NAWTY! Magazine: The Pilot Issue. Vol 1.

NAWTY! THE PILOT ISSUE 2020

Rebecca SEX WORK, FEMINISM, ACTIVISM, KINKS!

CROW

AN INTERVIEW WITH

VOLUME 1

Volume 1, Issue 1. featuring

Rebecca Crow Halsey Tom Russell Vernon Pinto JuiceBox Megan Elliot - Forlorn Alex Mac - Perspective Music Charlie Wilson - Monolith Studio’s

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Editor’s Letter A

s a young woman, struggling journalist and creative jack of all trades (meaning, I know a little of everything and a lot of nothing), I have found it hard to find my place in the world of the creative and entertainment industry. What I have found though, is that there is an immense amount of talent all over the United Kingdom; musicians, artist’s, writer’s, content creators, make-up artists, photographers! It’s amazing to see how many people there are out there, embracing their creative tendencies and their passion to follow their dreams – but, with that being said, due to the sheer volume of talent, it can sometimes be hard to be noticed. Often, we just want someone to give us a little pat on the back for all of the hard work we’ve done, the gruelling hours of unpaid work and internships, just to have a glimpse at a future in our desired industry.

This is where NAWTY! Magazine comes in, we’re here to celebrate the work and existence of individuals who devote themselves to their passions, obsessions and artwork. The term ‘naughty’ has always been somewhat of a cheeky, or sometimes dirty word, depending on how you want to use it. But when I think of the word ‘naughty’, I think of rebellious human-beings, covered in flowers and tattoo’s and bright colours, people who use different forms of expressionism rather than just words, and people with a zest for all things moving and beautiful. I want to give these people a platform to have their work showcased and admired, respected and appreciated, and done so with a little bit of pizzazz. I have always been in awe of the uncapped talent and creative skills that I have come into contact with over my years working as a music journalist, and occasional jazz singer. Every day, people wake up and have to reimagine and recreate a new perspective or a new project to keep people interested, as we are a generation with the shortest attention span known to history and we are always wanting more. Having everything we could want at our fingertips due to the wonders of smartphones. That’s why magazines and any other type of platform that celebrates and empowers those who are constantly creating this content, that we consume ferociously by the minute, deserve to have a space where their creations are truly respected and adored.

Sincerely,

Julia Hope x Julia Hope, Editor in Chief.

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CONTENTS SUMMER 2020

Rebecca Crow:

An interview with the hottest blue-haired babe on sex work and activism! pg. 28

Tom Russell Photography:

What it's like being a fast-paced photographer in busy london town. pg. 40

Vernon Pinto:

Techinical Expert by day, saucy cartoon artist by night. pg. 20

Charlie Wilson:

Monolith Studio's London. pg. 14

Megan Elliot:

Fierce screamer and front-woman of 'Forlorn'. pg 10

JuiceBox:

Anthemic rock-indie band talk all things touring the U.K. pg 50

Halsey:

The icon, an ode to women and feminism. pg. 6

Alex Mac:

The owner and founder of Perspective Music. pg 58

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Halsey:

the voice of a generation, an ode to feminism and women.

Ashley Nicolette Frangipane also known as Halsey came into our lives like a wrecking ball and shattered the illusion that a ‘pop artist’ can be only one thing, compliant. Through acts of defiance, protest and activism – Halsey embodies the power of a warrior whilst maintaining the physical aura of a goddess.

She tells young girls to love themselves, to take control of their bodies and own their spirit. Through her music, she tells the story of what it’s like to be a woman in an era where equality is supposedly prominent. She is the role model, that young women, all across the world need to hear.

Ashley comes from a small town in New Jersey called Edison, in her younger years she would frequently move from place to place due to her parents often working in many different cities and working so many jobs, in order to provide. Due to constant moving, she enrolled in up to 6 different schools during her academic years and was subsequently bullied often. Due to unknown mental health disorders and years of struggling, Halsey tried to take her life at the age of 17, leading to hospitalization and an eventual diagnosis of bi-polar, her mother also suffering from this mental-illness. The artist has often been outspoken about the stigma against mental health disorders, channelling her troubles through music and using art as an outlet to tell of her stories and struggles. Following this, she began using recreational drugs soon after, claiming her bipolar disorder caused her to become an “unconventional child”. Ashley was quoted saying ‘Halsey is kind of like a manifestation of all the exaggerated parts of me, so it’s like an alter ego.”

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It is an important time to be talking about mental health, the world and its inhabitants are becoming increasingly informed and aware of the different types of mental health disorders people can be affected by. More often than not, women are misdiagnosed with wrongful mental health disorders simply due to our biology, and the hormones that make us such crazy and unpredictable creatures, as so told by society. Women have been stigmatised so much so, that there was an actual ‘disorder’ dedicated solely to women who exhibited ‘odd’ behaviours such as sexual desire, or just being a little bit cheeky in one’s manner. Female hysteria was once a common medical diagnosis for women, which was described as exhibiting a wide array of symptoms, including anxiety, shortness of breath, fainting, nervousness, sexual desire, insomnia, fluid retention, heaviness in the abdomen, irritability, loss of appetite for food or sex, (paradoxically) sexually forward behaviour, and a “tendency to cause trouble for others”. It is no longer recognized by medical authorities as a medical disorder, though it’s diagnosis and treatment were routine for hundreds of years in Western Europe. Just imagine, you’re beginning to explore your body as a youthful, springy young woman, along with dealing with the wonders that come from being a fertile being, like horrific period cramps and mood swings – and you’re told that you’ve got ‘female hysteria’.

I believe I’ve been told I have this a few times in my life, though not really through the use of a medical term, more so, in a light-hearted manner, ‘you’re a bit of a crazy bitch’.

Have you often found that you’re told you’re crazy because you’ve got a strong opinion? Or because you like to go to a restaurant by yourself, or because you don’t really see yourself having kids in the future, or at all for that matter? Yes? I thought so. See unfortunately, these are the stigma’s and burdens a woman has to carry, rather than aimlessly wondering through life like our fellow companions of the opposite sex; women are more often than not having to constantly prove themselves, it’s tiring, boring and frustrating. You’re told to maintain an elegance when you’re talking about things you’re passionate about, ‘don’t be so aggressive, it’s unflattering and makes you look stupid’. Rather than, ‘passionate, strong or a leader’. The reason being for this, to put it bluntly, is that women are still passively stigmatised and viewed in a certain way – though we have come a very long way as such a strong and essential species, there is still a little way to go, to the road to being treated equally by society.

