(growth) ISSUE 03
Dear readers, This issue is about growth. As cheesy as the phrase is, we’re constantly changing. Have you ever looked back at a photo form 5 years ago and strongly questioned why you thought it was okay to wear what you were wearing? Have you done that with a photo from just 3 months ago? Yeah, this is personal growth (sort of ). But, on a more serious note, we’re growing daily in our thoughts, our perspecitves, and our craft. This issue highlights that. Growth provides a new headspace, and so we got inside the heads of a few artsits to understand how they have grown over time in their craft and what they’re learning from it all. We interviewed photographer, Hunter Thomson, about how his story as a photographer is growing over time. We also talked to artist, Emma Walkiewicz, about how her collages connect her mom’s “growing up” with her own. Beyond this, the issue is packed with more interviews with artsists and musicians, but you’ll have to flip through to see who those are with. We also received some great writing, photo, and art submissions. Thank you to everyone who submitted. We really appreciate all work submitted. For future submissions, send your writings, photos, artwork, or whatever else to firstname.lastname@example.org. Enjoy! Always, The “inbtwn” Staff
shot on film // Erin Clifford
HUNTER THOMSON a photographic conversation
Q: Give a little background about yourself. Where are you from? How did you get into photography? Is this a hobby or a career for you? Hunter: I currently live on the Central Coast of NSW about an hour north of Sydney in a little coastal town called North Avoca. I started taking photos on a Go-Pro of some friends bodyboarding at Copacabana. Eventually, I saved up enough to buy a DSLR, and a few months after that whilst tackling three casual jobs as well as school I managed to purchase a water housing and it has all snowballed from there! Photography definitely started as a hobby and was for a long time without ever getting paid, but for the last 12 months or so I somehow have managed to live off the freelance work I do as well as a casual position helping out with design/media stuff in the TCSS HQ.
Q: Do you shoot primarily film or digital? Is there a context that youâ€™d prefer to shoot in one medium over the other? Hunter: Most of the time I will shoot digital as that is what is often preferred when shooting for clients that require a quick turnaround of images and a consistent look. There are definitely situations where I would rather shoot film or rather shoot digital though. If I were to shoot a really subjective portrait of someone say, I would much rather shoot on film as I prefer the aesthetic. Although if I were in the water shooting surf, I would probably rather shoot on digital due to the flexibility and ability to view my image there and then and adjust my shot accordingly. Q: What are your views of ana-
log vs digital photography? By this, I guess are there pros and cons you see in both? Hunter: I shoot both film and digital formats and have to say I love both equally, each have qualities the other doesnâ€™t and I try to use them accordingly. Digital is great for a quick turn around of images as the is no lengthy processing involved. Also, and probably the major factor, is the reliability of digital is often essential when working on important shoots for clients who have a specific and high expectation. On the other hand, the raw and natural aesthetic of film photography is simply incomparable to digital, there is no way to reproduce that look in digital photography despite how many LR filters you throw over. I simply love the concept
of shooting something and not knowing exactly how the image turned out. Then, a few days later when you get the call from the local camera store to say your film is ready. I feel like a little kid on his birthday all excited! Q: You shoot a lot of surf photography, but also have some music stuff. What draws you most to these two subject matters? Hunter: Growing up near the beach, I guess I was naturally attracted towards that ‘coastal surf lifestyle’ and as a result started shooting surf and the culture around it. I love being outside and more than anything in the ocean, so taking photos in that environment is just the cherry on top. As I got older and eventually started going to concerts and festivals seeing my favourite bands play, I was in awe of the electric atmosphere of live music. I thought if I could only capture this energy in
a photograph and save it to look back on for years to come, that’d be pretty sweet. Also I figured if I can take photos of my favourite artists on stage AND get some free entry to a few gigs as a result I’d save myself a few pennies when going out or to a festival. Q: Your website divides your shots into groups, many of them being a single event (Noosa ’17, Bandwagon on Film, TCSS Campaign) and this format gives your photos a very unified and story-telling quality. Do you feel your photos have a greater meaning when they’re viewed together? I guess, how does viewing the photos chronologically allow growth in the story they’re telling vs just seeing a single shot on Instagram or something? Hunter: Yeah definitely, I really enjoy presenting my images as a little collection as it often tends to help tell the overall story. If
someone where to look at my site knowing nothing about the shoot, subject, situation or anything by the end of the collection I hope, they should be able to have a good idea of what was happening, what we got up to and the story that shoot is meant to tell.
norm. Now, I don’t know if that’s working well or not but I guess we will see.
