RUKUS May 2012

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Shoot. The Messenger.

A sleek, lightweight, street-smart satchel that hugs your body, moves with you, and doesn’t cramp your style. Carries a DSLR, 3-4 lenses, laptop and accessories. Removable photo insert lets you convert it quickly from a camera bag to a book bag, school bag, briefcase or general-purpose carryall. Available in small and large sizes to hold laptops up to 15 and 17 inches. Pack what you need. Shoot what you want . Tenba

Messenger.

Available at:

S e e i t f o r y o u r s e l f a t Te n b aT V. c o m www.samys.com

|

800.321.4726

EDITOR-IN-CHIEF

Andrew Gates Associate Editor

Nicolas Bates Games Editor

Jesse Seilhan Art Director

Andrew Gates All Access Contributors

Silas Valentino, Jeremy Weeden & Dan Sinclair Live & Loud Contributors

Nicolas Bates, Dan Sinclair & Katie J. Norris Pit Pass Contributor

Nicolas Bates Game On Contributors

Jesse Seilhan

Contributing Photographers

Andrew Gates & Nicolas Bates Contributing Videographers

Nate Olson & Dylan Pfohl Contributing Make-up Artists

Inara Akin & Brooke Hill Contributing Hair Stylists

Inara Akin, Al Ingram & Brooke Hill Advertising

Andrew Gates

advertise@RUKUSmag.com Mailing Address

RUKUS MAGAZINE

3940 Laurel Canyon Blvd., Suite 973 Studio City, CA 91604 Copyright © 2008-2012 RUKUS MAGAZINE & RUKUSmag.com. All Rights Reserved! May 2012 issue, Volume 4, Number 5.

ISSN 2161-4369 (print) ISSN 2161-4377 (online) Visit http://www.RUKUSmag.com for more images and content.

Suelyn

Medeiros Photography by Andrew Gates Make-up by Inara Akin Hair by Al Ingram

S

uelyn Medeiros is an exotic beauty from Rio De Janeiro, Brazil. She is 100% brazilian and proud of it. She was raised most of her life in Brazil but, moved to the U.S. to follow her dreams of becoming a doctor. At that point Suelyn had no interest in modeling and couldn’t see it as a true career.

Her mind was changed after a friend asked her to participate in a fashion show for fashion week in New York City. She was scouted by a modeling agency and signed with them soon after. Once she signed with the agency she became so busy that she started looking at modeling as a serious career path. The modeling and fashion world intrigued Suelyn and she gained recognition very quickly. In less than five years she has achieved more than most do in their whole career. Her star power keeps rising both domestically and internationally as she travels the world shooting magazines, catalogs, commercials, music videos and movies. Don’t be fooled by her good looks, killer body and beautiful smile, she is here to take over the world.

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20 QUESTIONS 1.What’s your Ethnicity?

I am 100% Brazilian.

2.What’s your zodiac sign?

Take a guess…they say I’m stubborn, possessive, self-indulging and materialistic, but I’m also dependable, persistent, loyal, patient and generous—I’m a Taurus.

3.Where are you from originally?

The best, most beautiful, fun, exciting, tropical and versatile city in the world: Rio De Janeiro, Brazil.

4.What did you like most about growing up in Rio De Janeiro?

The warmth of the people I grew up around.

Everyone is so real and passionate about life. I have a very big family; my grandparents had 13 children and my other grandparents had 3 with 14 aunts and uncles. I have 42 first cousins. My family alone can fill up a small city. [laughs] Growing up around all of them, seeing how everyone sticks together sharing moments of good and bad times, made me who I am today.

5.What kind of mischief did you get into growing up?

I was a WILD child…the question really is… what kind of trouble did I NOT get into! [laugh] 6.What’s the craziest thing you’ve ever done?