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his is why in today’s pop industry, which is full of outrageously stunning women, (who don’t get me wrong – are fearless and essential still to the progression of larger groups of women in music), we need artists like Halsey. Though she is very easy on the eye, she is ever-changing, like a butterfly blossoming into its final, exquisite form. Halsey has the look, but she’s also got the anger, the passion and the burning fire that has been amassed through being a young woman fighting her way to get to the top of the music industry. She has fought through the array of opinions, misconceptions and idea’s that have been pushed onto her personal being – like artist manager’s telling her to be less androgynous, and give them more pout, more pretty, and more sex appeal. Because sex sells right? Yet, when we do embrace our tempting and luxurious bodies, showing them off with prowess and confidence, we’re called a slut. It’s confusing, isn’t this what you want from us? From what I’ve heard on the grape vine, the trick to being a man’s dream girl, is to be a little slutty, but not too much. Maintain your innocence, but don’t be a prude. Be confident, hold your own, but don’t deflate his ego. Maintain your image, so that you’re still appealing to him, because your image is worth more than your intelligence. Lastly, lose yourself, and who you are as a woman, be depleted down to an image, rather than a conscious, to please him, and all of them – and then you’ll be the perfect woman.

For some reason, that doesn’t sit right with me.

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Halsey has all of these things down to perfection, which in its own essence seems that she

is a hypocrite. But, if you break down the façade of the sexual music videos, the huge array of confidence, the unhinged talent that she possesses – you will see a woman, who wants to make a change, who wants women to be more than their image, who wants you to speak out about your sexual abuse, who wants you to be you, even if she can’t. She’s there on the front-line writing slam poetry, about sexual abuse and the oppression that comes with being a young girl or a fully-grown women, the fear that comes with being the physically weaker sex, when walking around at night time, with one earphone out and one in. Just so you can keep a listen out for anyone coming up behind you. She strips down all of the glamour whilst delivering this powerful poem, sporting her liberating and cute pixie cut with a beanie over the top, and a big puffer jacket to keep her warm on the cold stage. In that moment, with the power that oozes from her as she shouts with passion and sadness this poem she has written, you see a girl who has been beaten down, raped, accused, bullied, abused; a girl that so many of us, with a heavy and unfortunate heart, understand.

It’s moments like this in Halsey’s already prosperous career, that separate her from the rest of the robot-like images we see on our TV, phone and computer screens. It is moments like that, which allow us to relate to a superstar and stop us feeling so inadequate, despite our efforts to continuously be more than enough for everyone around us. And it is moment’s like this, that solidify the importance of famous artists like Halsey, hogging the spotlight for just a few moments, to remind the world – that we still have quite a way to go, in the fight for equality amongst women.

Photo credit: @donslens, @iamhalsey

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Hailing from the grassy havens of Somerset, Megan sits with NAWTY! to talk about the difficulties of living with neighbours when you’re a metal vocalist, and what it’s like to be a young, feisty woman in a male dominated genre of music.

Q: Hi Megan! Thank you for sitting down with us at NAWTY mag, how are you doing during this strange period of time?

A: Hey! You’re very welcome, thank you for having me. I’m doing OK so far, but yeah... it’s a very weird time. I keep thinking about how strange it’s going to be to look back on this in a couple of years. I just hope things start to look up soon – it’s awful not knowing how long it’s going to be like this for but everyone keeping safe is what’s important right now.

Although it’s difficult having your freedom taken away from you it’s a good time to make the best of what you have at home. We’re so lucky we have the internet!

Q: Forlorn is a new and exciting project, you all appear fresh-faced and ready to cause some mayhem – could you tell us a little bit about Forlorn?

A: I think we’re most definitely going to be MORE than ready to cause mayhem when we’re allowed out again - so many band practices to catch up on (and gigs to hopefully play!) It’s really hard for me to practice at the moment with everyone being at home, and I don’t think my neighbours would appreciate me screaming my head off - definitely missing that rehearsal room!

Forlorn came about because each of us wanted to write a type of ‘metal music’ that was a little different. We wanted to be super heavy but we also wanted to find a way to incorporate these post-metal influenced, atmospheric passages that had the ability to take people by surprise and, I guess, kinda knock you off your feet. Before this, I was in a band before that was trying to go for that sort of vibe but it never quite got there, because we were trying to incorporate too many elements at once. With Forlorn, it feels much more like we have our own sound even though we’re still quite new on the scene.

Q: What were the main inspirations behind the creation of Forlorn, how did it all begin?

A: Will (other vocalist) and I were hanging out on New Years’ Eve 2018 at mine and he mentioned that he wanted to work on a new project. Having been in a band with him before I was super up for getting involved so we decided that 2019 would be the year we’d make it happen. Will had a fair amount of material already written so it was a case of finding the other 4 members, adapting the material ever so slightly and then getting into the studio to record. With us all being really into the heavy, atmospheric side of metal it was important to try and incorporate that element into the mix in a way that would work. On a personal level I was very keen to develop my singing further and, I guess, find my voice. George Lever (producer) has been able to bring that side out during our last two recording sessions and find a way to also make it work alongside my screamed vocals.

Megan

Elliott

Photo Credit: Jake Owens

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Photo Credit: Jake Owens

Q: Do you have any exciting projects or releases coming up that you could tell us about?

A: We’ve got two new singles to come out over the next few months – we were supposed to be shooting a music video for one of them in May so that could delay the release of that song ever so slightly, but we’ll see. We’ve got a ton of new tracks also written so hopefully we’ll be back in the studio at the end of this year/beginning of next year. I’m really excited to see the reaction to the next single – each track is a little different in some way but with that same Forlorn sound.

Q: How did all of you as band members, come together and find each other – to form Forlorn?

A: So, Will and I have been close friends for a few years now. After we decided we’d make Forlorn happen we hit up a few people we knew within the metal scene and put ads out on Facebook. It actually took us a good few months to complete the line up but it was important for us to find the right people that would not only be into the vibe that we were going for but also actually want to fully invest in the project. Will knew guitarist Edd and drummer Jay from previous bands, guitarist Eathan reached out via Facebook (we first met him the night before our first ever rehearsal!) and we found bassist James through website Join My Band. Everyone has really poured themselves into this band and it’s absolutely lovely to see the guys consistently churning out new material.

Q: Megan, as a young woman in the metal music scene, how do you cope with stereotypes, irritating questions that constantly state your gender (like this one), and people pointing out that you’re a woman in a metal band?