Q: Your photos maintain a strong artistic quality to them. By this, your surfing shots and music shots aren’t just like “action shots” but have a more thought out composition and style to them. Can you talk a little bit about what your creative process is, what you think about when setting up a shot?
Hunter: The creative freedom would be the key difference between shooting personal projects vs a campaign. Typically, campaigns are pre-arranged and often have an agreed upon end goal for what the shots to look like, whereas personal project can be spontaneous or take weeks of planning and I can just go with the wind and be as crazy as I like. I still definitely try to put 100% effort into both personal and work of a client, and enjoy both equally as much, it’s just a different approach I guess.
Hunter: When I go take surf photos or music photos, I’m often not the only one at the beach or in the pit at a concert. There are so many photographers these days all shooting pretty similar content, so I try really take into consideration my composition when shooting and come up with a different approach or a different angle to maybe separate myself from the
Q: Is your approach to photography different depending on if you’re shooting a personal project vs a campaign? If so, how?
Q: How have you grown as a photographer since you started? Hunter: I have grown in just about every way possible since starting
to take photos, and I still have so much more to learn and room to grow. General knowledge and new techniques has helped a lot overall, but experience has been my biggest virtue. The amount of times I have stuffed up or deleted files in the past or shot plain boring photos are endless, but I’ve learnt from these mistakes and hopefully that’s one thing I don’t do wrong next time. Q: How has photography helped you grow as a person? Hunter: Through photography I have met some of the most amazing people I would have never had the chance to meet without it, and I have learnt countless life lessons as a result. I threw myself in the deep end when dropping out of school mid-way through year 11 to follow my passion and pursue photography. Instantly, I was forced to mature and learnt all about the crazy world of being an “adult”. Since then, photography has taken me across Australia and overseas on opportunities I would have never imagined in my wildest dreams, and I haven’t looked back.
are a number of photographers that inspire me, but someone I have always looked up to with the surf side of things is Woody Gooch, he seems to have such a unique style and approach. Also, Sebastian Zanella, I love his work. Q: What do you want your legacy as a photographer to be? Hunter: Ooo that’s a big question…I think as corny as it sounds I would hope to one day be in a position to be able to raise awareness to certain topics and ask questions that aren’t typically being asked through photography. Capture subjects you don’t typically see in front of a camera show the world a different side of things. Now that’s a long shot I know, but a legacy is definitely no short term goal.
Q: Do you have specific photographers that inspire you? Hunter: There
// Dana Journey Insight from the artist: As I continued to struggle with friendship issues, I had to learn how to take care of my own happiness before others. This meant that I had to cut the people out of my life that took more away from me than they gave back. After I cleansed myself of these toxic relationships, I felt like I could finally focus on growing as a person and finding more self-love.
Portraits // by Garrett Seamans and Claire Richards
“Adventures are most interesting with someone who’s a little more free spirited than you are and who thinks the same about you.”
shot on film // Christopher Chou
Pink Rabbit Foot Diary collages that link people, thoughts, and times /a conversation with Emma Walkiewicz
Q: What draws you to collage? Emma: There are no rules. The messier, the better. I love seeing the juxtaposition between two or five or fifteen images. I can either be laying on the bedroom floor, with a mess of magazines, tape, paint, and stickers around me, or in front of my computer going through thousands of images I’ve scanned - copy and pasting a handful that seem to emote a shared mood. I like that adding or subtracting one photo can alter the entire tone of the finished product. To me, it’s as much of a challenge as it is relaxing.
