Issue One

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Published Quarterly by Quabax Publishing House Printing by Colorite Tamaki Makaurau, Aotearoa [Auckland, New Zealand] Overdue is a registered trademark of The Plantation Store Limited. Overdue Magazine™ Fall/Spring Edition November 2011 PO BOX 48016 Blockhouse Bay Auckland 0644 New Zealand Copyright Š 2011 The Plantation Store Limited All Rights Reserved. No part of this publication may be produced in any form without written permission from the publisher. Distributed Online in Maori, English, Spanish and Italian. Distributed Hard Copy in English. Limited Edition 1000.




Issue One

Overdue Magazine Fall/Spring Edition


Overstayer Clothing was created by South Pacific Hip-Hop Artist, King Kapisi. The initial idea for the label was a t-shirt based on the Samoan Flag with four hip-hop elements incorporated into the design. A year and several successful New Zealand music chart singles later, King Kapisi was presented with the opportunity to create a full-scale clothing line in collaboration with NZ skateboard label designers, Poynter. Overstayer Clothing became the first local urban label to be introduced into NZ’s largest departmental clothing store, The Farmers Trading Company. Overstayer then went on to present its clothing range at New Zealand Fashion week two years consecutively with successful inroads into one of Australia’s largest departmental clothing company’s, Myers. Though Overstayer is considered an urban street label, its corporate operations and focus moved further away from its initial market, not unlike many street labels when expanding. After much consideration, it was decided that King Kapisi would end the partnership with his licensee and return Overstayer back to its early beginnings. With a manually operated screen-printing carousal in their garage, Overstayer is now a home run business. The package and distribution area is in what used to be their lounge area, and their office is set up in the study of their home. Overstayer Clothing is a family affair.


History of the Polynesian Overstayer The name Overstayer is derived from a racially charged period in New Zealands history. During the sixties, the expansion of New Zealand’s industries required a pool of unskilled labour. The government looked to the South Pacific for this resource and policies were put into place to ensure the most suitable candidates were chosen. As the economy grew, a blind eye attitude was taken towards expired working permits until the mid 70’s when the Muldoon led National Party used the so-called overpopulation of Polynesians as a reason for the economical downturn regarding the unsubstantiated burden these Overstayers forced upon social services and employment levels. In fact, with the assistance of the government and media coverage at the time, the word overstayer was synonymous with Polynesian, ensuring not only daily victimization through the alienation of racism but also institutionalized racism was woven into the fabric of New Zealand society. These allegations caused a serious divide between some New Zealanders, sparked further by sporadic unwarranted police arrests of predominantly Polynesian males, the unfair work conditions of Polynesian workers due to the lack of understanding of their legal rights, early morning dawn raids on family homes and the appalling housing conditions provided for Polynesians amongst other incidents. In turn, these events gave birth to the rise of the Polynesian Panthers Movement, a group of mostly 17-19 year olds, inspired by a movement in the United States at the same time, The Black Panther Party.


Production Team Chieftess Associate Editor Business Manager

Teremoana Rapley Wiremu Te Kiri Bill Urale

Interpreters Te Aouru Biddell Andrea Carboni Poutama Paki Humberto Burcet Photographers Geoff Budd (Lensflare) Andrea Carboni Matt Grace (Photography) Humberto Burcet Bill Urale Teremoana Rapley Steve Russell James McLeod Jason Hailes Writers Andrea Carboni Wiremu Te Kiri Humberto Burcet Venus Hi Fi Teremoana Rapley Bill Urale Design Team Teremoana Rapley Assistant Kahuti Nuku (Cover) Email Postal Address PO BOX 48016, Blockhouse Bay, Auckland 0644, New Zealand. Website Merchandise www.plantationstore. Music Twitter!/plantationstore Facebook 10


Big Ups

To all the people who enabled us to get this together, thank you. Beso Baci Kihi Keso



Overdue came from a need in the market for a fresh and unique player in the game. Every person who contributed to this magazine is creative. Whether it be arts, fashion, music, design, writing, community projects, acting, dance, theatre, television, films, directing, artists supplying Hip-Hop wares to Hip-Hop heads, record labels, photography or promotion. Creativity is the name of the Game. Overdue operates with a duty to ensure hard working artists are recognised amongst peers disseminating information and making connections where possible. Sending big Hip-Hop love to all our peoples whom we have been given the opportunity and privilege of chilling and sharing with throughout the world and to the many more times we will be in your home and you in ours. This is us. Tell your story, speak your mind. Drop truth and science upon open hearts and souls. May haters be consumed by the positivity we project into the Universe to bring Balance, as we traverse the planet. There are many pathways to be explored, this is our journey.



content dj orawan marco carboni little lotus project 2 artofficial & israelstarr xololanxinxo michelle sanchez uprecordz victor ivan espiritu santo --------------overstayer catalogue 15

Plates Front Cover, Pacific Resort Rarotonga, Muri Beach, Rarotonga, Cook Islands; Geoff Budd Pg 5 Overstayer Design by Michel Mulipola Pg 11 Rakaa Iriscience, Dilated Peoples, The Powerstation, Auckland, NZ; James McLeod Pg 14 RedBull SoundClash, Auckland, NZ, C-Fu & King Kapisi; Jason Hailes (RedBullNZ) Pg 17 King Kapisi, Auckland, NZ; Matt Grace Pg 18 Traditional Sanskrit Tattoo, Thailand; Bill Urale Pgs 22-23, 25 Orawan Vachanonda; Unknown Pgs 31, 32, 35, 37 Marco Carboni Images, Sardinia, Italy; Andrea Carboni Pg 38-39 Ahu Tongariki, Rapanui, Steve Russell Pg 40 Hip-Hop Lives Here (NZ) Art Piece by Peap Tarr; Geoff Budd Pgs 47, 50 Courtesy of Art Official & Israel Starr, NZ; unknown Pg 57 Lee Scratch Perry Studio, Reggae Museum, Ocho Rios, Jamaica; Bill Urale Pg 59 Art Official and Micheal Rose, Base FM, Auckland, NZ; Teremoana Rapley Pg 60; Steve Russell Pgs 67, 68, 75 Courtesy of Xololanxinxo Pg 73 Shot from Saturday B-Boy Session, East Los Angeles, CA, USA; Teremoana Rapley Pg 76, 79, 80 Downtown Los Angeles buildings, CA, USA; Teremoana Rapley Pgs 84-85 Machu Picchu, Peru; Steven Russell Pgs 87, 88, 91 Michelle Sanchez, Tarragona, Spain; Humberto Burcet Pgs 95, 99, 100, 105 Courtesy of Urban Prophetz Record Label, various shots, Australia Pg 106-107 Cover of The Magician, Raymond E Feist usage by legal terms set out as per http://www. Pgs 108, 110, 118 Courtesy of Victor Ivan Espiritu Santo various images, South Korea Inside Front and Back cover design; Teremoana Rapley Back Cover, Auckland, NZ; Matt Grace






will mark 25 years since I first stepped on stage to perform with a rap group known as Upper Hutt Posse. I am a musician but I cannot read music. I design websites, produce and write music, production manage, direct and produce general programming for television, paint with acrylics, create small models for vinyl resin toys, collect comics, toys and books, design graphics for print and web, organise and manage events, shoot, produce and edit music videos, co-manage and create visual content for a record label, screenprint and design for clothing label, Overstayer. 19

Oddly enough it would seem that we have met many people over the years which has afforded us the privilege of meeting some of the most uniquely talented and skilled people on this planet. They, like us do not allow their trials and tribulations control their destinies, they manifest their own. We are exercising our right to determine our own destiny. Overdue is a collection of stories from people around the world whom the contributors, photographers and interpreters have met, shared knowledge, shared food, spent time with, while discussing points of views and setting the foundations for Building. This magazine is Overdue.