“I do remember feeling worried when I first started screaming if people would take me seriously or not.”

A: Interestingly, I’ve not experienced anything like that so far! I don’t know if it’s because there a lot of women in metal bands nowadays and people have come to accept that it doesn’t matter who you are – being good at what you do and enjoying what you do is what’s important. I do remember feeling worried when I first started screaming if people would take me seriously or not.

Because I’m quite petite I’d often get surprised reactions from people whenever I told them that I was into metal... perhaps I just don’t look like a metalhead! That’s not a bad thing though, it’s good to take people by surprise.

Q: Lastly, do you have any advice for other young women, who might be too intimidated to make their mark on the metal scene?

A: It’s really about learning to let go of any nagging doubts that you might have or thoughts that are holding you back and just going for it. The first time I learned to scream was whilst I was driving in my car (do not ever learn to scream in your car, it’s SUPER dangerous and I’m a very bad person) listening to a band called Hang The Bastard. I didn’t know if I was doing it right or not so I took a voice note on my phone and showed it to a friend and they were like, “yes!”. I took that as confirmation that I was on the right tracks and started my first metal band a little while after and started gigging. I’m learning every single day about what I can and can’t do as a vocalist – I didn’t really even think I could sing until about a year ago but recording really brought it out of me and gave me the confidence to keep experimenting with my voice.

Bottom line – if you don’t try, you’ll never know. Don’t let doubts or a lack of confidence hold you back.

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m o n o l i th studio's lo n d o n Charlie Wilson, 32 years old and born in Vancouver Canada and the owner and co-founder of Monolith Studios London.

London A recording studio that specialises in heavy music. Also the ex-guitarist of Counting Days, TRC, Astroid Boys, Bun Dem Out, 50 Caliber and The King Blues and a graduate of SSR London, is here to tell us about what it’s like owning a heavy metal producing company.

Q: Hi Charlie, thank you for sitting down with us at NAWTY! Would you start by telling us a little bit about who you are and what you do?

A: Hey guys! I’m Charlie Wilson Jnr, I’m a musician, songwriter and a fully qualified audio, mix and mastering engineer, sound designer and record producer from Holloway London England originally born in Vancouver Canada, Most importantly I own Monolith Studios London which is a recording Studio based in North London that specialises in Metal, Hardcore, Punk, Doom and all the heavy genres of music you can check out the studio at www.monolithstudioslond.com and all social media is @monolithstudioslondon. I have also played Guitar in multiple bands over the years in the metal, punk and hardcore scene most notably Counting Days, TRC, Astroid Boys, Bun Dem Out LBU, 50 Caliber and The King Blues.

Q: How did Monolith studio’s come about, and what made you decide to take the plunge to open up your own recording studio?

A: I came to a point in my life where I needed change, I was half-way through studying music production when I became aware of the warehouse unit that Monolith Studio’s is currently in. I’ve always been someone that jumps straight into the deep end when it comes to something I really care about. So, when I saw the studio’s available for rent, I just thought to myself, fuck it, why not? It’s just money, right? And you can always make more money. The rent was cheap for what it is, so I took the place on. I was aware that it would be slow for the first few months, maybe even years, but I was also confident in my connections and friends that I’ve made in bands, that I could make it work. However, to put it lightly, it was a doer upper.

The place was in bad shape, but my good friend and another

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great producer, Steve Sears was moving out of his Studio Titian in Watford and was looking for somewhere to work out of. Luckily for me he was willing to come in and help with the DIY, we literally built it from the ground up and I couldn’t be prouder of the place. Now myself, Steve and my other good friend and producer Jack Longman (also the Director of the Monolith LIVE sessions), all have a place to work out of. We all focus on the heavier sides of music, so my friends are also like my competitors in the market. People might say it’s strange for me to bring my ‘competitors’ into the fold, but it works out well as we all help each other out in any way that we can and work together on most things.

"I just thought to myself, fuck it, why not?

It’s just money, right?

And you can always make more money".

Continued...

Monolith Studio’s London

Photo Credit: Jordan Noon, Jack Longman

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Q: What clients are you excited to work with in the coming future, and what has been your favourite project so far – and why?

A: Well none at the moment as we’re in the middle of the COVID-19 pandemic, unfortunately I had to cancel all our bookings, safety first and all that. Sadly, the studio has taken a hit from it as I was lined up for a busy couple of months before all of this happened, but Monolith isn't not going anywhere. We’ll be back stronger and better than ever. I’ve keeping busy during lockdown, producing my own music and studying new tips and tricks from home to keep my tools sharp and to keep my sanity.

In regard to my favourite project I’ve done, I can honestly say I enjoyed every single one of them and I’ve made some great friends along the way. To name a few, I recently recorded a band called ‘Splitknuckle’ from Essex, who in my opinion (and a lot of others) are one of the best new UK hardcore bands on the scene right now. It was a fun experience recording Splitknuckle as they’re coming from a part of the UK underground hardcore scene (shout out Rucktion Records, EBD, SKC, LBU and Ready Eye Collective) that I spent a lot of time in growing up in.

So, we really understood each other, and it was just effortless getting the right sound for them. I understood how they wanted everything to sound without them having to say anything. I don’t even think they had any mix notes for the finished product, we both just clicked and understood each other. Another similar example was another great band I’ve worked with called ‘Symbol Of Orion’, kind of ‘Gojira’ meets ‘Sylosis’ vibes. Again, it was just effortless and we all completely understood each other. I’ve worked with them a few times now and I’ve made an active effort to catch them live a few times to understand what they’re about more. Now we seem to have become a well-oiled machine in the studio, it’s a great time.

Q: You used to be in a number of successful bands, what made you retire from live music and create your own business?

A: Turning 30 HAHA! I wish that was a joke, but I literally was turning 30 and I knew I had to start sorting my life out and weighing up what I was going to do with it.

Unfortunately, I learnt you have to be a pretty big band in 2020 to make any real money. I was battling serious depression at the time, I was drinking a lot, amongst other things, and I felt like killing myself most days. I’m not looking for attention or sympathy when I say that at all, it’s actually something I’m embarrassed about, considering how good of a life I actually lead.

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I get that it’s okay to not be okay, but I don’t think it’s ok to allow that thing to consume you. You have to keep fighting back until you get through to the other side of it, so I weighed up my options. I had worked hard on music since I was 14 and although I had some great times, and climbed higher up the mountain than most people, I knew the top was too far up and I was running out of oxygen to get there. Also, there was probably fuck all up there for me anyway.