Q: Your Instagram bio is, “the dream days of yesterday against the backdrop of today — past, present & future.” What influenced this concept? Emma: Ever since I was a kid, I’d marvel at the photos my mom took during the seventies. If I weren’t her daughter, I’d still be her biggest fan. She took photography classes, playing around with light and landscape, but my favourites are of her sisters, my grandparents, vacations they went on, pets, and her boyfriend. It’s this entire world that’s so foreign to me, as if she could be a stranger - the magical backdrops of
tropical vacations, these pets that she loved so dearly, that I never knew, places and people who existed in such a way that compelled her to capture them, places and people I’d never travel to or meet. Her own personal universe was captured in a very precious way, and it kind of pained me that no one beyond our family would ever see it. Nowadays with Instagram and Tumblr and whatnot, everyone has some kind of platform to share their photos, but back then, photos were taken just to make memories - with really no intention of others viewing them, unless you shared them with a friend. In that sense, these photos are really personal. I had grown up taking photos with my friends and siblings around our farm, dressing up in wigs and outfits we collected from Value Village. Sometimes I’d put them in my zine, sometimes I’d shoot them just to have them to hang onto. There’s a big joy in dropping off film to get developed, waiting for them, imaging how they’ll turn out, then finally getting the film back and being excited or even disappointed at the way a shot turned out. I have hundreds of photos from my teen years until now, my mid twenties. So the “dream days” are referring to my mother and aunt’s girlhood in the 70’s, which I collage or share against the backdrop or beside a photo that’s more current, from my adolescence or from yesterday.
Q: Where do you get these older photos from? Emma: All the older photos were taken by my Mom or my aunts there are piles of photo albums in my grandparents’ basement that I have poured over, stared at, and scanned onto my computer. I once asked my aunt if she had any more photos at her house and she said - “No - your mom was always the one with the camera!” I wish she had taken thousands more. Q: Your collages have a very dreamlike quality to them — I think it’s a combo of the colors as well as the photos. For me at least, it creates a bit of nostalgia for a past time that I might not have even been present for or even a romanticization of the past. Is this something you want to express in your art? Emma: You nailed it with that description. I think a big part of me has always been nostalgic for the years I wasn’t alive in - mainly the 1970’s. I was born in the early 90’s, but I’m still nostalgic to relive those hazy years of early childhood - I wish I had been fifteen in 1993, so I could’ve fully experienced the music and culture, life before the internet. Tipping my hat to these decades in the collages and photos is kind of like throwing a lifeline back to those times. That’s the reason why I use the images my mom took in the 70’s alongside my recent photos or the ones I took in the 2000’s - or why I reference pop culture
icons from those years - it’s her girlhood alongside mine, those delicate years of navigating who you are, exploring it through a lens or a pen on paper. But I guess regardless of what year you came of age in, those methods of documenting yourself and what you go through is timeless. Q: What draws you to using your mom as a character in your art, and how do you feel that it expands the story your art tells? Emma: She’s my muse because when I look at these photos, she appears as such a question mark to me. I only know her as my mother. A few years ago I was in the laundry room with her as she was throwing the wet clothes into the dryer, and I caught her face as she was moving. For the first time in my life, I really saw her eyes, their unnameable colour, and thought - Wow - I’m seeing her as she was when she was seventeen. She isn’t just my mother, she’s a woman, but she was once a girl with a whole life behind her and I’ll never know the full story, regardless of how many times I ask her to tell me stories or look at pictures. There’s a weird magic in realizing that. It was like time rolled back, and I was just looking at a young girl doing laundry. When you’re twenty five, you feel like you’ve already been through it all and lived a life. I guess these photos are my way of getting to know the girl she was - laughing on the deck of a cottage somewhere in Southern Ontario, dress-
ing up the family dog, posing with her grandmother with a glass of wine in her underage fist… I’ll never tire of getting to know her through the photos she took.
“It’s my mom’s girlhood alongside mine—those delicate years of navigating who you are, exploring it through a lens or a pen on paper.” Q: You categorize your collages as a sort of diary. Do you see them as a personal diary or something more universal in a sense, something other people can see themselves in as well? Emma: I feel like lately it’s been weaving more into personal territory, but I have tried to keep it so it feels like the audience is peering into a girl’s diary - just some mysterious girl. Do you remember being in science class or math or English class, flipping open the textbook you were assigned at the beginning of the year, and seeing the names of whoever had the book before you scrawled on the front page? Someone who wasn’t in the school anymore, someone who had long since graduated and moved on to do whatever
with their lives… Maybe there were some doodles throughout the book, some coded messages hidden throughout the pages, written on the spine… That’s how I want this diary to feel. Like some mysterious person bundled up some photos and poems, passed them on to you, then just disappeared. Q: What inspires your style and has it changed over time? Emma: I feel most inspired when I listen to a beautiful song or read a poem I love, but it also depends on my mood because if I feel lazy or am having a down day, nothing will happen. Miriam Waddington is a Canadian poet I have adored since high school - the words she dreamed up influence a lot of what I do. KM Graham was a Canadian artist, and again, the colours and imagery in her paintings are what I hope to reflect in whatever pictures I put together. I think my style has grown up a lot over the years. I used to make a zine called Come on Killer and it was very grungey, black and white, pretty rough looking. Now I like to embrace lightness, I try to focus on
what’s soft, things that give me hope, and even in harsher times I try to focus on what’s delicate or what can give life and seem positive. Q: How does art create a space for growth? Emma: I think as long as you can watch a movie, read a book, smell a flower, listen to a song, and if it touches something within you and changes you, there will always be growth. It goes both ways. There is the person holding the pen and writing the words, then there is the person who is reading the words on the page. There is the person singing the song, then the person who is hearing the song. Does it change the writer or the reader more? I’d say it’s pretty equal, that’s what’s so special about it.
