill, you’d have gone in for two months out of the four months. You were living there, you weren’t supposed to go in every day, for four months. Sundays included. Come on, you know? You do two weeks on and then you think about what you’ve got and you might write some more and then you go back. See that was the difference [with “Exile”]. We’d already recorded in stages, but this was an extended version of that. But we probably didn’t know when to stop because you fall in love with the process. And you’re always going to record it again. I found that we’d recorded Loving Cup - really good versions of it, not crap - at least four times in different ways before we put out the one we liked. And whether that’s the best one, I’ve no idea. FROM BRITSH GQ


AVICII’S heartbroken girlfriend


Kacerova has revealed how trolls have blamed her for the


DJ’s Death

The Swedish star passed away on April 20 after taking his own life in Muscat, Oman, aged just 28. Originally published in The Sun

Following his shock death, model Tereza revealed she had been in a relationship with the star – real name Tim Bergling – and how he doted on her son Luka. But instead of receiving an outpouring of sympathy for her loss, Tereza has revealed in a lengthy statement on her Instagram that she has been blamed for Avicii’s death by sick trolls. She wrote: “A lot of vultures stepped out of the shadows. You have accused me of ‘exposing Tim’ to get ‘fame and money’ while throwing every insult under the sun my way.” “This is the most horrible time of my life. I’m drowning in all-encompassing sadness. Anxiety sets in about two hours before I open my eyes, I can’t count the amount of times I’ve had a beer even before I brush my teeth, and I have to explain to Luka over and over that Tim can see him from the sky but he will never ever see Tim again.” “Yet all you are capable of is negativity. Sweet little comments like: ‘Tim decided to check out because he was sick of you,’ go beyond crossing all lines, and you should be ashamed of yourselves for being such vile creatures.” “Strong words for anonymous accounts.” Tereza wrote at length on her Instagram: She revealed how she is struggling to cope with her loss as well as the horrible comments. Tereza continued to blast the trolls, saying the star – who had hits including Wake Me Up and Hey Brother – would have been disgusted by their behaviour towards her. She added: “You think it’s in ANY way acceptable to try and make this more painful for me than it already is?” “‘Tim would have wanted this, Tim would have wanted that… First of all, you don’t even have the right to call him Tim.” “Because as far as I know, Tim didn’t know you exist. So sit down. He’s Tim to me. To you he’s Avicii.” “If you actually knew Tim, even in the SLIGHTEST, you would know he would be disgusted at your despicable behaviour.” “He would be appalled. You know nothing.”


Avicii’s girlfriend Tereza Kacerova has revealed how trolls have blamed her for his death


Couples Who Together Stay Together. “Some studies have shown that nonverbal communication of pleasure during the act predicted sexual satisfaction.”

Does being louder in the sack mean you are having better sex? Some studies have shown that nonverbal communication of pleasure during the act predicted sexual satisfaction. How do you gauge how good the sex is that you are having? Is it by the screams you let out, is it by the amount of times you have sex, or is it how much you love the person you are with? While it can be all of these things, body language is most important. There are many ways to express your body language through sex, but most commonly through orgasm. There are many types of ways to express your sexual satisfaction and orgasms, from moaners to screamers and those in between. The moaners, may leave out little moans or some heavy breathing here and there and throughout the entire act. These usually tend to more introverted people that may not be as comfortable with their sexuality. There is also the combination orgasmer, who orgasm with a combination of both. They moan through the process and voice there pleasure throughout, but then end up screaming and becoming very loud near and during climax. This is the most common category that people fall into, where they can be going from one extreme to the next. Then there are the straight up screamers. This is someone who yells the entire time and shouts out very loudly during orgasm. They let you know that satisfaction has been achieved and they have no shame in their game. They let you and everyone around them know just

how satisfied they really are. I have a friend that swears her boyfriend screams so loud that he literally wakes the neighbors. My friend has actually had neighbors call and complain that they hear the entire thing. At first, she was embarrassed and thrown off since she has never experienced someone that has orgasmed so loud, but she grew to be OK with it just knowing she is doing her job. Most people find it much easier to express themselves through sex, and the cries of ecstasy are a private language shared within a couple. It seems that a couple who matches each other’s communication styles usually have the greatest intimacy. While it doesn’t matter what type of orgasmer you are, it does matter that you are voicing your pleasure to both yourself and your partner. So keep enjoying what you are doing and don’t be scared to let the world know about it!!!



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20 PERCENT 7 SIGNS YOUR BARTENDER REALLY KNOWS WHAT THEY’RE DOING A bartender’s job is a balancing act. It requires juggling an assortment of drink orders and patron personalities, all while remaining calm, friendly and focused. It’s not a job for the easily frazzled. Unfortunately, though, everyone has had that other kind of bartender—the one you have to strain to flag down for a cocktail, and even then, you wind up with a disappointing drink. We’ve rounded up a few sure-fire signs for figuring out whether your bartender is a master of their craft. If you see any of these traits the next time you belly up to the bar, trust that you’re in good hands.

1. THEY’RE ATTENTIVE BUT NOT TOO ATTENTIVE One of a bartender’s most important jobs is to be a welcoming host. That means acknowledging you when you sit down, perhaps with a greeting, water and menu, or if they’re busy, at least a head nod to let you know you’ll be helped soon. The worst thing bartenders can do is ignore you. If they’re attentive but don’t interrupt or try to interject into your conversation, they’ve likely been doing this for awhile.

2. THEY’RE CALM EVEN UNDER PRESSURE Bartenders get busy—very busy. Between taking orders from customers around the bar and handling the ones coming in from servers’ tables, amateurs can often find themselves stressed and show it. If the place is clearly hectic but your bartender remains cool, calm and collected, that’s a good sign.

3. THEY CAN CONFIDENTLY MAKE A RECOMMENDATION A good bartender needs to be able to listen to what a customer likes, dislikes and is in the mood for and then take that information and make a solid recommendation or two. It’s obvious when someone is knowledgeable about the cocktails offered on and off the menu, based on their descriptions and enthusiasm. If a bartender sells you on a drink and gets you excited about it, they’re a winner.

4. THEY HAVE A SHARP MEMORY Bartenders don’t need to memorize every cocktail recipe in the world, but knowing how to mix a wide range of drinks is essential to the job. Most importantly, though, your bartender should remember what you ordered and get it right. If you’re a regular, they’ll remember your name.

5. THEY’VE MASTERED THE CLASSICS You can usually gauge a bartender’s chops by how they handle the classics. If you order a Manhattan, Old Fashioned or Martini, then suddenly hear the rhythmic rattle of an ice-filled shaker, you’ve stepped into the wrong bar. If your barman stirs smoothly and asks for your preference of spirit, they have it down.  

6. THEIR BAR IS SPOTLESS You can tell a lot about your bartender by the condition of their workspace. If the backbar is filthy and disorganized, with bottles strewn about and fruit spilling out of the containers, there’s a good chance your drink will be an unbalanced mess. Clean hands, clean bar tools and a clean countertop are usually signs that you’re being served by a pro.  

7. THEY’VE MADE YOU A WELL-BALANCED COCKTAIL The best way to tell if your bartender knows what they’re doing? Take a sip of your drink. Happy? You have your answer.







Metropolis Nights May - June 2018  
Metropolis Nights May - June 2018