I woke up one day and just went to SSR London and enrolled in my music production course, it that simple.

I was always the one in bands making all the home demo’s, so moving into music production made sense.

My band, ‘Counting Days’ at the time had been let down by most managers/agents we had worked with, and we had worked with the ‘best’ - which was just another taste of how a lot of the music industry just chews up acts and spits them out, it’s gross. Also, there were some issues inside the band, amongst other things, we had a new drummer who just didn’t get along well with everyone and it was the straw that broke the camel’s back.

He threw a tantrum in a group chat over something really silly and the rest of the members all decided to have a breather before getting a new drummer, and well, now it’s been three years. After that I went to LA to visit some friends, ‘Charley’ and ‘Terry Bezer’, they had just moved out to follow new ventures themselves, so they understood where I was in my life at the time.

I went there to clear my head, when I was hanging out with them and talking openly about my plans for Monolith, I knew the production route was the one for me. When I got home, I put all my eggs in that basket and moved forward. Furthermore, now other areas in my life have direction and focus. I am back playing with bands again and will be getting back to doing live music very soon, but this time for fun, how it should have always been.

"I was battling serious depression at the time, I was drinking a lot, amongst other things, and I felt like killing myself most days."

Q: What skills does a music producer need to have, in order to be successful and competent – to keep bringing back clients?

A: Aside from the ability to record and to have deep understanding of audio, mixing and mastering. Patience is number one for sure, understanding that not every band are going to have the talent and know-how like ‘The Beatles’ and not every Guitarist is going to be the next Jimi Hendrix. Although, we have had Keith Moon’s nephew in, and I must say he was pretty darn good! A main ingredient to a good record is the performance of the musicians involved, and a key ingredient to a good performance is confidence. So, as a producer, you are running a fine line between constructive and destructive criticism, you don’t want to spook your client and make them feel like recording his or her takes is an impossible task, as then it will become one. So, I believe patience and understanding goes along way. Second of all I’d say people skills are extremely important and that goes for the band too, you want to make sure that the studio is a professional environment, but this is still rock’n’roll. You want your studio to be a great place to hang out so that everyone enjoys being there and looks forward to returning the next day. If you’re a dick or a party killer your studio is not going to be a fun place to look forward too, so it’s important to find the balance of professionalism and fun when in the studio.

Q: What other producers, songwriters and/or artists do you see as your primary inspirations?

A: Production wise, ‘Counting Days’ were lucky enough to get to record at ‘Studio Fredman’ in Gothenburg Sweden known for producing music for ‘At The Gates, BMTH, Architects, In Flames’, which had always been a dream of mine. It was there my interest in production went from a 5/10 to a 10/10. Although I had always been happy with how things sounded at other studios, at Studio Fredman, I was blown away and really fell in love with it. Therefore, number one on this list has to be Fredrik Nordstrom and Henrik Udd, they’re my number one influence and inspiration for recording. My whole style of recording guitars is based on their approach, I’m lucky enough to have become friends with them during our time recording there and often pick Henrik’s brains whenever I can. They’re both great dudes. I’m also a big fan of a guy called ‘Machine’, he's produced Lamb of God’s music and is always thinking outside the box, trying to think of new ways to improve audio production. Even from a physics point of view. Also, a big fan of ‘Will Putney’s’ work, he seems to always have everything running at 11, but still sounds great, a real art form. In terms of artist’s and songwriter’s, my favourite guitarist of all time is Tony Iommi from Black Sabbath.

Continued...

Photo Credit: Jordan Noon, Jack Longman

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He's how I really learnt to play, he's not the flashiest guitarist in the world but he is almost certainly the most effective, which is what I always based my style on at its core. My Dad taught me how to read tabs and bought me a ‘riff by riff’ Black Sabbath book when I was 14 and from there, I was off to the races. Some songwriters I really enjoy are The Beatles, Tyler Childers, Bruce Springsteen, Noel Gallagher and Peter Steele. I’ve always been a fan of lyrics and writing that come together as a story and take you on a journey rather than just a load of metaphors thrown together to sound cool Q: What is the first thing you listen to when listening to a new recording?

A: Well as a guitarist it’s always the guitars, that’s the make or break for me on a heavy record. If your tone sucks or lacks character, then I’m out. Even if I’m just mixing a record, I’ll always ask for guitar DI’s if possible, to create my own tones. Good song writing is key, if the songs and riffs suck no amount of production can save you. If I’m producing I will always try and have an input if I feel I can help improve the songs, but it’s important to gauge if that is something your client wants! As some bands and artists just do not want a outsiders input, which is fair enough, but it’s always better and more rewarding to work with a band that’s open to listening and trying out new things, most of the time they go with my ideas which is nice.

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Q: Last but not least, what advice would you give to bands wanting to produce a record with you, to make it the best process possible?

A: If you want to come and record with me, the number one piece of advice is make sure your record is finished. You have all jammed it out a lot, know your parts and ideally pre demoed all the songs. It’s painful for everyone involved when bands are trying to finish songs whilst recording, and vocalists are writing lyrics in the booth. It really kills the flow of a session and the performances are never quite on point. It is a waste of time and money and your band deserves better. Musicians need to make sure their instruments are in good shape, recently set up with fresh skins or strings and be sure to manage your expectations. There is a saying that goes ‘shit in, shit out’, if your performances are sloppy and your songs are shit, a producer can only do so much with it.

"There is a saying that goes ‘shit in, shit out’, if your performances are sloppy and your songs are shit, a producer can only do so much with it."

Photo Credit: Jordan Noon, Jack Longman

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Vernon Pinto Vernon Pinto aka Internet x Daddy, as he so ominously goes by on Instagram, is a Technical Expert for the monopoly technology company Apple by day and a illustrative cartoon artist with a bit of cheek, (you'll get what I mean when you see his work) by night. NAWTY mag loves all things cheeky, so we're dedicating a few pages to Vernon's saucy and tasteful drawings. Feist your eyes.

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Vernon Pinto @internetxdaddy

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Vernon Pinto @internetxdaddy

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Vernon Pinto: @internetxdaddy

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Rebecca CROW You may have heard of a mystical blue-haired creature that graces the screens of our phone’s and breathes fire into the faces of unsuspecting mesmerised citizens. If you haven’t, then maybe you haven’t had the pleasure of knowing the wonderful world of the alternative woman, women who differ from the norms of societal standard’s for young ladies and embrace their inner passion and fire. There is one particular lady that stands out for many a reason, she’s beautiful, intelligent, politically-charged and ready to fight, fangs out, for what she believes in - and that woman is Rebecca Crow.