“I like the idea that people can ‘feel art.’ This inspires me to make art that people can not only enjoy aesthetically but art that they can relate to.” - Dana Journey
Photos by Erin Clifford
Find her on Instagram: @hijulez
Q: How did you get into embroidery/screen printing? Julie: I got into embroidery the summer of grade 10 after I started to do some personal research on the French Rococo period and their breathtaking floral and patterned embroidery. I started out embroidering all of my clothing for school with little flowers and leafs, and then I eventually started more adventurous embroidery projects and realized how much I enjoyed this medium of art! I got into screen printing about a year later (in grade 11). I am still learning with screen printing and it has been one of the most rewarding/ challenging mediums I have explored. It is sooo satisfying when the prints turn out crisp and clean, but to every one of those I make there have been far too many to count that come out a bit wonky looking. Exploring screen printing has made me let go of a need for perfectionism and begin to appreciate the happy accidents. Back to embroidery, after finishing high school I took the year off of school and spent some time learning more about embroidery at Maison Lesage in Paris. This is where I began to really see embroidery as more than just a hobby. It was an amazing experi-
ence to be surrounded by women (there was one man but mainly all women) who had successfully followed their passion of embroidery and who could create such masterpieces with their fingers and thread. Q: Who/what inspires your minimalist style? Julie: Ooo Henri Matisse, Pablo Picasso, Kim Mick Hee (tattoo artist and painter based in Seoul, Korea), Frédéric Forest, @notcoolneverwas and Alma Proença to name a few! In art class in high school I never felt like I was a talented drawer, I was a bit shy to try realistic pencil studies when there were so many talented students in my class. This pushed me in a different direction to find a style in a more simplistic style that I felt more freedom with. Q: A lot of your work features the female body. I feel like it captures a grace and naturalness of the real female body rather than
the “idealized” female body that is present in so much of mainstream media. Can you talk a bit about the message you want to get across with these pieces? Julie: I have always focused on art that makes me feel good to create, the message that I am trying
to get across with the designs is that we are all wonderfully bizarre in our own ways and that is so special. It is a celebration of our differences and a little reminder to honour yourself for exactly who you are. The female silhouettes I draw are often live drawings of my friends! They are beautiful human beings of all shapes and sizes and I am lucky to have such cool people to draw. I draw
people who inspire me and who I think at kick ass human beings, and their bodies are strong and beautiful. What I like about drawing silhouettes and simple line drawings is that they leave a lot of room for the mind to fill in the blanks with who they could be, what culture they are, what age, etc. Q: You have more work that addresses self-love. When fashion could be just about the pattern or color of the fabric, you’re addressing larger ideas. I think it’s a great message. What draws you to this theme, and what inspired you to use fashion as your platform to address it? Julie: Self love ah, most of the doodles I have screen printed or embroidered that are on the topics of self love or body image are usually created on days where I am having a hard time with them in my personal life. When I started my hijulez instagram, it was really just a hobby and a way to share positive doodles with my friends. Using fashion as my platform kind of came accidentally I guess, for the most part when I started embroidering it was always on fabric we had around the house and random plain clothing that needed new life. Fashion is an amazing medium, it allows the art to be worn and shared in so many different ways. It’s exciting to see how people style and wear my designs and how they look different on everyone
who wears them. I like using fashion as my medium because it allows me to be very playful with how I bring forward these topics, depending on the colours, shapes, and texture of each piece, you are able to create a certain mood with it. You can do this with many different mediums within the art world but how fun is it that after you create something you are proud of, you can try it on. Q: How does having your art in the form of fashion allow your message to grow/spread? Julie: Having someone wear a sweater/ design that they love brings a positive energy to that garment that is inviting to others. Fashion is so powerful, there is something about seeing a friend looking happy in a piece of clothing that