Hmm. I can’t share that one, but I will share a pretty crazy childhood story with you. One summer in Rio I was at my aunt’s house for the weekend and in one weekend I managed to cause a disaster. As a child, I always thought of the craziest ways do have fun. “Danger” was not a warning for me. My uncle had bought a brand new outdoor pool. Jumping inside the pool from the pool stair case was not exciting enough for me so I stacked up some bricks and junk to make the ultimate high-jumping-inthe-pool experience. My cousins loved the idea and we took turns as I kept making it higher and higher. I made it so high no one had the courage to jump—so I jumped. I jumped and the impact was so intense I slid through the bottom of the pool and pierced right through it, breaking the pool. Gallons and gallons of water spread everywhere. The brand new pool was ruined and we were grounded for the rest of the weekend. The next day was a hot summer day. We were grounded and not allowed to go play outside. My cousins and I decided to play in the garage and experiment with some flammable liquids we were told to never touch (my idea, of course). One of the ideas went wrong and my uncles car caught on www.RUKUSmag.com

fire. I was sent home that same day and was never allowed to stay over again.

7.What’s your favorite hobby and why?

Poker! Texas Hold’em—I love playing it… analyzing people…bluffing…making the right moves and winning, of course (I’ve been told I have quite the POKER face).

8.What’s your guilty pleasure?

Coca-Cola. I know how bad it is for my body, but I truly enjoy an ice-cold Coca-Cola anytime, anywhere.

9.Who do you admire?

Myself in the mirror every day…[laugh]. Just kidding. I admire my parents. They have been married for 27 years and their love is so beautiful. It’s amazing how they stick together through the good and bad times, no matter what.

10.What’s one of your personal goals?

My personal goal is to be the best I can be for the ones I love.

11.What do guys compliment you on the most?

My sense of style and my personality.

12.What’s your favorite body part on yourself?

That would be the one that brings me the most pleasure. [smile] 13.What’s your least favorite body part on yourself?

My butt; it steals all the attention from my other body parts. [laugh] 14.What do you look for in a guy?

What don’t I look for in a guy!

15.What’s the first thing you notice about a guy?

His energy. I’m drawn to people that have a good aura and give off good energy.

16.What’s your ideal first date?

Creativity; something out of the ordinary.

17.What turns you on?

My man.

18.What turns you off?

Smokers, bad breath and arrogance.

19.What’s your biggest pet peeve?

Letting things bother you is a mental choice. I don’t let anything bother me enough to make it a pet peeve.

20.Who’s your celebrity pass?

Brad Pitt.

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RM

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Poisonous Venom

By Nicolas Bates

In the mid-to-late 1980s, young boys all over America had their dream car plastered all over their walls: the Lamborghini Countach. In the early-to-mid 1990s, that dream car became the Dodge Viper. The American-made—yet exotic looking—muscle car caught the attention of those who felt muscle cars had long been replaced by exotic sports cars from overseas. And after four generations of Vipers, the fifth generation Viper is set to go into production in the near future. Chrysler has stated, “The new Viper is not based on anything else.” We’re thinking this should make for one hell of an interesting and new fifth-gen Viper. It will even lose its Dodge badge, becoming the SRT Viper for the 2013 year.

After the third and fourth generation Viper saw its body lose some of its contour, the fifth generation will be back to make up for all that was lost during those “straight years.” Although Chrysler claims the 2013 Viper is completely new, it looks extremely reminiscent of the first and second generations—maybe just on steroids.

The car retains its ever-flowing hood, bubble-top roof, shark-like gills at the forefront of the doors and that sexy, round ass-end, with the ever-so-subtle, yet not-so-subtle rear lip spoiler. The front fascia is surely redesigned, and almost seems to have elements of an Aston Martin.

One can see this if they pay particular close attention to the headlights. All in all, the new 2013 Viper is one sexy mobile that scoots along at a pretty good pace.

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The Viper will be powered by an updated version of its powerplant: an 8.4-liter all-aluminum V10 capable of 640 horsepower at 6,150 rpm (an increase of 40 horsepower over the forth generation 2010 Viper) and 600 lb.-ft. of torque at 4,950 rpm. Chrysler claims the Viper puts out more torque than any other naturally aspirated car in the world. Part of the redesign includes a composite intake manifold (with computation fluid dynamics technology), lighter forged piston, stiffer pushrods, a new camshaft profile, sodium-cooled exhaust valves and a more free-flowing exhaust system—all contributing to that extra 40 ponies under the hood. A Tremec 6-speed transmission will handle shifting duties. This time around, the transmission will include closer ratios making the car even more responsive. When coupled with a shortened final-drive ratio of 3.55:1, the Viper is said to be able to produce better high-speed performance.