Miss Crow talks to us about the meaning of what it is to be a woman that fights for what they believe in, and how imperative it is to make sure that your voice is heard - no matter how small this big, cruel world, may make you feel. She speaks of the double standards that tycoon companies like Instagram hold against sex workers, and how underlying passive misogyny is still vastly prominent in all manners of our daily lives.

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Photo Credit: @anthonylycettphotography

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Photo Credit: @atom_creative

Q: Hi Rebecca, thank you for sitting down with NAWTY! today, what have you been doing to keep busy during the lockdown?

A: Hi queens! I’m super ADHD so I’ve started a ton of things and now I’m trying to keep them up! I’ve decided to learn knife throwing and also growing a ton of food and flowers in my garden, amongst many other things.

Q: Can you tell us a little bit about yourself, your profession, your activism and what you stand for?

A: I am probably most well known as ‘katsandcrows’ which was my original 725k Instagram account handle – that account was deactivated by ‘mistake’ seven times because I am an online Sex Worker and my activism also revolves around that.

It currently remains deactivated and I plan to take them to court when the pandemic is easing off! I love my industry, I do many roles within it and you can always find me at any London based SW or Women’s Rights marches. I also do a ton of other dangerous things as a performer and have a podcast ‘CROWVERSATION’. I’m chronically busy!

Q: ‘Sex work is work’, is a campaign and activism group you’ve been actively participating in and have made your mark as a substantial figure in the fight for equality for sex workers, what sort of work goes into this sort of activism and how has it affected you?

"I try to communicate directly with people who need education on the adult industry and other subjects that come up when discussing sex work"

A: Sex Work activism has been around long before I was born and will continue long after I die, whilst I am alive my energies are directed towards supporting and fighting for the rights of online Sex Workers – particularly those who have wrongly been punished by social media platforms. I feel as though I’ve become a particularly prominent voice in this community because I try to communicate directly with people who need education on the adult industry and other subjects that come up when discussing sex work such as human trafficking. This involves a TON of social media engagement, raising awareness and more recently raising funding for the impending IG court case. It can be rough on the old mental health!

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"You get the age old “is it right to profit off the sexualisation and objectification of human bodies?” – this simple answer is yes, if they consent."

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Photo Credit: @atom_creative

Q: What are some of the stigmatizations and stereotyping you have faced over the years, and how have you found the strength and passion to counteract and fight against them?

"exploitation happens when structures are created to control us – such as strip clubs."

A: You get the age old “is it right to profit of the sexualisation and objectification of human bodies?” – this simple answer is yes, if they consent. I’m very fortunate in my personal life that the people closest to me have always been supportive and I give very few fucks about the opinions of anyone else! Perhaps my thick skin comes from being a Sex Worker, haha! I sometimes still encounter the other classic “I hope your parents are proud”.

Oh yes, my mum came to the first protest I organised outside the London IG HQ offices!

It’s my very inner circle of insanely powerful women who give me the strength to carry on and believe that I am fighting for what is right.

Q: What are the benefits to sex work, and what are the cons?

A: The Sex Work community can be incredibly body and kink positive – whatever you chose to identify with, theres’s somebody into that!

Personally it’s enabled me to travel the world, although I acknowledge I am in a privileged position. Sex work is a profession where mostly women hold the power and earn the highest wages, however serious exploitation happens when structures are created to control us – such as strip clubs. These places charge ‘house’ fees for people to work, take a cut of your earnings, cash fine you if you’re late/sick/ they feel like it and still impose strict rules on everything from behaviour to dress code.

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Q: You use a lot of social media to promote yourself, like any other business in today’s digital world – but you’ve been having quite a lot of issues with Instagram as of late and their double standards, can you tell us more about that?

"I was deactivated along with thousands of other accounts, despite not breaking any Terms of Service."

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A: My troubles with Instagram began the day I posted a video explaining their updated ToS which now included rules that are used to 'demote' content that they consider 'undesirable'.

This knowledge flew mostly under the public radar – so I thought it was best to inform everyone. I was deactivated along with thousands of other accounts, despite not breaking any Terms of Service. Whereas celebrities are posting straight up female nipples – something specified in the ToS as a nono. Check out @playboy‘s account for an example. I’ve since discovered that Instagram have a “Strategic Partnerships Department” that manage celebrities and rich corporations verified accounts – for a fee. Unfortunately the staff working in this department also accept bribes from people who are desperate to protect and recover their accounts that have experienced shadow banning and deletion. This is straight up exploitation enabled by Instagram’s personal bias against Sex Work. There are gambling and alcohol companies using the platform, so why not our 18+ industry? This two tier privilege system needs to been confronted in court.

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Q: Are you currently in a legal battle with Instagram? And if so, what do you hope to change about the monopoly platform’s guidelines?

"Amplify the voices of Sex Workers!" @riotsandcrows @katsandcrows

A: I will be sometime in the future! If I’m honest I’m unsure if I will win against Instagram legally.

They are a huge multi billion dollar corporation who have yet to settle a single case in court. I need the support of the whole community if I’m in for a chance! I believe that it will be a trial by public opinion, I want the world to see what FB/ IG are doing and decide for themselves if they think its wrong. I sure know it is. If enough users pressure the company then they will have no choice but to enforce their guidelines fairly across all accounts – or preferably to relax the guidelines allow all content at the same ‘levels’ as protected accounts. It’s 2020 – we need to stop censoring bodies and diversity, period.

Q: Lastly Rebecca, what can we do, as a community of people, do to help the movement of sex workers and their fight for equality?

A: Amplify the voices of Sex Workers! Especially those who do more high-risk jobs such as Full Service Sex Work – go and follow @ decrimnow immediately! I love that lots and lots of people want to get involved and it can get loud and heated, so it’s important to listen to the humans who’s lives these decisions directly affect. The one thing society never does is listen to Sex Workers when making any decisions/rules/legislation. Engage with them on social media, you might have to actively seek them out but a comment and a share goes a long way! You might also discover that we are fucking hilarious. Maybe that’s my personal bias!

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Tom Russell London-based photographer and videographer Tom Russell, sits down with NAWTY! magazine to tell us what it’s like to be a photographer in a city with the biggest and the best, and what you can do to perfect your craft.

Q: Every artist that has achieved a certain level of success, will at some point be asked; how did you get your start? In your case, can you give some advice to aspiring artists?