She is originally from Bangkok, Thailand. She came to New Zealand in 2002 and studied at the Music and Audio Institute of New Zealand (MAINZ). She is a deejay known for dropping stonking sets with a mixture of Drum’n’Bass, Dubstep, Electro, Future Garage, Nu jazz and Trip-hop whilst alongside the likes of Fatboy Slim, Goldie, LTJ Bukem, B.Traits, MJ Cole, DeadMau5, Seiji (Bugz in the Attic), King Kapisi, Futurebound and Big Bud. She is also a club night promoter, produces music and is a songwriter. She now resides back in her home country after spending several years in Aotearoa. Meet our little sister, Orawan




DJ ORAWAN It was May 2008 when we first met

Orawan Vachanonda

through the once promising virtual platform of myspace. She came to our family store opening and a few whiskey and soda fuelled nights later we had joined her year old bi-monthly Drum n Bass night at Fu Bar, in Auckland, called Kinetic. Before her arrival to our shores, Orawan experienced her first taste of Drum n Bass at the infamous Full Moon Party at Koh Phanang, Thailand. In 2002 Orawan moved from Thailand to New Zealand consequently coinciding with the fast evolving Aotearoa Drum & Bass scene at the time. Cementing her addiction to the driving rhythm and rumbling bass. By 2004 Orawan bought her first Drum & Bass records with a set goal of rocking crowds. 24



Not content with just deejaying, Orawan took to the role of a club night promoter not too long after. Feeding consistent life into the local Drum & Bass scene in NZ with guest spots as well as nights with her Kinetic Crew. During the summer of 2008 while visiting her family back in Thailand, Orawan was presented with the opportunity to drop a set at a Dubway Session club night performing for the first time in her home city Bangkok. Many were so impressed that her name spread quickly in the Bangkok Drum & Bass scene. The following year, back in New Zealand Orawan was invited to represent Drum & Bass on King Kapisi’s Hip-Hop Lives Here tour. In 2010, Orawan moved back to her motherland and performed at the Full Moon Party in Koh Phanang. She also played at the 300,000+ strong Honda music Festival in Hua Hin. It was at this festival where she met Uprooted, a DJ Team from Shanghai. Her fullspectrum set impressed them so, that a few months later she was booked to perform at The Shelter in Shanghai alongside DJ Seed. Orawan is currently working for Bed Supperclub in Bangkok doing PR, Marketing & Events during the day. At night Orawan holds a DJ residency at the club on Tuesday (Vinyl Sisters), Friday and Saturday nights.


“Djing is definitely one of my passions”, says Orawan. “I’m quite lucky that my bosses are really supportive. I’m able to DJ everywhere throughout Thailand, at big festivals and play support for big name DJs and Producers when they come to Bangkok.” On top of all this, Orawan also hosts a monthly show on the biggest underground radio station in Bangkok, UB Radio and hosts one of the city’s biggest monthly Drum & Bass nights along side the PhatFunk crew. Orawan is part of our Hip-Hop Lives Here family. We look forward to catching up with our sister when we hit Thailand next. You by the way should check out the Bed SupperClub if you are travelling through Bangkok - highly recommended Bed Supperclub Sukhumvit Soi 11, Sukhumvit Road, Klongtoey-nua, Wattana, Bangkok, Thailand Connection 27



Visual Effects Artist


When you think of the Hollywood blockbuster, names like Brad Pitt, Tom Cruise and Johnny Depp come to mind. Or perhaps you think of directors like Spielberg, Cameron or Lucas. With big names come big budgets and often a huge special effects team to create films for the masses. Special fx are traditionally divided into the categories of optical and mechanical fx. With the emergence of digital film-making tools a greater distinction between special and visual fx has been recognised, with “visual fx” referring to digital post-production and “special fx” referring to on-set mechnical and in-camera optical fx. One of the most creative people working in the area of visual fx is Marco Carboni. Born and raised in Sardinia Italy, the talented visual artist moved to the UK and has used his creative skills on films like Clash of the Titans, Robin Hood and the final instalments of Harry Potter and The Chronicles of Narnia.

interview by ANDREA CARBONI 30



How did you first get into the world of visual effects for movies? I’ve always had a passion for computer graphics and visual effects. When I was a teenager in the late 90s, I used to spend a lot of time in front of my computer screen, learning and trying out different software. At that time I had to buy magazines to learn which ones were used professionally. I started off with 3D Studio Max, but then I mostly focused on Maya, that was first released in 1998. In 2001, I completed a one-year computer graphics course and started working in Italy for a company called Digitalia, one of the few places for VFX in movies. That was my first experience in the industry. Then I worked as a freelancer in Italy for a few years, although it was a struggle to make a living in that job market. I finally moved to the UK in 2006, where I have lived ever since. In 2007 I was hired as a Crowd-TD at MPC (The Moving Picture Company) in London, where I was given the opportunity to work on some of the biggest blockbusters of the past few years, such as Harry Potter and the Deathly Hallows, Robin Hood, Prince of Persia: The Sands of Time, G.I. Joe: The Rise of Cobra. What does a Crowd-TD do? I’m responsible for animating scenes involving a big number of characters, mostly battles. There are colossal battles in the epic and fantasy genre, probably from the Lord of the Rings onwards. These would be too costly to shoot with thousands of real actors, so that’s where our ‘magic’ comes into play. My department is only one of the many at MPC. We are linked to a specific phase of post-production. My team is interconnected with many others as part of a long pipeline. We receive material from the modellers and the animators then as we progress we release our work to the lighting or FX departments. 33

Personally, I have also had the opportunity to supervise a few motion capture sessions, which are needed to recreate natural movements in the movie. In the last Harry Potter film, we captured the stuntmen’s action (like falls and wand fights) for the scene where the Death eaters tried to invade the castle. Usually some parts of the set are rebuilt for these sessions, to be used as props or platforms. Your job is highly specialised. Can you describe what a typical day at work looks like? Usually my daily routine begins with a quick email check and a meeting to plan the day’s objectives. After updating the other artists, I start working on a few shots or writing up tools/scripts that will be utilised throughout the project. In the afternoon I regularly attend a session with the supervisors to review the work done and receive feedback. If there are issues, I have to find a way to fix them in the shortest time possible. The main 3D-software we use is Autodesk Maya. However at MPC we have developed a variety of in-house tools, mostly to gain efficiency. For example, when we have to simulate crowds, we use our own framework called Alice. It runs within Maya and it allows us to manage a larger number of characters in the scene. One of the sequences from ‘Prince of Persia: The Sands of Time’ had a simulated army of 15,000 soldiers! My job is very technical, but the artistic side has equal importance.From an artistic point of view, I address the shots in accordance with the Director’s vision and the VFX Supervisor’s guidelines. Nowadays directors need the freedom to make creative changes as our work goes along, and to be able to influence the scene’s look at any stage. 34

If someone wanted to learn more about this art, which websites would you recommend? is the largest online computer graphics community, where hundreds of professionals actively participate. contains interesting articles and podcasts. displays where all CG studios are located around the world. 35