“What I like about drawing silhouettes and simple line drawings is that they leave a lot of room for the mind to fill in the blanks with who they could be.” makes you want to own said piece of clothing (in my experience). With fashion you get to facilitate people expressing themselves with what they choose to wear, how they wear it and what it makes them feel when they are wearing it. I have always wanted to make clothing that could be worn by anyone who wants to wear it, there should be no limitations on sizing or age. If you are attracted to something on a hanger and it makes you feel something, that is special and fun! Q: How does art create a space for growth? Julie: I think with art you get to this really interesting place where you are sharing part of your soul and you are putting yourself in a bit of a vulnerable place. As an artist, I think it has made me be stronger with being proud of what I create, listening to the positive feedback and hearing the criti-
cism and using all of it to fuel my passion to create art. As for the audience, I’m not really sure but I know how artists that inspire me have opened my mind to seeing new ways of interpreting bodies and feelings and colours. I feel like when you have a community of people creating what they are driven to create and an audience who is willing to be open minded and accepting there is so much possibility for growth for everyone. Q: How have you grown as a result of your work? Julie: Damn, in the past year the amount of wonderful human beings I have met through instagram and art has been truly amazing. Being in contact with new like-minded individuals, and many of them becoming friends, my art grow in ways I could have never imagined. Creating art work and embroidery that is very personal to me and having people connect with the images or sayings or doodles has made me feel part of a community. I have so much growing yet to do, and I am excited to see where this all takes me, but I wouldn’t be in the place that I am today (away in Florence trying to better my art and taking this leap out of my comfort zone) without all the positivity that has come my way through the art community.
// Untitled, 2017
how a sound space can create headspace An interview with Polo Reyes (Mellow Fellow) about his lo-fi identity and cross genre musical influences Q: How’d you get into music? Polo: I guess when I was about 12 years old, my dad got me my first acoustic guitar. I didn’t know how to play, and I wasn’t interested at all. Then, I watched this movie called La Bamba. It’s about Ritchie Valens and how he died and his music impact in the states in the ‘50s. And I was like, oh this movie is actually really inspiring. From then on, I started listening to Buddy Holly and other 50’s pop icons. After a few years I got into Led Zepplin, Jimi Hendrix, the Beatles and got into electric guitar. I was never able to express myself through guitar fully, cause you’re just kind of playing your notes but you’re not really expressing the emotions you’re feeling fully. So, I started writing songs in the park as a personal thing. I’d bring a guitar and a notebook. Then, I posted a song on my SoundCloud and got pretty good reception on it, and that motivated me to keep going and maybe take it more seriously. So, I bought recording equipment for myself— my parents are more career oriented, and
don’t see music fitting into that. In the Philippines, parents don’t support music as a career in the same way that they might in the States or the Western world. Q: Describe your music in a few words. Polo: You know, that’s actually the hardest thing for me to do. I guess it’s a lo-fi jazz pop or something. Q: Your songs take on a lo-fi sound in the drum kits, synths, and vocals. Is that intentional or is it more of an effect from where you are with your production equipment? Polo: It’s largely because of the equipment I had. I kind of had no choice but to make do. I know in the start the production wasn’t that tight, but I guess some people found it cool. I really do enjoy lo-fi music whether it’s hip hop or jazz, sort of like old things you find in your dad’s closet. So, I do intentionally put it, it’s still there. Right now, that’s sort of a part of my identity. It’s really one half
intentional and one half because I have bad equipment. Q: Through the lo-fi style, your songs create this sort of indirect connect to past times, even a sense of nostalgia. Even in your album art, you use vintage photos as a way to index past times in a sense. Can you talk about this? Polo: With the album art, it’s really the aesthetic of it. If someone were to listen to my music, or when I was listening to my own, I was visualizing a certain image. What really popped out the most was this Polaroid 60’s/70’s scenery, coupley stuff. But also, I’m a marketing graduate so I applied some of those things into my music. I think that vintage photos and nostalgic images are very eye-catching. So, if people were to see it through a thumbnail then people might want to listen. But, I guess it fits the whole theme as well. Q: Is your music about expressing things about yourself or appealing to a specific audience or both? Polo: It’s definitely personal. I rarely write about things that don’t really concern me or don’t happen in my life. If some bad or sad stuff happens to me, I usually let it out through my songs. Most of my songs about heartbreak are about this girl I was with for about four years. So, it all revolved around her for a little bit.