A: I feel like the best advice I can give is just say yes to opportunity. When I first started as a photographer I made myself as available as possible with the aim of building a profile in the local area. After that came to fruition I concentrated on touring and building my skill set as much as I could and always pushing myself. I would collaborate and work with as many people as possible with the aim. Doing this allowed me to meet so many new people and find myself in situations that I would never have done before. I had a mindset of agreeing do take on jobs and briefs even if it was something completely new to me. I figured if the client had confidence in my ability then I should give it a shot. More often than not this worked out very well for me and made me build skill sets and learn techniques that I never

would have learnt just sticking to what I was comfortable with.

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Q: How do you get the person, place or thing that is in front of the camera, just the way you want it?

A: If I’m photographing people or portraits then I always try and go in with a solid game plan. Often, I’m on a strict time limit so every shot needs to count. If it’s a creative shoot where lighting, for example needs to be much more stylistic than usual then I’ll practise and dial in the look beforehand so I only have the subject to worry about, this means I don’t waste anytime trying to achieve the creative side and half of the job is done. If it’s more of a live setting then it’s more about anticipations. If I’m shooting a band with a large production then I’ll research the set from previous shows so I can make sure I’m in the right place for as many ques as possible.

Continued...

"I made myself as available as possible with the aim of building a profile in the local area."

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Q: How does it feel to always be behind the camera, and as a photographer, how does it feel when people photograph you instead?

A: I’m much more comfortable behind the camera than I am in front of it! However, I am very lucky to have some great friends like Jake Owens and Tim Easton who are also incredibly talented photographers, so I also get killer behind the scenes, candid and working shots!

Q: What motivates you to continue taking pictures and do you ever feel it is something you’d have to eventually leave?

A: For me, my motivation has changed as I’ve progressed with my photography career.

The jump from hobby to full time job definitely gave me a new sense of drive but also allowed me to focus all of my time and effort on my work. It forced me to think outside the box and explore new avenues that I had never looked into before which led to a lot of exciting experiences. It’s the variety that I enjoy the most, in one week you can shoot an opera, behind the scenes for a multimillion-pound movie, an MMA fight and an arena show. It’s hard to say for sure this early on if it’s something I’ll eventually leave but I have a feeling I will eventually move onto something else. I love being a creative but as a full-time career there are aspects that I’m not fully in love with and I feel as I get older and my priorities change then photography will take a different role in my life.

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Questions continued on next page.

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Q: What is one of your favourite pieces of work you’ve done over your career, and for what reason?

A: My career highlight so far was definitely shooting and directing the music video for “Boneshaker” by the band Airbourne. I was asked to fly out and work with the band at Wacken festival in Germany and a smaller festival the day after in Sweden. Originally, I was just filming live footage which would be used as part of a concept video but after showing the band what I had the concept changed and I was asked to direct and edit the entire video. The show at Wacken was one of the biggest shows the band had played, roughly 80,000 people as main support for the Thursday night headliner Sabaton. The band were playing the show with full production and I had one chance to capture as much of it as possible for the video which really added to the pressure but made me even prouder of the final outcome.

Q: What is the one thing you wish you’d have known when starting out as a photographer?

A: I think the most important thing I have learnt is being business conscious. You can be the best photographer around but if you don’t have some sort of business knowledge and how to protect yourself with contracts etc, then you’re going to have a really bad time. My best advice is don’t take things at face value and be direct. Always try and see the bigger picture and try to be several steps ahead. Another thing I’d wish I’d known the importance of is collaboration. Some of the best experiences I’ve had have been on teams with other creative and not only are they often great projects but you can also learn so much from those around you and improve your own methods and style.

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Model: Gabbriella-Louise Havens

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Oliver Sykes, Bring Me The Horizon.

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Photo Credit: Taylor Conboy

JUICEBOX @upthejuice @upthejuice @juiceboxlndn

Fluffy British indie-pop music turned anthemic, larger than life, alternative rock. JuiceBox have been making their mark on the London music scene since the summer of 2017, touring the U.K. with festivals such as Truck Festival and playing iconic London Venue's like DingWalls in the infamously rock'n'roll, Camden Town. NAWTY get's the chance to sit down with JuiceBox, and talk about their experience in trying to climb the never-ending ladder that is London's music scene.

Q: How did JuiceBox form, and what would you say your genre and influences are?

A: It started very naturally, nothing out of the ordinary. It was just me (Tom Muckian), and Tom Anton messing around in our University halls, singing along to some of our favourite songs.

He would play my guitar (which at that point, I couldn't actually even play!) and I would just sing along.

From there, because of the happiness it brought us, we started writing our own songs; which were not anything particularly credible or life-changing, but just stories of the people around us at University. After our first year and the end of our assignments during the height of summer, myself and Tom A, decided that we wanted to make this thing we’d formed, a band.

From there, we put out an advert for a drummer. After a few online conversations with several drummers we came across Alex; who after meeting in our local pub, we knew was the one for us.

pub, we knew was the one for us. In the early days before our first show, the songs were very simple, for no other reason other than we were all lacking experience. As the gigs came and we climbed the ladder of the London scene, our music, performance and our playing ability grew with us. We went from playing traditionally simplistic British indie rock, to our own big sound Alt-rock.

As I went to gigs in the London scene, I learnt from the bands I was watching and probably found our peers to be more of an influence than any band I listen to.

In recent history we've brought in our new guitarist Luke, who in the handful of gigs we've played has been crushing it. It’s always worrying when you bring a new person into a closed collaborative environment like a band, but I couldn't be happier with where we are with him and how we are as a collective unit.

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Q: Can you tell us a little bit about each of you and what your roles are within the band?

A: Well to start, Luke is our newest recruit and plays lead guitar for us. Born in Eastbourne, he's had experience in bands before with moderate success; playing in a few different genres, however nothing verging below E Standard.

Prior to joining us he hadn't played live in 4 years! But you wouldn't think it if you’ve seen him play, trust me. Anton, our bass player hails from cloudy Peterborough and has messed around in bands at school with zero success, but he’s got plenty potential which I’m certain of. He always tells me he wanted to make sure he was at least good at one thing, so decided to give bass guitar a crack, and to be fair to him he's not doing too bad a job of it!

Alex our drummer has asked me to keep this simple so I’ll stick his instructions. He’s from Wembley, and likes Football, Horse Racing and Guinness.

Finally, I'm Thomas (Muckian) the frontman of the band. I was born in Newcastle and raised for half my life in London. I discovered music fairly late on in comparison to the others, never having that childhood ambition to succeed in the music industry and never had any passion to even play guitar till university, where I eventually discovered my passion for music and the wonders of performing.