What is the most challenging aspect of your job? I think the toughest aspect of what I do is maintaining high visual and technical standards within the time given. Deadlines in the movie industry can be tight, especially when dealing with hundreds of sequences. But at the end, it’s exciting to see all these scenes come together into what people see in cinemas. If you had one tip for a young talented VFX artist with no experience, what would that be? Take your time to improve before you even start looking for a job. Invest time and energy on your reel. No more than two minutes long, with just your best stuff, even if you only have personal projects. The way you present yourself to the employer is crucial. What are the hottest cities in the world for VFX artists at the moment? London, Singapore and Vancouver are becoming major centres in the VFX landscape, mostly because of the tax incentives they offer. However, through the presence of ILM and Weta respectively, San Francisco and Wellington are still the hottest cities for this kind of job. What do you see in the future of Visual Effects? With masterpieces like Avatar setting the bar so high, the sky is the limit. I can only expect the quality to get higher and higher over the next few years. Peter Jackson is currently filming The Hobbit in 3D at double frame rate, with the aim to bring the 3D experience to a whole new level. According to industry rumours, the first Avatar sequel will be shot underwater, showing something unprecedented to the public.


Connection For more information about MPC, visit





Bring about Change

SPOTLIGHT ON MIGRANT REFUGEES IN BURMA Artists are using their creative skills to bring some joy and happiness to refugee and migrant children in Burma. The artists are part of the SpinningTop ‘Little Lotus Project Part Two’. The SpinningTop project gives balance to vulnerable children living in poverty, oppression and natural disaster. SpinningTop is currently working on the Thai/Burma border with children who have been forced by an oppressive military regime to flee their homeland of Burma. In November 2010 four New Zealand volunteers traveled to the Thai/Burma border to work on art projects with refugee and migrant children. They taught toy making skills to children of Thoo Mwee Khee School. They also held a fun filled masquerade ball. At Sky Blue School, they worked on art classes and the children painted a mural on a blank brick wall. The ‘Little Lotus Project Part Two’ will kick off in December with a group of artists travelling to Thailand/Burma. There are 12 artists from New Zealand, Cambodia, Singapore and the United States. 41

They will be working with children at Sky Blue and SAW Schools for two weeks. The work includes educational murals based around the alphabet and transferring paper designs to large walls around the school. Once murals are finished, each school will celebrate with a paint party. Artists and Children will work together on a huge canvas that will be cut up into smaller works and auctioned off in NZ and LA at a fundraising exhibition. Money raised will benefit the children. ‘Little Lotus Project Part Two’ will also feature music. Children will be recording samples of sounds and vocals with one of the NZ volunteers/sound engineers. These sounds will be given to musicians from the US and NZ including Tiki Taane, Barnaby Weir, Benny Tones, and Taay Ninh, as well as making a featurelength documentary with the talented Gareth Moon. SpinningTop works hard to bring balance to the lives of vulnerable children living in poverty. It’s through creative art projects like these that help them to raise awareness and funds to continue supporting the ongoing education and health of the children. Much of this support is through exploring sustainable solutions allowing the communities in which we work to be more self sufficient. See for more information about their work. Kia kaha Kia maia Kia manawanui 42




art official & israel starr interview by VENUS HI FI


Aotearoa Reggae Massive


VENUS HI FI: First up, can you both introduce yourself to the massive and tell us a bit about your backgrounds? ART: Greetings, Art here. I’m a reggae/ dancehall selector and a hip-hop DJ who has been representing the music since 97 - doing radio, gigs and tours, mix-CDs etc. I also play some instruments and am getting into production more and more. Newtown is mi yard and Newtown Sound is the name of the music house where I do my works from. ISRAEL: Bless up! My name is Desta Israel Buchanan, also known as Israel Starr - big up to the New Zealand massive. I grew up in Auckland in the Twelve Tribes House which was a blessing, then my family moved to Wellywood when I was about 13 and I’ve been in the Culture Capital ever since. But my roots are in the East Coast - big up all my Maoris from Ngati Porou! Teeehaaa!


V: So when and how did the two of you meet and start working together as a team? A: We met via the Aotearoa reggae legend, vocalist Mighty Asterix, Desta’s dad. As a youth Desta would come to dancehall/reggae sessions with his dad and jump on the mic. Asterix was also coming to record at the Newtown Sound studio on Constable Street a few years ago. Again Desta was there, often with Tuffy Culture and friends. After both of us spent some time away, Desta was back in touch this summer saying he was living in the area again, and we began linking up in the new Newtown Sound studio and at gigs. We both had similar intentions of putting Jah works in. I: Yes, as Art said, we first met through Dad. I was just a youth when I used to come with Dad to the dancehall in Welly. Art was always selecting for Dad, so Art has really been there from the start, from when I decided to take music with two hands. He has been a major influence, bless up ya self! We’ve been working closely together since I got back from Australia last year, but decided to do things proper at the beginning of this year and it has been all go.



V: So Israel, as you said, your dad is The Mighty Asterix, a legendary NZ reggae vocalist. What was it like growing up and having your Dad as a mentor? I: Yeah having Dad around has played the biggest part in who I am as an artist. I mean in every way, from hearing him sing every day to listening to the tunes he was getting from all the top selectors around Aotearoa. So all the music that was hitting my ears from day one was the best of the best, and now I’ve acquired a taste for the finest high-grade music. Dad would always listen to a lot of other types of music, especially gospel, P-funk and all the greats - Luther Vandross, Stevie Wonder, the list goes on. So he provided me with an immense knowledge base of all types of music, which has made me a more versatile artist. Dad lives the lyrics too - I don’t think I know anyone more ital living then Pops. I could go on about Pops but I’d have to write a book hahaha! Bless up Pop!


V: You both recently released a tune - Foundation - which pays homage to the pioneers of the NZ reggae scene. It’s one of the first of its kind for NZ reggae! Who are some of the people you have looked to within the Aotearoa scene as both an example and inspiration? A: It’s a blessing to have someone or something influence you so much and it’s important to show that love and respect countless people and songs have influenced me and I have continual mad love for them! The music in that song is a somewhat blatant throw back to sounds of 60s and 80s Jamaica and 90s hip-hop, big personal influences right there. I just knew it had to be a ‘respect to the foundation’ song, and it was a real joy to hear the lyrics and melody that Desta came with for that tune - on point and a great showcase of his talent as a singer, DJ, lyricist. If I had to name people that were major influences on me - Roots Foundation, Danny Lemon, Stinky Jim, Kerb, Asterix and DLT are just a few. I: Big up the foundation in Aotearoa. I mean the list goes on, from Herbs to the Twelve Tribes band and all my family in those bands.


In this track I mention a lot of selectors I grew up with and watching Dad vibe with. Personally I wanted to send my first fruits out to them, and let them know that the hard work that they go through in buying vinyl, selecting and promoting gigs has paid off, because it has influenced not only me, but a whole generation! And those fruits are ripening now and it is evident with the mass of reggae talent popping up on a daily basis in Aotearoa.


V: Israel - do you have any advice for up and coming vocalists? What have been some of the positive lessons you’ve learned so far that you want to share? I: If you love it and enjoy it then do it. I found that just sitting in a room and seeing where your voice will take you is the best way to really know how to work it. And you have to try all styles and listen to loads of different music, so go and buy that dollar-fifty CD you saw at the op-shop, chuck it on and try and sing like they do! And even if you don’t like it at first, I’m sure you will start to appreciate how their voice works. If it really sucks then throw it away, hahaha!