Due to new(er) federal government regulations, stability control is now required to be a standard feature on cars that come off the assembly line. This can be problematic when you’re looking to create a street legal racecar. To solve this problem, Chrysler will offer SRT models with “Full On” and “Full Off, ” whereby the “Full Off’ option will still allow the driver to get a little silly with rear tire spin, all while technically having “stability control” on and functioning. The SRT GTS model, however, will also come with “Sport” and “Track” options, giving the driver further levels of control.

The all-new 2013 SRT Viper seems to be a breath of fresh air to a market with limited competition.

However, with Chrysler stating they are not interested in volume of cars sold, and only profitability, we can only assume this newly redesigned, modern-day hot rod will put a significant dent in the ol’ checkbook. Only time will tell, and that time will draw closer towards the end of 2012. Extreme price or not, it becomes apparent that Chrysler has engaged in creating a very capable, high-powered vehicle for the driver whom finds pleasure in just that. Just like with past generations, this Viper is most likely sure to be a rare find, and will surely be worth more than your average (or high-end) Corvette or Camaro down the road. We give kudos to Chrysler for creating this vicious monster.

RM

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"" What don't I look for

in a guy!

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STATS: Birthday:

May 14

Height:

5’ 8”

Weight:

135 lbs.

Measurements:

34C-22-38

See more of Suelyn at Twitter.com/SuelynMedeiros www.RUKUSmag.com

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Solo Venture Written by Jeremy Weeden

Ten years ago Eminem memorably sampled the line “Obie Trice, real name, no gimmicks” from Obie Trice’s “Rap Name” on Eminem’s single, “Without Me,” and introduced the world to his protégé, Obie Trice III. Since then, Obie has released Cheers, Second Round’s on Me, and now the alcohol continues to flow with Bottoms Up. Even though Obie Trice left Shady Records, his relationships with Dr. Dre and Eminem remains intact. Eminem offers production and a guest appearance and Dre also contributes a track to the album. The album is not as Eminem-heavy as Cheers and Second Round’s on Me, so one gets to see more of Obie Trice: the artist.

Obie Trice has never been a technically complex rapper, and he doesn’t try and switch that up here. His flows are laid-back and peppered with witty wordplay, along with clever similes and metaphors. The album starts with the “Bottoms Up Intro,” where Obie thanks his fans, past labels, record executives and any and everyone who has helped him get to where he is today. This bass-heavy gem produced

by Dr. Dre is a perfect start to the album and will have the listener nodding along as Obie spits lines like, “Try to understand this psychological span/From serving them grams to observing them fans/ That’s right, Obie hurting ‘em man.” The next track, “Going Nowhere,” is produced by Eminem and is a bouncing, energetic track where Obie shines lyrically and one keeps waiting for him to tag off to the man behind the boards for a few bars. The production is excellent and sounds like it could be a leftover from an old Eminem album. Alas, Eminem does not actually rap on this song. The Eminem rhyme collaboration is the Statik Selektah-produced “Richard.” This is quite possibly the top track on the album as Eminem and Obie rap about the things they do and the ways they behave that leads to the conclusion that people should just call them Richard (because they’re dicks). Eminem delivers a blistering verse with his trademark rapid-fire flow and the silliness and the misogyny reminds listeners of a pre-“Love the Way You Lie” Eminem.

Obie comments on Interscope and his issues with the industry on “Ups & Downs” and “Hell Yea.” Within the latter he also addresses his relationships with Eminem and Dre, accompanied by Dre and Eminem voice samples on “Hell Yea.” This song will definitely end any lingering doubt one may have had about any bad feelings regarding Obie’s departure from Shady/Aftermath, as Obie raps, “This ain’t so long/I just had to own me.” Obie Trice also aligns with a Midwest legend, the late MC Breed of “Ain’t No Future in Yo Frontin” fame for the track “Crazy.”

Overall, Bottoms Up, is definitely an above-average album that stays true to both hip-hop and Obie Trice’s roots. Obie never tries to cross over into hip-pop and many fans will respect him for this. Bottoms Up isn’t perfect, and won’t appeal to everyone, but Obie’s fans will definitely like it.

