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The Copenhagen’s Cone Issue



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Welcome to Issue 8

A somewhat mixed up reverie of

deviance, free love and art

wrapped up in a little hint of warped madness.

So many fantastic people are adorning this issue with their magnificent talents, the

likes of which I am more than proud to be working with. Photographer Adam Robertson shares his exclusive set In Bed with Adreena, Gretchen Heinel makes a comeback with her unique perception of the occult along with the wonderful Mia and Justice Howard shows us how Hollywood’s done. Not forgetting fantastic models, Kely Suicide, Moniasse and Andariel.

We also review VLF’s new feature No Vaseline, Rich shares his usual foray into the

underworld of fetish life with his take on the scat community while Brittany shares her love of asphyxia. Alexander was lucky enough to interview the fabulous Bobby Rhodes and I am so pleased to announce that we are joined by a new features writer, Gregory Hadley who we wish a very warm welcome.

Big hugs and lots of love to all our readers and I hope you enjoy this issue as much

as I do.

Carmin Conner [editor-in-chief]

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JG [ Design Director ] Having worked in the publishing industry for a number of years JG is also a highly accomplished erotic photographer specialising in the most intimate aspects of a woman’s sexuality. His fine art monologue, Intimidad, was released in September 2012. AMW Conner [ Fiction Writer ] Currently residing in Scotland he has mostly been influenced by the lyrics of UB40, Breakcore, violence and HP Lovecraft. Ivory Madonna dying in the dust. Waiting for the manna coming from the west. Barren is her bosom, empty as her eyes. Death a certain harvest scattered from the skies. Rich Saunders [ Fetish Writer ] Based in the south of England, Rich has interviewed the biggest names in the modelling/ alternative world from Bianca Beauchamp to the editor of Bizarre. Joining the SKIN team he’s covered the fetish scene from the sex doll industry to interviewing Ed Fox on his foot fetish and covering the fetish Olympics. Brittany Ann Selditch [ Features Writer ] Starting as a pro Dominatrix at a Midtown dungeon as ‘Mistress Hayden’, Brittany began her long career as a connoisseur of all things depraved. She has written for The Village Voice, Avant Mag, Creme and Sugar, and SKIN Magazine.

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Carmin Conner [ Editor-in-Chief ] M o d e l , a u th o r, cri m i n o logy student. Enjoys all things horror, macabre, magickal, psychological and philosophical. Created SKIN in January 2012 and has fulfilled her dream of being surrounded by too many books to read. Hopes to maybe one day own more cats.

Gregory Hadley [ Book Critic ] Gregory Hadley is a professional writer living in the mountains of East Tennessee. He began writing as a child, his Horror-Humor fiction provoked panic from his religious relatives. Gregory spent time in several asylums, due to the graphic descriptions in his psycho stories. Gregory resorted to cannibalism during Operation Desert Storm, an experience he enjoyed. Gregory remains obsessed with masturbation and death and he is an avid fan of Death Metal music.

Alexander Davis [ Film Critic ] Born in Scotland. Enjoys horror movies and generally just terrible movies. Writes short stories while waiting for Cthulhu to awake. ph’nglui mglw’nafh Cthulhu R’lyeh wgah’nagl fhtagn


Editor’s Letter



Contributors 04 Contents 05 In Bed with Adreena


MIA the Macabre


Inside Club Rouge


In Wine We Find Dreams 42 Juice Up with Justice


Smoking 64 Moniasse 66 Kely Suicide


Helo Andariel Rose


Mistress Hayden


Rhodes 98 Book Reviews


Film Reviews


Thanks 110

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J O R D A N [issue 8]


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IN Bed with Adreena by Adam Robertson

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Model: Rika Therin [issue 8]


Model: Amanda Dawn

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Model: Mel Heflin

Photography for all photos: Mia Stacy for MonkeyisaGenius Photography Hair, Makeup/Body Painting: Mia Stacy Links to Artist’s work: Facebook: Tumblr: Website:

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Model: Rachel Towns

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Model: Lacey Drumheller

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Model: Rachel Towns

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Model: Rika Therin 8]

Model: Priscilla Sartor [issue 8]