V: Art - you’ve worked with and mentored a lot of NZ artists and are really committed to forwarding the talent in our own country. Are there any projects or initiatives you would like to see happen in NZ - formally or informally - to help further develop our artists and producers? A: Yeah well there is a lot of love for music here and I give thanks for that everyday. Many artists and producers are doing great things with their works and releases - things are really moving from strength to strength, especially with the new and exciting artists coming into the scene here. I’ve always tried my best to represent the Aotearoa reggae talent that I come across and try to get behind it and push it forwards and onwards to higher heights. Whether it is gigs or releases or working with artists, I think the more works done together the stronger we can build a solid and formidable musical foundation here in Aotearoa.


V: Art - would you agree there seems to be a bit of a divide between the reggae live band scene vs. the sound system scene in NZ? If so, how do you feel about this? Do you think this gap needs to be bridged and why? A: Yes for sure, I agree. I can’t help but observe things like - at local reggae band gigs, there are often no reggae selectors in the audience, and often selectors won’t support local bands on the radio etc. Then at a sound system night or a reggae dance somewhere - often no musicians or bands will be there to support those gigs. So yeah, I’ve certainly noticed the need to somehow bridge these reggae cultures together - the developments in both areas are moving fast. Luckily though, this is not always the case - new generations are coming through the scene with positive and supportive attitudes and that is refreshing to see. Selecto’s ‘Punky Reggae Party’, and Iron Will/Riddim Central’s ‘One Foundation’ nights are moving forward with this in Auckland. Large up. Wellington’s Mayhem Sound is one to look out for too, as well as Israel Starr and Timmy P. By unifying the musical movements here, I feel that Aotearoa can really rise up as a strong force in the international reggae scene. It’s happening already (the ‘rise up’) for a lot of producers, vocalists, bands and sound 56

systems, and I have a lot of respect for the mans and woman’s putting in the hard work to make that happen. A little bit of overstanding, support, respect and reasoning amongst the different reggae bands and selectors etc here is only going to help forward things. People can help by simply showing some love to others who are doing Jah good works, great stuff is developing in so many different areas of the reggae music scene here.


V: And what other projects are you working on? A: We are about to record a new song. Newtown Sound has a 12� vinyl release coming out (finally!) - a single from Dam Native. Israel Starr will also be working on Iron Will productions and a Juse 1 collaboration. I: Gigs, more gigs and hitting the studio to give the massive more. But I really wanna collaborate with a lot of different artists in all forms of music. Any last words for the massive? A: Link up, we are keen to get busy and forward this ting together. Big up my bro and family and all the musical soldiers I’ve worked with and continue to learn from. I: Bless up and one love, shout out to my boy Ezekiel and my mum, love you mum!

Connections newtownsound/israel-starr-foundation


Interview Copy Courtesy of




She is like no other female vocalist to come out of this country. It took me two listens of her debut album Without the Paper before that little premonition come into fruition. I can only compare her to the sassiness of Renee Geyer, the caramel smoothness of N’dea Davenport, the intensity of Carleen Anderson, the ease of Alice Russell, the ferociousness of Patti La Belle, the ‘are you really paying attention’ of Jill Scott, the sophistication of Miki Howard and the preciseness of Ella Fitzgerald. I am not new to Ms. Bella. I met this unbending Samoan, Maori, Tongan women when I was working in front of the camera in the 90’s. I have kept tabs on her like a stalker since then. Buying her EP as soon as I found out she released one, checking out her myspace and website for any changes on the regular. Bella’s on stage presence is one of comfort and strength. Her natural comedic banter in between songs, placing a smile on the faces of the audience and putting the listener at ease while she proceeds to drop pure illness upon your ear drums. Bella’s voice is fierce and undeniable. I couldn’t put my finger on it at first. But after much contemplation I have come to the conclusion that homegirl has a deep spiritual soul and connection to her music through her powerful voice displayed in her song writing capabilities. Her debut album has elevated my addiction to this brilliant vocalist and her Soul Symphony. Your booty will be popping side to side from the lead track ‘Without the Paper’ and tears will well up in your eyes when you realise what she is singing about on ‘Mama’s Eyes’. Without the Paper is a beautifully crafted album from beginning to end.


without the paper



A monthly podcast covering art from the street up featuring kaNO, Ritzy Periwinkle, Sket One and Shane Jessup.


xololanxinxo This is really for older Hip-Hop heads only, but do you remember the feeling you had when you dropped your first rhyme in front of your friends? Or when you performed your very first b-boy move in front of your school? Or when you dropped your latest mix tape created the old school way, on your friends at lunchtime? You know that love and passion that you had for Hip-Hop and probably still do today? Well that spiritual connection to this art form is exactly what I felt when I watched a brother take to the microphone at The Airliner in Los Angeles. He was not a new school head. His Hip-Hop soul was old, like ours. He was pure. He had the ability to decipher through superficial kaka encouraged by corporate greed and the unfortunate repercussions of the information super highway. For me, Xololanxinxo exudes a sense of familiarity and balance. interview by TEREMOANA RAPLEY 66



What is your ethnic background and where are your ancestors from? I


Mexican/Mexica/Tarahumara/ Apache. My ancestors are from Mexico and the Northern Americas.

Where did you grow up, what ages and where? I was born and raised in Los Angeles, CA. However, I spent two years of my infancy in Juarez, Mexico.


How would you describe your upbringing and your ties to your family/culture? My upbringing was split in two. My mother, the strength and foundation of our household, kept us close to our culture with tradition, spirit and music. She was a musician and was forced to raise three kids in a land, now foreign to her culture. Then there’s the other side, the dark side: My father. He was a street-runner, a hustler, a womanizer; half Mexican, half Apache. He was a man of very little words and a lot of actions. Although he brought a lot of terror around our household in his tactic of Los Angeles living that was very much based on survival and not profession, in some awkward way there was a spec of a good father. He too lived a life that brought music into our upbringing. He was not a musician, just a deep lover of performers.

My mother taught me to love unconditionally, to view the world as one, to care and nurture, to sing my thoughts and to stand up for my feelings. She is my biggest influence. 70

My father taught me what not to be, who not to be. When I was young I did not understand his hurt, but now I reflect on it with ‘thank you’ as his map of silence led to a treasure of prosperity. In many ways, I am both my mother and my father because I’ve always fought for an indigenous way of life but my youth was contaminated by my father’s destructive manner and behavior. XOLO. 71

Are your culture and family important to you? If so, Why? My culture and family is all I have. It is what defines me but I refuse to sell what I protect. It is my God, it is my blessing, my light and my voice. My family is my culture. LAN.



Please clarify – were you rapping since the age of nine at clubs? Or was that outside these clubs? ie. Radiotron. Were you by yourself, did you have older peers with you? I was raised in a part of Los Angeles, called Mid-City. Mid-City was home to a skating ring known as World on Wheels. The birth of west coast Hip-Hop had a deep foundation at World on Wheels. Groups like Afrika Bambaataa, The Sugar Hill Gang, The Get Fresh Crew, LA Dream Team, Egyptian Lover, Kool-Herc and Whipper Whip, Melle-Mel and UTFO, would all perform at World on Wheels. Hip-Hop blessing number 1. Most of these shows at this point in Hip-Hop were put together by neighborhood hustlers, dopedealers and thugs as Hip-Hop had no place in the industry. Most of these dealers’ businesses were run from a park across the street from my house known as Queen Anne Recreation Center. Before most of these groups performed or even after at World on Wheels (prior to their concerts) they would perform at bar-B-Qs at the park for the promoters. We would get to see them and my intro to Hip-Hop began.




many ways Hip-Hop has been my culture because it has always b e e n present in my life since the age of four.