Bottoms Up is one of the better, pure hip-hop albums of the year so far, and sure to keep Obie’s celebration going.

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Past to Present Written by Dan Sinclair

When musical movements seem to be recycled on a yearly basis, it seemed only a matter of time before the ‘80s new wave revolution would spin around again. And just to prove this “newer wave” (nu-wave?) reinstatement was more than just a fad, Neon Trees is back with a new album. Picture Show is the follow up to the hit major-label debut Habits, and while Neon Trees may have rose to fame by touring with big acts such as The Killers and Duran Duran, now they’re here to prove they can hold their own.

Picture Show starts off with “Moving in the Dark,” a solid introduction to Neon Trees’ poppy rock sound. Singer Tyler Glenn belts out the lyrics over the organ sounds rising from the keyboard alongside a peppy, synthetic rock beat, inviting you to move your way to the dance floor to move no matter how dark it is.

Then the album stumbles a bit with the forgettable “Teenage Sounds.” With its verses telling us nothing but what the band is “tired” or “sick of,” it would have been more aptly titled “Average Teenage Poetry.” It’s interesting here that the energetic singer yells, “I’m so tired of everybody trying to be a DJ,” but then by the end of the album, proudly proclaims, “I am the DJ!” Hmm… But don’t worry, the Trees bounce right back with their first single, “Everybody Talks.”

Just like the hit single “Animal” from Habits, it’s fun, poppy and was featured in a TV commercial. Not the best song on the album but certainly the catchiest and most likely to be the one you find yourself singing at random times throughout the day.

“Mad Love” is next, which features backing vocals from drummer Elaine Bradley, but it’s not until track five that Picture Show really hits its stride. “Weekend” features a little more lead guitar, rocks a little more, and shines as the best, most well rounded song on the album.

After that, “Lessons in Love” proves to be Neon Trees’ strongest and most positive example of the new wave influence, followed by what can arguably be their most memorable chorus melody in the ultra-funky “Trust.”

Though the album never gets as high as that three-song stretch again, “Close to Me” and the U2-esque “Still Young” come close while the last track, “I am the DJ,” helps echo the dancing theme shouted from “Moving in the Dark.” On the other hand, “Hooray for Hollywood”—with its spoken-word recital of dead celebrities—is a perfect example of why Local H begged all those years ago, “Please no more California songs!”

If you get the deluxe version you’ll also get four more tracks highlighted by the familiar and mellow “Take Me for a Ride” and the demo version of a rare, heavier song called “Drop Your Weapon,” which sounds nothing like any other Neon Trees you’ve heard thus far.

Not sure whether the “picture show” running in your head while listening to Neon Trees’ Picture Show will feature Polaroids of the happiest moments of your youth dancing to cassette tapes in your parents’ basement or just jpegs of pretentious hipsters sipping PBR’s while slightly bopping their heads to the beats, but either way, this second album is valiant follow-up to Habits and definitely worth a listen.

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Facebook.com/DeuceLA

Written by Silas Valentino

Deuce, Nine Lives

Former Hollywood Undead member, Deuce, will release his debut solo album Nine Lives this month. Nine Lives doesn’t stray too far from his former band’s mixture of heavy rock and rap, but with more middle fingers and tales of crude debaucheries.

In early 2010, Hollywood Undead announced the departure of Deuce and the split was full of friction and tension. These emotions can be heard all over Nine Lives. Lead single “America” features the lyrics, “I keep spitting in your face/ Every month and every day/ Every time you hear my name/ My middle finger’s up too.” The record is overflowing with anger and confidence, which sometimes can be a problematic mixture. The music video for “America” can be viewed as a tongue-in-cheek crack at his former band, The Hollywood Undead (he redefines Denis the Menace and shoots “undead” zombies with a slingshot). The remainder of Nine Lives is just as heavily macho and lewd.

Very few artists can succeed after leaving the band that helped make them, and with Nine Lives, Deuce shows that he will die trying.