Q: As your audience has grown do you feel like you’re pressured to communicate something different or change your style? Polo: Definitely, the pressure is there. It actually causes me some anxiety, like oh man these people are actually listening to my music. I never really expected this, that people would listen and like it. So, there’s definitely some pressure
for me to adapt and change my sound in a way, but my music is still me. I’m not trying to sell out or do something that’s not my thing. I’m not gonna ditch the guitars or the vocals or go all RnB on you. Q: Are there specific artists you draw inspiration from? What about their music appeals to you? Polo: To be honest, the only thing I’m really listening to right now is trap. It’s Migos and Lil Yachty, and I know it’s weird but they’re
Q: How long does it take for you to make a song typically? Polo: You know, I used to just do it overnight and post it the same night. I used to be so proud of myself, I’d do it at 1am then post it at 5am. But, now that things are getting more serious the songs take me a month or two. Writing and producing everything on your own takes a while, just for one song even.
inspiring me. It’s comforting and refreshing in a way. I’ve been listening to guitar all my life, acoustic and indie stuff. I totally respect those artists— I like them—and I’m sort of in that same category. But, listening to artits in a genre that’s totally different from the things you used to listen to is rejuvenating. It gives me more inspiration and reminds me the world is not one-dimensional. I know people usually get surprised when I say I like trap, but I really do. I’ve also been into this local artsit, ruru, lately. She’s awesome.
Q: Since you’ve grown, do you feel like you’re taking longer with the process because you’re more critical of yourself or is it to have a higher standard for the audience? Polo: It’s both. The listeners have been great to me, and they deserve better music. But I think I deserve good music for myself as well. I listen to my own songs because it’s how I felt a few months ago, and I want to learn from it. If I’m listening to something bad that’s made by me, I can’t stand it. I want to take the time to digest it and make sure I’m creating something that’s worth listening to.
Q: Do you record all of the instruments or are you sampling?
Q: What kind of story telling are you engaging in through music?
Polo: I do everything on my own. The guitar, the vocals, the synths, the bass I record. The drums are digital— I don’t have space for a full set in my room, and my parents would not be happy about that.
Polo: Music as a medium in general could be anything. For me, it’s about lost love and getting really tired of adulthood, even if I just started with it. It’s a story of being lethargic, I guess. So, music can tell different stories and they show
different perspectives, but for me that’s what it is right now. Q: You collaborated with Clairo. Can you talk a bit about what this experience was like creatively? Polo: It was a pretty normal experience. There’s this song that I wrote, “best friend”, where I referenced Claire and one of her songs because I really loved her stuff. Then, she commented on it, we followed each other on social media, and decided to collaborate. I found out she’d been a fan of mine as well so it worked out. I sent her “how was your day” and she recorded her vocals and the outro synths and then I mixed it all. The song was written by me, but Claire definitely added her vibe to the song which was really important for the final piece. We had to get used to the time difference because I’d have to wait over night usually just to receive the files, or vice versa for her. But that’s how collaborating has gone in most cases. It took my friend Felicia and I about 6 months to finish our collaboration just because it’s hard to do it over distance.
same main stream stuff we hear on the radio. It’s not all bad, but we want to listen to stuff that’s less main stream. I think social media is very important to market your precense. Some people are really crticial of social media, but it’s really about how you use it. Just be responsible. Especially living in the Philippines, it’s a lot harder to get your music out there. Without SoundCloud, I would’ve been more confined to the local scene. If you only get your stuff out to the local scene, I feel like your ceiling of success has been stumped. That’s why before people found out about my music locally, I made sure to get it our there internationally.
Q: How do social media platforms help your audience grow? Polo: I’m very grateful for SoundCloud because if that didn’t exist, this thing wouldn’t have happened at all—for me or for so many others. It’s a free platform to release your music. If there wasn’t any platform, we’d be stuck to the
Editor in Chief
CONTRIBUTIONS Erin Clifford // pgs 1, 17 - 18 Hunter Thomson // pgs 2 - 6 Dana Journey // pgs 7, 16 Claire Richards // pg 8
Garrett Seamans // pg 8
Christopher Chou // pgs 9 - 10
Emma Walkiewicz // pgs 11 - 15 Julie Newton // pgs 19-23 Polo Reyes // pgs 25 - 28
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Published on Nov 20, 2017