I was four years old when I was first introduced to ‘Jam On It’, to pop-locking and to gang-style graffiti. With the years to come, I followed every show and was able to get music from people I knew at the park. By the age of nine I had already attained a consistent freestyle flow. I was also in a graffiti crew called ‘Most Creative Artists’ with a lot of LA legends, even Slash from Guns N’ Roses. Even though I was little, I still remember the foundation of some of my Hip-Hop introductions: back then my name was Drisk. The foundation verse I would start most of my raps which went something like this,

“Now if you wanna battle me, you taking a risk. You steppin’ to a master better known as Drisk. I slash your name like a bloody wrist. Born and raised on the mic when I ball up my fists . . .” and so on.


When did you first step on stage to rhyme? Around 1985 at Los Angeles Radiotron, on Park View and 7th Ave. With MC Test and Ice T’s syndicate. How do you feel about hip-hop today and its effect on what you do and create? I’m proud of Hip-Hop in many ways although I recognize the industry’s necessity to over-exploit and the poet’s authority to fuse and regenerate. Now Hip-Hop is an entity as is rock n roll. My introduction to Hip-Hop was within it’s evolution and my introduction to music was through music; traditional music of my country, original music of my mother and all the different tastes of family members. I truly feel that music is now more universal than it has ever been. Sometimes Hip-Hop is rock n roll, sometimes rock n roll is Hip-Hop as with all genres and since music has become so universal, as a song-writer I have centered myself as the sun in a universe of creation. So just like the universe, I try and progress with every second and counting. Is creating music the only thing you do? No. But it is the root of everything I do because I do everything in song.


W a s m u s i c somethingyou always wanted to be involved in? ALWAYS.



Can you tell us what you do to support your family and pay the bills? I am one part of the Grimm Image Records Board and Body. I am a promoter. I am a motorcycle enthusiast. I generate money by purchasing and reselling collectible pieces to vintage motorcycles. I’m also a creative writer and ‘idea guy’ for a lot of network writers. What is your idea of relaxing? Talking to loved one’s, watching my kids play, reading, nurturing the heart, mind and spirit through meditation, Agape, helping my community, free-styling and riding motorcycles. What projects are you currently working on? I am in an intense part of my Hip-Hop career. The child that I once was, Xololanxinxo, is coming to an end. This will be my biggest project yet. It will entail separating my name into 3 parts: XOLO- all of which my father instilled in me, stories of my youth, pains of my growth, mistakes and regrets; LAN- the connection to my culture, what has kept me rooted and in many ways, what saved my life. XINXO- the simplicity of the Hip-Hop artist I am, the rapper the freestyler, the poet, the golden era enthusiast, the b-boy the graffer. I will then reconnect the name XOLO-LAN-XINXO as the grand finale of my life as Xololanxinxo, all of which my mother instilled in me. XINXO.


What is in the future for you? The future of my music is to solidify my teachings as a songwriter and producer. To enter the industry and establish myself as a career artist. This will also be the biggest challenge because I will be dancing with the devil without affiliation. My goal is to convert the necessity of gimmick back into talent. Any lessons learned that you can pass on for others to learn from too? Always look at each day as if it were your first. Never judge other artists because they are at an earlier stage than you are at the moment. Be responsible for your thoughts and practice what you preach. Always expose both sides of yourself; the good and the bad as if no one cared to judge you. We are ultimately a balance of our rights and our wrongs. The elusive state of standing by our contradictions, our hurt, faults, afflictions and fears, the growing state of admitting your judgements your frustrations your aggravations and your simplicity, provides us with the ground-work necessary for achieving our truest form, our complete destiny.


Last words… I would like to say ‘15 seconds of fame’ is a thought created by an industry-tyrant that never understood the passion we live to create our music. ‘15 seconds’ in the lime-light can represent 15 years in the studio, and that will always be bigger than any pay-check in your career.

Connections Avatar/199610841209 83



Exhibition Goddesses and Monsters Artist

Michelle Sanchez interview by HUMBERTO BURCET

Greek mythology has always been a source of inspiration for artists. From the fashion world to visual arts, Greek myths and legends will always inspire new work. Michelle Sanchez is an artist from Tarragona Spain who is now based on the Island of Crete in Greece. She recently exhibited in the town of Salou, Spain. Her latest work is a vision of mythological characters and monsters with a distinct lesbian touch. Sanchez talks about this work and collaborating with artist Kike Sorroche. 86

HUMBERTO: Where did you get the inspiration for this collection? MICHELLE: I’ve always loved mythology and the behaviour of the human psyche. With this exhibition I want to make an allegory of these sides we all have, of light and shadow, of what we show and what we hide. That is the reason for the name of the collection ‘Goddesses and Monsters, to show that not everything is positive or negative, and even the monsters on the female side, have their human side. 87


H: What techniques did you use? M: I used freehand drawing and inking by hand, inking and colour combined with digital pen on a vinyl cardboard surface. The works are for sale and there are two works which are unique copies, one made by Kike Sorroche and another made by myself. H: With the artist Kike Sorroche there has been a very good synergy, you are a joint project? M: Yes, this joint project is called Monde Bizarre. The destination, as the Greeks thought with the Fortune wheel, moved randomly and put us in the same way. Kike and I made contact for different projects. We have quite similar experiences and we believe that this connection could be beneficial. H: What is the purpose of the exhibition? M: We wanted to do something different and give an erotic twist. Both goddesses and monsters shown are in a very sexy attitude and I wanted to uncover the myths and taboos, and explore the erotic obscure sides of the human psyche, the sensuality, find something else hidden in our attitudes. H: What inspired you to create these portraits so unique? M: I drink from a great variety of cultures that life has given me [laughs]. The collection shows the goddesses Artemis and Athena (Greece), the goddess of compassion Kuan Yin (China), Morrigan (Celtic), and even the blood thirsty historical figure Elizabeth Bathory and her slave. As for the monsters, I look at the Sphinx of Thebes, the sirens saving slaves, the Rusalka (Slavic cruel siren that drowns the sailors) or a Gaelic metallic protective gargoyle. 89

H: Where else do you plan to exhibit? M: We have galleries set in Barcelona, Nice, Madrid, Torremolinos, Rome, Athens and Paris, many of them linked to the LGTB world. H: Finally, do you have a future project in sight? M: Yes, we toured the “HIV: the hope” exhibition, a smaller format. In this case we remove the element of eroticism and we get more into the illustration and comic style and deal with the nature of dream as far as the content is concerned. We show a more limited collection (two copies for each illustration) and there are ten creations in total. We want to show HIV from the point of view of both extremes: the negative side (rejection, taboo, marginalization, lack of information) and the positive side, that there is (prevention, acceptance and freedom of choice) with the goal of making this epidemic visible and assertive. Kike already launched successfully in Sweden and hopefully we will come here (Spain) soon. You’re all invited. For more information visit the website



THE DIRT ON COLD KRUSH Cold Krush is a well established Hip-Hop culture boutique store located in Unley, SA offering aerosol paints, markers/ inks, fresh street wear, CD’s and LP’s, jewellery, accessories and loads of other cool stuff. The store also doubles as an art gallery playing host to some very successful visual art exhibitions featuring local, interstate and overseas artists. We’re always trying to present a fresh take on this crazy sub-culture that we’re so heavily immersed in, so if you ever find yourself in Adelaide drop by, you never know what will be happening at Cold Krush.