Facebook.com/DeadSara

Dead Sara, Self-Titled

Rock and roll has generally been a boys club, but that hasn’t stopped some girls from joining—rocking the men. First came Janis Joplin, then Joan Jett, and today, the crown of the XX chromosome belongs to Dead Sara singer, Emily Armstrong. She can wail and howl and then transform into a Stevie Nicks-like songbird with just the change of a track. Dead Sara have been arousing crowds around LA for the last few years, and this month they’ll release their self-titled debut album: a record that catches the band’s high energy and leaves you hungry for a live show.

Dead Sara’s influences are all over the place, ranging from classic rock and roll to twanged psychedelia. The hard-hitting lead single, “Weatherman,” has a tasty guitar riff and showcases Armstrong’s ability to capture your mind while busting your gut. The single has been buzzing around the country’s radio stations for the last few months and it has created a nationwide anticipation for the album. Jefferson Airplane singer, and female rock God, Grace Slick, has commented on the band’s strong sound and Armstrong was invited to sing on Courtney Love’s recent album, Nobody’s Daughter.

Dead Sara are young, fresh and alive.

Facebook.com/TheUsed

The Used, Vulnerable

The Used were one of the quintessential emo bands during the 2000s, and today they’re one of the last of the genre that still progress. Post-hardcore emo music has never sounded as polished and appealing as it does on The Used’s fifth album, Vulnerable.

While the record doesn’t exceed any prior expectations, it does galvanize an otherwise diminishing genre of music.

Throughout the last decade, it seemed like every few weeks a new band would emerge and become the talk of the Warped Tour. From My Chemical Romance to Taking Back Sunday, bands that sounded heavy but featured lyrics of teenage struggles became very popular. This style of music has died out within the last few years, but it hasn’t completely left yet. The Used incorporate all the best elements of emo into Vulnerable, as well as venture into new areas of music. The album’s lead single, “I Come Alive,” is aggressive and has a large, catchy chorus, yet during the second verse, The Used mix in a dub-step sounding effect that electrifies the song. Another track, “This Fire,” features “Eleanor Rigby”-style violins played over singer Bert McCracken’s bewailing lyrics. The Used have been together since the early 2000s and with Vulnerable, they’re sounding as if there’s no end in sight.

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Chevelle Photos by Nicolas Bates Written by Katie J. Norris

Showmen from the get-go, Chevelle took the stage and livened up the crowd immediately. And, oh my goodness, they started exactly on time! They had great sound from the first note and started the show like modern day rock stars with incredibly high energy. The lighting was remarkably well choreographed. The second song started in the dark and only bass, guitar and vocals played the opening lines. When Sam Loeffler chimed in with single hits on the drums, the lights flashed solely on his drum kit in perfect time. Then the lights rippled out in rhythm to each stick hit until the whole stage was lit, flooding Pete Loeffler (lead vocals/guitar) and Dean Bernardini (vocals/bass) with bright yellows and reds. It created a badass image.

The backstage entourage could clearly be seen, almost inching on stage from the left wings. If Pete didn’t state, “This feels like a party, L.A.!” it might have been a bit annoying. But the little groupies dancing in the wings with their video phones in hand fell in to the image of the announcement of wanting to party. And that side bar wasn’t even an ounce of a distraction after Pete really got to singing. He hit every note picture perfect, from the beautiful power-belt high notes, to soft sweet inflections, to his fervent growls. And the very clean guitar tones made Pete’s grizzly roar grounded in musical skill.

Playing live, Chevelle takes advantage of the opportunity to ride the melodic dynamics and mix in the gnarling hard rock vocals leading them into an anthem-clapping build to a bridge breakdown, exploding into a power-vocal last chorus. Everyone had a fist- pumping hand in the air. They started their next song, “Same Old Trip,” off their newly released album, Hats Off to the Bull. It sounded just like the album, but in real-time surround sound. “Closure” was the next song to follow (this is one of their slower songs). The harmony swells were enchanting and their performance was absolutely moving. Chevelle said a few checking-in words to the audience and jammed into another tune. The vocals were just outstanding. No matter what groove each song started as, a clever breakdown to highlight a specific instrument or band member always stirred it up. Each member pulled some great solos. There are no extra gimmicks or tricks to their show. It’s just lights, good sound and performance that were all enough to be completely engaging.