INSIDE CLUB ROUGE by Carmin Conner

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The world of lapdancing has always elicited extreme opinions, ranging from themes of exploitation to female empowerment and everything in between. My own dismal 3 year foray into the stripping community seemed to have encompassed all the generic media stereotypes imaginable, coke dealing housedads, Eastern European girls being coerced and threatened upon their arrival to the UK with their passports promptly stolen. Wannabe ‘it’ girls chasing z list celebrities and footballers, women enjoying their sense of sexual power, girls who teased and pushed levels, Essex glamour models in white stilettos, underage schoolgirls and more background scenarios that read straight out of a Mario Puzo novel. (We’ll save them for another time)Then there was the cosmetic surgery, twenty one year olds blitzing their faces with Botox, endless botched, bargain boob jobs and identical rhinoplasties. In one club I worked in most girls’ role model was our house mum, around half a dozen dancers went to the same surgeon in order to get her exact nose. But apart from the obvious dubious characters that the media love to sensationalise, what about the rest of us? No one ever writes about the dancer who saved up all her money and got a law degree, or the girl who slogged away six nights a week to become a chartered accountant. At the end, there is no definitive stereotype of the traditional stripper. Dancers come in all forms of size, shape, weight, intelligence, morality and ethnic back30 [issue


ground and each girl has their own personal back story that has brought them to their chosen profession. Due to the cash in hand culture stripping endorses it is inevitable that the job will attract people at their most transient point in life. For many that is exciting and equals a sense of freedom but there are many sides to the stripping coin. I am pleased that at this moment in time there is a movement rumbling in Edinburgh’s stripping community. One that provokes an insight into the real personalities of the dancers and moves to show people how harmless the job should be and indeed could be if it were less stigmatised and explored by the general populace with a sense of positive realism rather than a solemn condemnation of only the negative aspects. It was because of this that I was initially contacted by my former boss, Alex, who is currently manager of Club Rouge, formerly the Sapphire Rooms which sits halfway up Lothian Road, not quite reaching the seedy heights of the Pubic Triangle (3 strip clubs that sit in a close triad of bargain nudity). Without a note of bias, the Sapphire Rooms was the most wonderful club I ever worked in. The management fair, the club itself comfortably decadent and the girls magnificent. I made close bonds with dancers that still linger years later. At the time I worked there the range of dancers was smallish but varied wildly in terms of persona, looks and daytime profession. Some girls solely stripped, like myself but there were also many students,

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No one ever writes about the dancer who saved up all her money and got a law degree, or the girl who slogged away six nights a week to become a chartered accountant. [issue 8]


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two journalists, a teacher, a fitness instructor, an actress and a stand-up comedian, just to name a few. It was a sad day when I decided I wouldn’t return and it wasn’t even because of the club itself but rather because of the my crippling depression that had been emerging over the last couple years mainly due to the copious amounts of free alcohol, late nights and constant socialising with obnoxious strangers that exhausted me. For me, it wasn’t the specific act of stripping that traumatised me it was the talking to customers with their endless, rude jokes, abhorrent disrespect and blatant disregard for me as a person. I didn’t feel like a person, I felt like a disposable commodity and some of the words directed to me as a teenager from customers 2/3 times my age still hurt deeply. I understand now though that those cruel jibes and insults were manifestations of their own unhappiness and coupled with alcohol, these men felt they could treat us the way they wish they could treat their own shortcomings. I walked out aged 20, yet I felt like a haggard and discarded, boozed up pensioner. 20 in lapdancing years is not that young, you’re not a teenager after all. I actually remember crying the night before my twentieth birthday because I wouldn’t be an attractive, sexy teenager anymore. (????) So, after five years of not having spoken to Alex I ventured back to Edinburgh to meet him with my husband. Since my last shift, the club had radically changed a more homely feel permeated the building and in the private area where we performed on a one to one basis sat hundreds of photos of the girls in sexy poses, funny scenarios and

a whole array of interpersonal sketches that showed the dancers out with their stripper personas. Besides them sat thousands of words printed on the walls, each piece of paper a true story of each dancer. Alex explained to me how he was trying to show the girls as real people with feelings and real lives and wanted to give the club a more personal, friendly and more respectful feel, almost that of a jovial, old speakeasy. He gestured to the windows where girls could sit and show themselves to the street but instead of presenting themselves as seductive spectacles, they held up placards that read phrases such as RESPECT OUR CHOICES and DO WE DESERVE TO BE JUDGED? He explained how this had come about as a form of protest in the wake of increasing disrespect and prejudice being heaved upon the community. Alex continued “When you worked here it was maybe 1 in 10 guys that demanded sex from you but now it’s more like 9 out of 10, the industry is becoming more unsafe and we’re now in the process of administering a zero tolerance policy.” He went on to explain of other clubs and the worrying behaviour that had been newly taking place. I was so pleased to hear that action was now being taken against abusive customers but I was also bewildered and saddened to hear of the downhill slope that was taking place in terms of lowering levels of safety and abuse the girls received, that alongside the sexual levels that I heard were being pushed in other clubs. Club Rouge dancer Sukki Singapora was inter[issue 8]