UPRECORDZ LABEL AUSTRALIA A passion for music and the drive to be fiercely independent help to create the music label Uprecordz in Sydney Australia. The label has a stable of artists who use their talent to help and mentor ‘at risk’ youth in their community. Recently they moved to Brisbane however they remain committed to creating original music and helping young people. Jay Chase aka Phreaze talks about her journey with Uprecordz. Phreaze is the CEO of Uprecordz. She was nominated for ‘Female of the Year’ by Star Central Magazine. interview by WIREMU TE KIRI



When did you set up Uprecordz? January 2009 officially What is the philosophy/kaupapa of the company? After years of performance circuits, collaborations, media appointments, unsigned talent event coordinating and hosting hip hop workshops for local communities, Urban Prophetz members’ Phreaze (Te Awamutu) & Likwid Eyece (Gisborne) recognised the high amount of talented and unacknowledged local Hip Hop artists in Australia & New Zealand. UPRecordz (short for Urban Prophetz Recordz) was formed utilising the industry relationships of the Urban Prophetz Crew providing a solid foundation of opportunities for talented New Zealand & Australian Artists of Hip Hop Culture – MCs, RnB Vocalists, DJs, Producers, Event Coordinators and the like. What are the goals/aspirations for the label? To see TRUE and ORIGINAL Hip Hop Artists and Vocalists finally being recognised in the Commercial Music Industry in the Southern Hemisphere. And for Australian & New Zealand Hip Hop to be sought after styles on the International platform, the way it deserves to be!


How has this year been for you guys? Wow, I don’t know where to start! haha. I guess a few of the main points would be - We relocated to Brisbane, released the Call of Duty Album by Urban Prophetz, Filmed and released the video for “No Place Like Home” back in New Zealand and toured there at the same time. Got back from NZ then went on tour around Australia. I was also then nominated for Female Artist of the Year by Star Central Magazine and came in runner-up in the publicly voted competition. Then Urban Prophetz supported Bone Thugs n Harmony on their recent tour through Australia. We gigged in between as well (at least two gigs each weekend for awhile there too!) What was it like returning to NZ and what kind of response did you get with your music? NZ was AWESOME as usual!! The love for music back home, regardless of the status of the artist is amazing! Everyone shows love for the songs and music they enjoy, no matter the politics and so forth behind the musician! We also made great networks there and continue contact with many artists we met while on tour including the likes of PHD, Nytmare, Kay & Frantik, Envioso and Impakt, and many more! We’re also lucky enough to be able to support some of the NZ artists hoping to break into the scene here through tours and so forth as well, loving it! 97

How many artists do you manage? We currently have six Artists signed to the UPRecordz Label with a number of others we regularly collaborate with on musical projects. 1 – Phreaze, Female MC/Audio Engineer 2 – Likwid Eyece, MC 3 – DJ Magic Merv, DJ 4 – Hopey One, Female Beatboxer 5 – T Sharp, Beatmaking Extraordinaire / Producer 6 – Rawz, MC/Beatboxer Do you only specialise in Hip Hop and rnb genre? Hip Hop, RnB & Soul are our three major genres. Once we have achieved our goals, we may look at expanding into other areas. How would you describe the Hip-Hop scene in Australia? To be honest, it is quite divided from where we stand. You have Sydney Hip Hop, Melbourne Hip Hop, Brisbane Hip Hop and so on. In terms of music, this is great, as you get to witness different styles (such as you get in the US with different States having a different “sound” to them). But on the other hand, division is never great when you are trying to have AUSTRALIAN Hip Hop recognised on a global scale and the 98


scene doesn’t really have as many artists as you might find in a thriving Hip Hop country. I know there are a few movements such as the Hip Hop Syndicate (headed by John Payne, VP of Death Row Records) which I am a part of, that are trying to unite all of the artists here, to present a united 100

front to the rest of the world. But as you do in any music industry, competition means that people don’t always get along, so it’s proving a difficult feat but we’ll get there! Being from Aotearoa though, I’m also passionate about promoting New Zealand Hip Hop in Australia and the rest of the world! How different is it from the NZ scene? Wow, where do I start?haha. I think Australia is on a completely different “Buzz” to New Zealand. New Zealanders seem to come out and support music! They don’t care if you’re famous or not, if you make good music, they will support you! I have found in general, Australian supporters seem to be very much about fame and whether your friend is performing or not!haha. On the musical tip though, because of the huge multicultural population here, you get a variety of really unique and international sounds. I feel very lucky that we can take the best of both worlds, being a New Zealander living in Australia!


Tell me about the work you do with young people??? I’ve set up a studio for youth at Boys Town Youth Service in Woodridge (Qld) and I’m also a Youth Worker there. We have already had one of the students successfully signed to a local label here at the age of only 14! Very talented cat! In Sydney I ran the Free Recording Studio Facility for young people at Blacktown Youth Services Association (BSYA), as well as host workshops for young people at risk of being kicked out or dropping out of school. They came to me once a week instead of going to school, and we did Hip Hop Music projects from beat making and rap, to graphic design, break dancing, krump, beat boxing and marketing yourself as a business in the music industry. Aside from BYSA, UPRecordz also has a UPR WORKSHOPS section, where our signed artists pass on the knowledge through free Hip Hop Workshops for disadvantaged youth around Australia. This can include beat making, rap/ lyricism/song writing, music video production and many other elements. We normally do this in partnership with other community organisations or councils. Through these workshops, Rangatahi can find confidence, communication, loyalty, technology and many other employment and essential life skills. We don’t teach people to rap a certain way or make beats in a certain way, we only give them the 102

tools to do it and the encouragement to find their own styles. We also facilitate Hip Hop workshops for corporate groups (adults) as a means of educating them that Hip Hop is a culture that is full of amazing talents and despite popular belief, isn’t always about gangs, drugs and violence etc. In these workshops, we teach people how to rap and perform in pretty much two hours max. They have lots of fun doing it, but also gain an insight into what Hip Hop Culture is really about. Many Community workers participate in this workshop as well which helps to filter positive understanding of Hip Hop Culture down to other Youth, Community Services & Government Organisations. What advice do you give young emcees/singers, when they approach you, about creating music or wanting to be signed? I know it’s cliché but if you are passionate about something, and you work hard at it, you WILL succeed! It doesn’t mean its going to be easy or quick money just because you have an awesome voice or unbeatable lyrics and flow, there is much more to the music industry than that these days, and you need to make sure you’re ready to hear that. The music industry is not for the faint hearted! 103

On the musical tip, if you stay true to who you are, remember where you come from, and LET PEOPLE KNOW IT, once you DO get there, you will not only be successful in music, but satisfied on the inside as well! When people approach me personally for help with creating music, we have never turned anyone down. This is actually what spawned the idea of turning Urban Prophetz into a record label as we had so many talented people needing help to get there! We can’t afford to sign everyone, but if we can see you are serious about your music, and are doing it for the right reasons (not money or fame), our home studio is always open, free of charge. We will hook you up with people that can mix and master your music, beat makers, graphic designers for your website, lyric development mentor, moral support, if we have the resource to be able to give you what you need, you can count on our support!