The next song they played was “I Get It,” which was a favorite of the night. It had everything anyone would look for in a song and a performance: harmonies, vocal sweetness, growls of passion and a driving beat. Next was “Piñata,” off the new album, and Chevelle performed it with mic effects and added harmonies that made it sound haunting. The lights were also a highlight, once again, creating shadows of the band members onto the red and black backdrop boosting up the ethereal feel. “Send the Pain Below” followed and Peter got the crowd to sing along. It was like a breezy chant across the packed audience. All hands shot in the air with applause at the end.

Chevelle gave thanks and cleared the stage. After two full minutes of relentless encore cheers, Pete walked back onstage with his guitar to sing a solo version of “The Red” under half-raised house lights. Half way through the first verse, Dean walked on with his bass making the crowd go wild again. Sam followed right behind and the two took their places just in time to join in at the perfect moment of the song, turning the whole place back into a red-hot rock and roll concert. Lights went out again and Chevelle played on as silhouettes with a red, lingering glow on their backdrop. They closed out the night with “Face To The Floor” as their second encore song.

That night, the three boys from Chevelle gave Club Nokia concert-goers a show to remember.

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Enter Shikari Photos by Nicolas Bates Written by Dan Sinclair

Waiting for Enter Shikari to…well, enter, I scan the crowded Glass House and venture a guess that the median age in attendance is sixteen. Nothing like a hardcore show to make a writer feel old. But before I have time to reminisce on my youth, the lights go down and the upside-down triangle hanging at the back of the stage starts to generate various flashing colors like an oversized and much pointier Simon Says toy.

Enter Shikari’s Chris Batten mans the bass to the stage’s far right and Liam “Rory” Clewlow wields his axe to the left. The drummer is not Rob Rolfe (who is back in London still waiting on a visa), but some shirtless dude with lots of tattoos. Finally, frontman Rou Reynolds speaks to us over a building electronic beat: “There was a house in a field on a side of a cliff…” The crowd recognizes the lyrics from “System” and that gets them moving and chanting along. Rou will not only be singing tonight but running the electronics, playing keyboard and a little acoustic guitar, as well as screaming as loud and as bold as his small frame will allow him.

The music becomes more aggressive and the energy mounts and heads for an explosion when the song switches over to “Meltdown.” Rou screams, “This is going to change everything!” The kids go wild, moving erratically in an excellent display of organized chaos. Every fist pump from Rou is matched by every fan in attendance and all seem to know every word he yells or serenades them with. Enter Shikari isn’t your everyday, run-of-the-mill band. Their sound is a combination of melody, anarchy, adrenaline, anger and hope, all backed with rock music and dance beats simultaneously. Throughout the night they play a nice mix of new and old tracks.

During “Gandhi, Mate, Gandhi” the crowd mirrors every “Fuck you” and middle finger Rou throws at them.

The strobe lights start during this song and are nearly blinding. Before I look away, I manage to catch a glimpse of a fan getting launched high into the air, seemingly flying in slow motion due to the flickering light.

Rou apologizes to his loyal followers for any phlegm that may travel from the back of his throat to the front rows, but judging by the reaction of the sweaty devotees thrashing around in joy below him, no apology seems necessary—in fact, they were probably all fighting over each drop spewed. Fan interaction is a big part of Enter Shikari, as displayed by the “human pyramids” (where kids climb on top of each other in honor of world unity) Rou asks for during “Sorry You’re Not a Winner” and the large space created on the middle of the floor during “Mothership,” where the crowd displays their best dance moves and thrash hard into one another—none feeling an ounce of pain. Rou runs through the crowd to sing the chorus of “Hello Tyrannosaurus, Meet Tyrannicide” from atop a gate on the other side of the building. Rory also leaves the stage at one point, diving into the crowd after displaying some nifty dance moves. They don’t let him down and return him safely back to finish the song without him ever hitting the ground.

They blow a fuse before they can get “Destabilise” going, but the band laughs it off and continues to go strong once it’s fixed. It would have been the best performance of the night had they not played my personal favorite, “Juggernauts,” only a few songs later. The older of the two songs is the perfect example of all the different things Enter Shikari does best: shifting from melody to power to noise to dance music and all back over again effortlessly, almost bringing the entire house down in the process.