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Q: What’s your song-writing process like? Who does what?

A: I do most of the songwriting myself from my bedroom setup, I record as I write and often find that after 2 hours of locking myself away, I emerge with what is essentially the finished product. From there I take it to the guys and see what they think, if it gets the thumbs up, we start playing it through and each member will polish and add their own twist to the part I’d originally written. Now we’ve got Luke in the picture, it’s great to have a writing partner to work and communicate with. We share ideas and get feedback from each other on anything either of us have come up with, (whether or not it sees the light of day).

I also find having worked with other musicians in a writing capacity before; that it tests your abilities and opens you up to different composing habits other than that of your own.

Q: What’s the best show you’ve had so far, and why?

A: It’s got to be our set at Truck Fest last year. For us it was a cornerstone in our career and an experience we won’t forget. We had the perfect slot, 3:30 in the afternoon just after the band Idles had finished. We had no expectation of crowd size before we went on and frankly, we were expecting about 20-30 people out there (which we would have been more than happy with). Within 4 or 5 minutes of playing, the crowd from Idles trickled into our tent filling it gradually, by the time we were halfway through we were playing to a crowd that most bands that weekend would have been ecstatic with, it felt like so many people.

But it wasn't just the set itself that made that show special, it was our first camping festival we’d ever played, and we got to spend the whole weekend with our mates; brushing shoulders with modern music icons like Johnny Marr, Foals, Wolf Alice and Lewis Capaldi. That is what it’s all about for me, making sure we enjoy every opportunity we get.

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Q: What is the dream venue to play?

A: I think we all have our own for different reasons. We’ll start with mine and Alex’s which is probably O2 academy Brixton. Purely for the fact it’s an iconic moment in the timeline of a British musician’s career. For Tom, his is the legendary Alexandra Palace, which is situated just between Wood Green and Muswell Hill - his first London gigging experience was seeing Last Shadow Puppets play there, and seeing as him moving to London was the start of our own musical adventure I think he holds that venue very close to his heart. Lastly Luke’s is the Royal Albert Hall for no other reason than he thinks it'd be cool.

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Q: Have you had any disagreements as a band? Or faced any significant roadblocks in your career?

A: Nothing major, you get the same old arguments between each other but nothing serious. I'm sure that we've upset people along the way because people have pissed us off at times, but that’s just the nature of the industry. There’s never any spite, at least not on our side.

Even when we've had people leave the band in the past it’s never been in the wake of bad blood. Everyone who writes and performs music just wants the same thing, we’re all headed in the same direction, just different routes.

Q: And finally, who’s the dream band to tour with?

A: It’s hard to pick just one but if we had to, The Amazons would be my pick. We’re big fans of their music and having met them a few times we feel like they’d be cool guys to hang out with.

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Perspective Music Founder, Alex Mac.

Here at NAWTY magazine, we celebrate and give hard-working, independent individuals the chance to speak about their creations. Speaking of talents, today we sit down with Alex Mac, former professional drummer and current music business owner. Mac gives us an insight into what it's like to own a agency that offers Artist Management, Live Bookings, Music PR & Playlisting and Artist Consultancy services to musicians and bands of all genres, and all sizes.

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Q: Hi Alex! Could you tell NAWTY mag, a little bit about who you are, what you do and how it all started.

A: Hello! Sure. So, I’m Alex Mac, and I’m the founder of Perspective Music, which is an agency that offers Artist Management, Live Bookings, Music PR & Playlisting and Artist Consultancy services to musicians and bands of all genres, and all sizes.

I launched the company in January 2018 after graduating from University, and prior to that I had played in bands for several years and worked within the music industry in several different areas including event management and music journalism.

"During a time like this, I think it’s imperative to keep moving forward and not allow the limitations of a situation to completely disrupt progress."

Q: Can you tell us about some new, up-coming artists that you’re excited to be working with, and how you will cope with new artist’s in current times?

A: Of course. Since the start of the company I mostly worked with artists within the more alternative genres (Metal, Hardcore, Pop Punk), however as time has gone on and my taste in music has developed, I’ve been aiming to branch out for quite some time in terms of the genres of artists I work with. I manged to pick up a band outside of my usual bubble that I believe has great potential. They’re called Cosmic Bambina, and are a South Wales based band performing Indie/Alternative Folk music, similar to the likes of Phantastic Ferniture and Big Thief. They’re currently recording their debut EP, which unfortunately has been interrupted by the recent lockdown due to COVID-19, but we’re still working on the other aspects of the band that are not affected by being stuck at home and unable to go to the studio.

During a time like this, I think it’s imperative to keep moving forward and not allow the limitations of a situation to completely disrupt progress.

So, what we’re doing instead of recording, is focusing efforts on every other area of the band and the new EP that can still be worked on such as branding, artwork, music video storyboards, social media strategizing, release and marketing plans and

much more. While there are obvious restrictions on what the band and its members can do in terms of the original scheduling of their year, there is always another option and there is always something a band can do to progress in other ways, even if it’s not exactly what was planned before this pandemic took place!

Another example of how I’m navigating this situation could be seen with clients such as A Night Like This or These Five Years, both of which had a busy schedule of touring plans to head out across the UK throughout the spring and summer, most of which have now been cancelled due to COVID-19. Instead, we’ve pushed back all of their touring plans to later in the year when hopefully this will have blown over, and both bands are going to be working hard on writing new material with their spare time, as well as working on new ways to engage with their audience as a replacement for their live shows, such as Facebook and Instagram live stream shows, live Q&A’s and more.

So, while their main plans for 2020 we’re to tour the country to promote their recently released records, instead, we will work on strategies to promote their new releases in other ways and adapt to the situation and its boundaries, and try to be efficient with the downtime in a way that sustains a positive work ethic throughout the groups. By maintaining a good level of productivity throughout a crisis period, it means that the outcome can still be a positive one in relation to these projects, and my clients can stay motivated and positive throughout a time of increased uncertainty and anxiety by having something they can focus their mind on as opposed to just wallowing in their cancelled tours!

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Q: Can you describe the current state of the music industry, specifically to you?

A: From my point of view, before the pandemic began, and to be honest even now, I think the music industry is strong and sturdy in the UK. There are an unbelievable number of exciting artists to discover within every single genre, there are bands that I watched make their first post on Facebook 3 years ago that are now internationally known artists signed to big record labels, touring the world to packed out venues (not right now, of course).