We’re just the type of people who believe Knowledge should be free and never have to be paid for – especially in Hip Hop! Connection email: url:


Read Looking for a series to read while you travel? Start with Raymond E Feists Riftwar Saga. If you have ever been into reading anything that has to do with medieval kingdoms, magicians and dragons. Then The Rift War Cycle is the series for you. I started reading the series when I was around 15 and they were books that I would dedicate two to three days of solid reading until finish, I couldn’t put them down. I have read a lot of other similar type books with dragons and magic lore plots before but nothing compares to the whole story line of this series.


Feists gifted story telling ability is one that resonates deeply within each intricately crafted character of the entire book series. Developed to encompass the reader’s imagination and for me an opportunity to escape reality and the fact that I am in some hotel far away from my family waiting to hit the stage of the next city. Magician: Apprentice or Magician is the first book in the series. review by BILL URALE

The Riftwar Saga Magician (1982) Republished in two parts in the United States: Magician: Apprentice (1986) Magician: Master (1986) Silverthorn (1985) A Darkness at Sethanon (1986) The Empire Trilogy Daughter of the Empire (1987) with Janny Wurts Servant of the Empire (1990) with Janny Wurts Mistress of the Empire (1992) with Janny Wurts Krondor’s Sons Prince of the Blood (1989) The King’s Buccaneer (1992) The Serpentwar Saga Shadow of a Dark Queen (1994) Rise of a Merchant Prince (1995) Rage of a Demon King (1997) Shards of a Broken Crown (1998) The Riftwar Legacy Krondor: The Betrayal (1998) Krondor: The Assassins (1999) Krondor: Tear of the Gods (2000) Legends of the Riftwar Honoured Enemy (2001) with William R. Forstchen Murder in LaMut (2002) with Joel Rosenberg Jimmy the Hand (2003) with S. M. Stirling Conclave of Shadows Talon of the Silver Hawk (2002) King of Foxes (2003) Exile’s Return (2004) Darkwar Saga Flight of the Nighthawks (2005) Into a Dark Realm (2006) Wrath of a Mad God (2008) The Demonwar saga Rides a Dread Legion (2009) At the Gates of Darkness (2010) The Chaoswar Saga A Kingdom Besieged (2011) 107


Victor Ivan Espiritu Santo


Victor Ivan Espiritu Santo is living proof that you should always follow your dreams. This talented young man from Colonias Satelite, Mexico City represents the new generation of performers pushing creative boundaries. At 22 years old he is making his mark in the world of musical theatre both on stage and behind the scenes. interview by HUMBERTO BURCET 109

How did you become interested in theatre and music? Since I was a child I was interested in theatre and music. I have memories as a kid being aware of how acting was something that aroused my curiosity. I liked to observe people on the street, a mime, street theatre. I liked music and choruses always caught my attention. The voice is a great tool for humans. The voice and the word is all we need to attract and generate things in our life, for me it is like a ritual. In ancient times we would sing, beg and worship with our voices. Music comes from within.


Have you always been supported at home in your decision to become an actor? My parents have always supported me. I was never denied anything. My mother would take me to theatre workshops even though she was tired or did not get along too well with showbiz people. My parents have always supported me and my sister. Mexican families are very big and close knit. My parents, uncles and aunties support is a great privilege. What is your academic career? I began to study drama when I was 8 years old in a school workshop in Cristobal Colon School. I did singing and painting lessons too. Then I carried on painting and devoted myself to it fully, however, when I entered high school things changed. I always knew I wanted to do performing arts. In the last year of high school I got involved with drama lessons and I owe my professional acting career to the Escenica workshop. Karla Munguia, its director, is now a colleague of mine and a great friend. Later I had the opportunity to go to Finland with the Rotary group and I lived in Lahti, where I got involved in the municipal school of art called Taika, and the choir of the city.


What did you learn from your stay in Finland? For me it was very important to be there and develop a totally different view to what we have in Mexico. It provided me with many tools, being just 16 years old, to decide and choose what’s happening in my life. In Finland there is culture everywhere and people are very committed to art, which gave me another perspective. I participated in several festivals, concerts, and exhibited a part of my oeuvre. I painted a lot and created sculptures. However, back in Mexico I devoted my time working for the Escenica workshop. I participated in several plays like Jesus Christ Superstar and Beauty and the Beast.


Tell us about returning to Mexico? In Arte Estudio I took lessons with important professional and master actors from Mexico. They introduced me to different acting skills and I got the help of Eduardo Arroyuelo and Ortos Soyuz with character building techniques for a year or so. After half a year in the CUT, the university’s drama centre at the UNAM (National Autonomous University of Mexico) I made an important decision. I dropped out of the Centre to join the Thomas Jefferson Musical Theatre Company in 2010. This has been a great experience because not everyone has the opportunity to work under the management of an international tour representing Mexico. I refer to Anjou.


Where in the world have you been performing Anjou and what is your personal impression? Anjou is based on the novels of Jane Playdi and it is a pop opera written by Mexican Guillermo Mendez and Lupita Sandoval. It’s directed by Mexican director Edgardo Lar, a visionary who has specialized in working with youth and has taken his drama workshop at levels of professional excellence. The whole company is staffed with young people aged 12 to 21, but we work as professionals. Anjou is about Catherine of Medicis’ life, queen of France who engages in bloody crimes and inexpressible cruelties against her own people in her quest to enthrone her son Henry d’Anjou. 16th century French history comes to life in this modern-day Mexican pop opera. My role was as an ensemble and I acted out as a spectrum. I had to scare people and represent the psychotic side of evil. I also worked as Edgardo’s assistant.The first season was in Mexico, the Theatre of Mexico City (Teatro de la Ciudad de Mexico), but I had not joined them yet. I joined about 4 months before the tour. We went to South Korea and performed in the Daegu Opera House. Then we went to the Expo 2010 in Shanghai, China, which was a wonderful experience. We represented in the Mexican pavilion. We then returned to Mexico and performed in Tijuana, Chihuahua, Toluca and Puebla. 114

Do you have any stories of the trip, the tour, the clash of cultures? How did they receive the piece in those countries? Well, we enjoyed Asian food but we missed Mexican food so much! I loved kimchi in Korea, which is very spicy, like Mexican food. As for the Asian theatre culture is concerned, it just fascinates me because it is very orderly and has a great infrastructure. The work was well received despite our nerves at first. Can you describe a casting process and how do you control your nerves? Fríjoles! Yes I can! A casting is like the acid test but I think that everyone who chooses this profession must be aware that it is something that they will always come across. You feel the adrenaline rush. If they don’t take you it is for a reason. I have not been in many casting sessions, I must confess, but I had the opportunity to see how they cast people and I think it is very interesting. One must always be ready for it, do your best is essential, especially in singing and dancing auditions. If it is for classical theatre you must read your piece, analyze the text, and so on. The casting for TV and advertising is based on the image, which is fine, but in theatre they mostly consider your stage experience, and I prefer that.