By the end of the night, the kids got the sweaty, loud fun they wanted as the band they came to see didn’t disappoint in the least. Here’s a tip for all of you first-time potential Enter Shikari concert-goers: drink lots of water and go on a very good night’s rest or you may get eaten alive by angry, hardcore-crazed teenagers.

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LA Dispute Photos by Nicolas Bates Written by Katie J. Norris

Singer Jordan Dreyer knows how to open a set: full of energy and passionately intense lyrics screamed into a mic. And Brad Vander Lugt’s drumming style is so slick it’s hard to take eyes off him, as he skillfully switches between a hard rock rhythm and a fast punk pulse. Lugt is completely focused and plays in present time with everyone else in the band, which makes for a performance that isn’t dry or repetitive. The chord progressions used are melodic and moving, while Dreyer’s poetically talked/ screamed vocals run alongside in a twisted parallel, making it rock and roll you can bob your head to or thrash your body to.

A handful of crowd surfers ride the “crowd wave” toward the stage by the time the second song hits the chorus. The room is packed and hot and stinky and no one seems to care about any of that. More fearless fans hop onto the crowd to surf and ride through the tunes. The band is totally chill about the slight self-inflicting body damage that’s happening before them, and they continue to play their hearts out like everyone in the room is existing in one moment together. This venue is the Center for the Arts in Eagle Rock, and Dreyer announces his absolute appreciation for venues like this and how they aid the community. La Dispute has been touring for four and a half years now, and yet Dreyer still knows not only what town he’s in, but what the mission of the venue is. They are definitely out to make a difference with good music for a cause they’re enthusiastic about.

Guitarists Chad Sterenberg and Kevin Whittemore are solid on their intricate parts with their quick finger runs. The attention the band has put into the song structure details really impress. The melodies are fun and clever and create a good balance with each other. Every note seems purposeful and polished, as opposed to just playing improvised solos. Even the dynamics are well rehearsed. The third song in their set is “Number 11 (I See Everything)”off their album Wildlife. This is an instant favorite! The guitar melodies are absolutely fantastic! The guitar line becomes the ‘singing’ of the song and the vocals are the lyrical and rhythmic constants. It’s a unique choice that everyone totally digs. This song is such a hit that the crowd surfers who are still riding the waves of hands are let back down because there is the creation of an all-out mosh pit churning up in the center; the likes of which I haven’t seen since the late nineties. The entire middle of the crowd joins in creating a growing hurricane of wild body movements.

La Dispute played songs across the span of their career, some off their brand new album, and some from their first EP. With a lot of speak-singing in every song, it’s kind of incredible that the audience knows most all of the lyrics to every single song in perfect time.

Dreyer announced their next song, “Andria,” which had the audience erupting in cheers again. The song opens up with a spoken word intro and leads into a hyper-speed spoken/sung first verse.

Everyone knew EVERY word and that, in and of itself, was quite the sound spectacle.

La Disputes’ writing and music is good all on its own, and the stylized vocals and intricate lyrics make for a new slice of the hardcore/screamo genre. They are original and have incredibly dedicated fans.

The five musician friends are genuinel people on stage and it’s enjoyable to watch them connect with their fans and see their fans connect right back with them.

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Tiffany

Luu Photography by Andrew Gates Make-up & hair by Brooke Hill

T

iffany Luu’s exotic look comes from her mix of being Taiwanese, Thai and Vietnamese. Luu was born in Washington D.C. and raised in Maryland, but moved to New York City where she was introduced to Bobby Dash, Damon Dash’s brother. Soon after the chance meeting with Bobby, Tiffany signed with a model agency and booked her very first music video shoot. After gaining much exposure from the video shoot, her career caught fire and she has been working non-stop shooting magazines, fashion spreads and music videos. She is also working on a mix-tape and hopes to release it soon. Keep an eye on your TV screen as this one blazes her trail!

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THE STATS Birthday: July 11 Zodiac Sign: Cancer Measurements: 32C-23-34 Height: 5’ 3” Weight: 106 lb.

Ethnicity: Taiwanese, Thai and Vietnamese Hometown: Washington D.C. Turn Ons: Funny, tall, nice lips, and has a great smell.