I personally think that while it’s very easy to focus on the negatives within the music industry, like with small bands and promoters having empty venues, people complaining about online streaming services making too much money, Brexit having a negative impact on international touring, etc. there are many more positives that completely outweigh these issues depending on your perspective. Many people also say that the music scenes are oversaturated with bands that sound the same and copy each other’s brand, and that this is because as one band starts to make tangible progress, many others follow suit to chase the same dream.

Don’t get me wrong, this does happen, however, to me, this tells me that the industry is thriving. There’s competition for every band out there that starts to build an audience, which if used in the right way can make for great mental fuel for putting extra effort into your project, in order to come up with original ideas for making progress and developing your fan base.

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Perspective Music

Continued...

Artists have full access to millions of people through social media, and while many struggle, many also succeed, and for some, all it takes is one EP and they’re touring the country with some of the biggest up and coming artists out there because of how much reach a band can achieve if they’ve got the right formula.

While there are new bands forming on a daily basis, there are also new companies forming, new managers and booking agents, new PR agencies, new radios, new magazines, new Spotify playlist curators, new social media strategists, new graphic designers, etc. and this tells me that while the industry has it’s issues, from my position, it’s definitely making great progress and growing in a positive way for everyone.

In terms of my business and my clients, I’ve never been busier, and every single one of my clients has exciting opportunities on the table as up and coming artists.

The music industry has grown and developed so much, even just in the last couple of years; especially with the expansion of online platforms and digital media. There are opportunities everywhere, for bands at all levels. You can scroll through one Facebook group and see requests for interviews, radio play, Spotify playlists, slots on local shows, new booking agents seeking clients, and almost anything else you can think of, and if your project is managed effectively and your band has the talent required to be successful, then there’s no end to what you can achieve with hard work, commitment and extensive networking. Of course, I’m not saying it’s easy to start a band, get a manager and booking agent and develop a fan base just like that, but there really are opportunities at every corner for the bands who are willing to put the work in As I mentioned earlier, while bands can’t tour or record at the studio during this time, they can focus efforts on other areas

of their project that are just as important, and while everything is pretty much on hold right now, it’s a great opportunity to spend the time networking, reaching out to venues for shows later in the year, executing ideas you never had the time to do before, writing new music, and much, much more.

In regard to the current COVID-19 situation, I think the music industry is definitely going to struggle, during it and after it. However, people who work in the music industry are a real specific type of person, you have to be resilient and relentless, and be able to manage large workloads and stressful situations on a regular basis to be able to successfully operate within this industry. Based on this, I think the ‘comeback’, post-pandemic will be quick and efficient.

Music fans, especially within the alternative scenes, are more supportive than ever, already I’ve seen popular music venues receiving thousands of pounds in donations from regular gig-goers to help them stay open, freelancers are offering discounts and picking up work, instrument teachers are teaching online, artists are performing via live streams and merchandise is flying off the shelves. Economically, I for sure believe there will be issues, and I do think that several music venues and musicians will struggle significantly through this time, and some venues may even close for good, depending on how long they are required to stay closed for, but eventually, the music industry will rebuild itself and likely to an even higher level.

Many tours are already being rescheduled for later in the year, which just shows how motivated and hopeful people are considering nobody really has any idea how this will play out, but people are able to look at this situation, and efficiently plan around it in order to keep moving forward, and that’s what music industry practitioners are very good at.

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Q: During these unprecedented times of a global pandemic, how do you feel it is best for fans to support their favourite artists, and/or your artist’s that you work with?

A: I think the best way fans can support their favourite artists is to ensure you keep up engagement and interaction with what the bands are trying to do.

While it may seem insignificant to some, many bands thrive off of the engagement they get from their fans, everything from a singular Facebook page like or Instagram follow all the way up to selling merchandise and reaching a new milestone on their online streams or video views. All of these things make the hard work worth it for the bands and their members, as to them it means progress, and it means that people are paying attention to what they’re working tirelessly on. So even though fans can’t go to shows, they can definitely stream their favourite bands new EP a few more times, or spend their ticket refund on a T-shirt, or share a bands new music video when it comes out. These small tokens of support will motivate an artist through a time like this, and when put into perspective the main reason they are running these projects is for the fans, so to get their support through this difficult time is going to be essential.

Q: Do you believe there will be any long-term effects on the music industry due to COVID-19?

A: It’s very hard to say, but I think the main effect this is going to have is going to be economical. There are businesses and freelancers losing a lot of money during this period of lockdown, and if they don’t have any backup options it’s going to be very difficult for a lot of industry practitioners to make it through comfortably from a financial point of view. It really depends on how long this lockdown lasts, and how long it is before the industry can return to anything remotely close to ‘normal’. I do think though that the situation will teach people a lot about contingency planning, and it will give everyone the experience of having to operate through an unprecedent time. Everyone is going to learn new skills, develop new ways of working, and this growth will hopefully carry over to the other side of this, and will mean that the music industry is going to be even stronger, after a time of real struggle.

Q: How will you continue your business and cope with the pandemic, and is there any advice that you would give to others in the same position as you?

A: Luckily, I don’t rely on the income from live bookings and touring with my clients, and I already work from home, so I have not felt the impact as much as many others have. My business will continue to operate in its normal fashion, however the areas of work I will be focusing on with my clients will shift, as I mentioned earlier my aim from the beginning of the pandemic has been to ensure that all of my clients maintained a productive work rate and a positive mindset.

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As a manager, it’s not only my role to ensure my clients development, but it is also to work with each band member on an individual basis to ensure that as a group, they operate as best as they can, and at a time like this that means being there for them through a time of struggle, and ensuring their projects are able to continue progressing. I would advise others in the same position as myself to adopt this same method of focusing time and effort on the many other aspects of an artist’s career that matter just as much as touring does, and to also seek new methods of income if you are struggling financially. At Perspective Music we recently began offering one-time consultations, music release management, and many other much smaller and cheaper services that would allow us to help out artists without requiring too much time from us and too much money from the client.

Its going to be a difficult situation for everyone for different reasons, but there’s always a way through.

Q: Finally, where do you wish to be in 5 years’ time?

A: In 5 years’ time, I hope to have developed Perspective Music into a household name within the music industry. To have expanded into more areas of music, and to continue being able to provide my clients with a service that enables them to reach their goals. I would like to turn Perspective into a charitable organisation of some kind, that’s always been the dream, but that plan is still in early development!

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NAWTY! www.nawtymag.com