How do you work on your character once you get the script? Reading! Reading! Reading! It is very important to let yourself be guided, to be like dough for the director for him/her to mold you. They will give you details and you create the character. Writing circumstances and create a life for your characters give you many tools as well you know, in order to be believable. One must find his or her own style. And what are the rehearsals like with the rest of the company? Both reading and testing are essential. Until you get tired. When you rehearse it creates many things. Once you have practiced and recreated your work, you can polish the performance. Apart from acting, you have also tried directing and teaching right? Yes, I directed Hamlet and a very particular version of Moliere’s The Pretentious Young Ladies in 2007 at the Escenica Workshop. In 2010-2011 I also taught in a company of young actors (aged 8 to 18) and the experience was wonderful. Teaching gives you a break and young people living with such imagination gives you energy and reaffirms oneself in your vocation. 116

What role would you love to play? So many of them! I love Shakespeare, Hamlet, of course. I’d like to play Macbeth and Tennessee Williams. Also I would like to play historical characters, such as Ivan the Terrible. What genres do you like the most? Do you see yourself playing comedy, drama, or physical theatre? I like comedy, I have already been told I am very skilled at it, but I also like the dramatic theatre. I would like to experiment with cinema. I find it a great visual language. I’d love to work with so many directors, including Pedro Almodovar. Has your mind ever gone blank? Er ... It happened to me once… singing! (laughs). So I made up the lyrics. I was nervous ... but I learnt from that. I solved the situation and it was great, thanks to improvisation. What are your present aspirations? Right now I want to continue training and getting ready for professional work. Perform and keep performing. I have already applied for schools in Brussels (Belgium), Paris (France) ... in order to gain new perspectives and return to Mexico to share and create.


Now, you are traveling through Europe. How is this trip contributing to your vocation as an actor? Oh in so many ways! I have seen different people, and I have had the privilege of being in very different places, from Finland to Germany, France and Italy, Spain now ... I’ve seen so many faces and places that inspire me to create, to make the sensitivity that I have had the opportunity to experience more palpable.


Finally, what would you recommend to a young actor or actress like you who wants to get involved in this world? Let them live it to the fullest. To let them reaffirm in their choice and to look for the reason why the want to devote their lives to the scenes. And to train as much as they can, the more the better, because it’s basic not just to make a life of it but because it is the only way to learn the technique and have more background to confront themselves and keep creating. And let them know that it’s a very competitive world indeed. In the musical theatre they should have an excellent singing technique, apart from dancing and acting. In circus they must master acrobatics, clowning and their acting technique too. If you want to, you can do it. Thank you very much for your time, we wish you many successes. For more information please check the website





Fried Bread

This mixture can be cooked by either frying or baking (takakau). The bread can be eaten with your main meal or as supper with a cup of tea.

2 C Self-Raising Flour 4 Tbsp Sugar 1/4 tsp salt Water Cooking Oil Mix dry ingredients together, then combine by adding water until mixture forms a soft dough. Flatten until one cm thickness and cut into squares. Heat oil and fry until golden brown. Serve with butter and jam. Baking Instructions: Preheat oven to 180 degrees celsius. Flatten to 3-4 cms. Place on lightly floured tray. Bake for 15 mins.




overstayer clothing fall

2011 spring

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Sizing / Fabric / Stitch / Ethics Adult Tee (Unisex) Double needle bottom hem and sleeves. Pre-shrunk to minimize shrinkage/USA fabric made in Mexico/205 GSM/100% Cotton Measurements S M L XL 2XL Body Width (cm) 46 51 56 61 66 Body Length (cm) 69 74 79 81 84 -------------------------------------------------------------------------------------Adult Tee (Oversized) Double needle bottom hem and sleeves. Pre-shrunk to minimize shrinkage/USA fabric made in Mexico/205 GSM/100% Cotton Measurements 3XL 4XL 5XL 6XL Body Width (cm) 46 51 56 61 Body Length (cm) 69 74 79 81 -------------------------------------------------------------------------------------- Mens Fall Zip Hoodies Shoestring cord, Kangaroo pocket, tonal metal zip, cotton-lined hood/280 GSM/100% Cotton Light weight fleece Measurements S M L XL 2XL Body Width (cm) 51 53.5 56 59 62 Body Length (cm) 73 75 76.5 78 80 -------------------------------------------------------------------------------------- Womens Fall Zip Hoodies Shoestring cord/ Kangaroo pocket/tonal metal zip/cotton-lined hood/100% Cotton light weight fleece Measurements S M L XL Body Width (cm) 45.5 48 50.5 53 Body Length (cm) 67 69 71 72 -------------------------------------------------------------------------------------- Youth Tees (unisex) Tubular construction/205 GSM/100% Cotton/USA Fabric Made in Mexico/ Shoulder to Shoulder tape/Pre-shrunk to minimise shrinkage/Double needle bottom hem and sleeves Measurements XS (6) S (8) M (10) L (12) XL (14) Body Width (cm) 41 43 46 48 51 Body Length (cm) 53 57 61 64 67


Toddler Tees Tubular construction/205 GSM/100% Cotton/USA Fabric Made in Mexico/ Shoulder to Shoulder tape/Pre-shrunk to minimise shrinkage/Double needle bottom hem and sleeves Measurements 2T 3T 4T Body Width (cm) 28 30.5 33 Body Length (cm) 35.5 38 40.5 -------------------------------------------------------------------------------------- Organic Baby One Piece Short Sleeve 220 GSM 100% Organic Cotton/Superfine cotton rib/Tonal shoulder domes/ Shoulder to shoulder tape/Pre-shrunk to minimize shrinkage/Double needle bottom hem and sleeves Measurements 0-3 3-6 6-12 12-18 18-24 Body Width (cm) 19.5 20.5 22 23.5 25 Body Length (cm) 36 39 42 45 48 -------------------------------------------------------------------------------------- Organic Baby Long Sleeve Tee 220 GSM 100% Cotton/Superfine cotton rib/Tonal shoulder domes/Shoulder to shoulder tape/Pre-shrunk to minimize shrinkage/Double needle bottom hem and sleeves Measurements 0-3 3-6 6-12 12-18 18-24 Body Width (cm) 19.5 20.5 22 23.5 25 Body Length (cm) 36 39 42 45 48 -------------------------------------------------------------------------------------- Ethics All clothing is manufactured in WRAP (Worldwide Responsible Accredited Production) certified factories. See for more information. All screen-printing manufactured in our garage at home in Central Auckland, New Zealand by our family. All embroidery manufactured in West Auckland, New Zealand.


Prices / Shipping Costs / Policies



Adult Tees from

$39.95 $59.95 $29.95 $19.95


Adult Hoodies from Youth Tees Toddlers Organic Baby Tee


Organic Baby One Piece Suit


(long sleeve)

(short sleeve)

Shipping Policy --------------------------------------------Postage within NZ (up to 2kg)


Postage within NZ (up to 4kg) Postage Outside NZ

$30.00 $10 per item*

--------------------------------------------------------------------------------------------* Please note this does not include import duties and taxes.


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Every order draws an invoice which is contained within your package on delivery. On the back of the invoice you will find the exchange and return form. Fill it out and return via post. The return must be made within seven days of receipt of goods in NZ and within 14 days of receipt worldwide of receipt of goods. Returns, exchanges and refunds must be sent via Track and Trace postage at the cost of the customer.

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Catalogue Credits

Photographer Geoff Budd ( Model Kahuti Nuku Guest Designer Chaz Bojorquez [] In House Designer Bill Urale [] Kennedy Poynter [] Michel Mulipola [] Montgomery Collins, Jordan Finau, Kahuti Nuku, Paul Shih [], Drew Gregory (Original Overstayer Designs). Screen Design Preparation Tere Urale Screen Printing Bill & Tere Urale Shoot Location The driveway to our family home in Auckland, NZ.







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