Turn Offs: Guys who say, “HEY YOU!” or hun, babe and sweetheart. Only if we were an official couple could he get away with it.

Ideal first date: Somewhere outdoors by the water.

Guilty Pleasure: Eating fried foods.

Pet Peeves: Wearing shoes in the house.

Celebrity Pass: Mark Sanchez.

See more of Tiffany at Twitter.com/TiffanyLuu

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Antoinette

Amor

Photography by Andrew Gates Make-up & hair by Inara Akin

A

ntoinette Amor was born and raised in Lima, Peru. At age 15 she moved to California where she joined her high school dance team. Antoinette always knew she wanted to be a part of the fashion world so she joined FIDM in Los Angeles, CA. While attending school, she quickly realized she had more of a passion for modeling and left FIDM after one year. Antoinette’s modeling career began shortly after leaving school when a friend asked her to help out on a fashion show as a runway model—she fell in love and hasn’t looked back since. Currently, she can be seen in a variety of music videos and as a promotional model for Ford, Patron and Courvoisier. Antoinette has many goals and would eventually love to be recognized as a host, print and TV personality. Our money’s on this one dancing all the way to the bank.

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THE STATS Birthday: March 28 Zodiac Sign: Aries Measurements: 34C-26-39 Height: 5’ 7” Weight: 130 lb.

Ethnicity: Latin/Peruvian Hometown: Lima, Peru Turn Ons: Confidence, and for a man to take charge but also acknowledge and respect my input. Oh, and good cologne.

Turn Offs: Cockiness, people that brag, bad hygiene.

Ideal first date: I would love to be surprised!

For him to just say, “Be ready at this time and I’ll take care of the rest,” then just like that, blow me away.

Guilty Pleasure: Pastries! I love cheesecake, pies, crepes, etc.

Pet Peeves: I hate waiting.

Unfortunately, I dont have patience.

Celebrity Pass: Boris Kodjoe, Brian White and VinDiesel.

See more of Antoinette at Twitter.com/Antoinette_Amor

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Sands of Time Written by Jesse Seilhan

We live in a time where videogames are no longer defined by the disc they are printed on, the box art created to entice a sell, and the standard industry price-point from which a quality judgment can be made. The rise of digital distribution and services such as XBOX Live Arcade and the PlayStation Network have shown that excellent games can be made and sold to fans for a much smaller price, but sometimes that price is exactly right for a game of a limited size and scope. With Journey, Sony has potentially found their killer app on their modest download service. If this game was printed on a disc and sold for $60 retail, it would be a failure, but the quirky exploration game fits perfectly on your PS3 dashboard and will probably get more attention than whatever mindless sequel you just picked up on disc.

The true beauty of this game is its premise: the journey. A religious mecca that your character is constantly moving toward is a theme never successfully developed in modern gaming.

The rest of it (graphics, gameplay, sound) compliment this central thought, but without that theme of discovery and triumph, Journey would cease to be relevant. If you are familiar with thatgamecompany’s prior work (Flow and Flower), then you are probably comfortable with a lack of obvious narrative and letting your instinct and emotion guide your hand. This is most obvious in the game’s unique multiplayer component: anonymous matchmaking. Instead of going through multiplayer lobbies or friend’s lists, the game seamlessly drops people into your world (or you into theirs) for you to interact with and solve puzzles together. You can never talk to them, type messages, or even see what their gamertag is. Instead, when the game is over, you are given a list of other explorers that crossed your path over the three-hour experience.

This adds a whole layer of mystery and discovery to a game already dripping with style.

Graphically, the game is strikingly beautiful. When designers pick just a few aesthetics to focus on, wonders can be achieved. In this case, sand is the main vehicle through which the player navigates. Sand acts as a ramp, getting you from Point A to Point B but then can instantly act as a wall or disorienting blizzard, if the game needs such a moment. Basic game techniques such as jumping and platforming exist solely to move you through this sprawling desert. If there was a single complaint I could make, it is that I want more of it. Second and third playthroughs are recommended just to see every inch of this vast world, but once every nook and cranny has been discovered, there is little else to do. If you own a PlayStation 3 and have any reservations about buying this game, remove them from your mind and begin your journey: you will not regret it.

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