viewed for the Sunday Mail and the Daily Record and explains: “One performer per night is being sexually assaulted in Edinburgh, yet nothing is done. Dancers are being sexually molested. Inappropriate touching is a form of sexual assault. We also see biting, which is disgusting and abhorrent. Dancers should be protected. If this was happening to a woman on the street, would it be acceptable? No, it would immediately be reported to the police. Yet nothing is being done for these vulnerable women.” It was because of this shocking statistic that there are now calls to create a legal adult performers’ regulatory body within the industry, Alex explains: “The current “weak” enforcement process puts workers at risk. For so long, these things have just been brushed under the carpet, but this is an opportunity for the clubs to say that from now on, they’re going to work together for a better environment. What we want to do is to say to the Government that we know they have a concern but that we have a model of what we’re trying to achieve with this and we will work with them.” So what changes would this regulatory body implement? The bare minimum would be, panic buttons in all dance rooms, CCTV directed at dance areas at all times, taxis or another form of safe transport for workers, clean, secure changing facilities and a designated staff member to whom performers can report abuse and assaults. I asked a current Edinburgh dancer, Mina about her thoughts on the current state of the industry: “It is es36 [issue


timated that one dancer a night is assaulted in Edinburgh, do you think this is an accurate perception? Having been lap-dancing part time for the last five years, I would say that this is accurate more in terms of sexual assault or attempted sexual assault. The difference between this happening to a dancer and someone working in a more regulated profession would be that most dancers are prepared for such situations to arise and most dancers do know how to handle it if such a situation does arise – call for security, or charge them extra if you are that way inclined. Which I am not, just to clarify, but I have seen other girls do it before. When your place of work is an establishment that trades in the commodification of female bodies and the explicit selling of sexual fantasy, it seems difficult to avoid sexual assault. Especially when alcohol is involved and that can help blur the boundaries which otherwise would be relatively clear. This I find it a bit of a catch 22, because when the customers are sober they are less inclined to spend money and be comfortable enough in the presence of semi-naked women. When they drink, they are more inclined to spend money but less inclined to remember that boundaries do exist and they should be enforced. Any kinds of social change would require striking a balance between the two. Or just better security in such premises. So do you think lapdancing is exploitative in anyway? Regarding yourself or other dancers? This is a highly complex question which I find extremely difficult to answer. Exploitation of labour is something that happens in every workplace but even more so within lap-dancing, and it gets more publicity due to the cultural distaste for sexual exploitation in the current feminist debates. In a strip club, there are particular power relations which run between dancers and managers, and even more power relations between dancers and other dancers. Exploitation happens when dancers are not treated correctly by management which I always found to be considerably more distressing than a disrespectful customer. In popular conception, there seems to be two binaries in relation to the idea of exploitation in lap dancing. One is that the dancer is exploited by the customer who devalues her by paying her money in order to view her vagina for a brief couple of minutes. The other is that the customer

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is exploited by the dancer who obtains a large amount of money by showing her vagina for a period of time. Both views are true given the context they are viewed in but somehow, people find it difficult to combine the two views together. The act of exchanging a lap dance for money is an act of mutual exploitation by both dancer and customer, and if this was all that had happened during the exchange then both are mutually exploited. However, given personal experience, I find that the scales can tip either way depending on the context of exchange and the behaviour of both parties in relation to that exchange. For example, when a customer is drunk but polite, and has taken quite a shine to you out of the other girls in the club, and you know you can extract his entire bank account out of him, it is hard to say that the exploitation is mutual. However, when it has been a hard night, you have yet to make back your house fee and the club is closing in an hour, it is difficult to say no and maintain some kind of dignity towards the asshole who is drunk and rude but nevertheless offering you money. In this case, it is also hard to say that the amount of exploitation on both sides is also mutual. In the latter scenario, I would like to argue that the exploitation is not so much via the customer of the dancer as much as the management of the dancer. Management could offer some kind of compensation if the girl is having a bad night, but they normally [note normally, currently I work for good people] do not. People do not understand that customers come and go, but it is usually the management who hold the greatest power in terms of exploiting their workers.” And what are your thoughts on the safety measures to be implemented under the regulatory body, panic buttons etc…” It’s funny, because you would think that in contemporary society the rules states above would be necessarily implemented without fail, given that lap dancing is not an underground business and you may advertise for dancers in the job centre. However, this is not the case, though it definitely should be.” On this journey I was also extremely privileged to speak to Jannica Honey about her experiences within the stripping world. ‘Award-winning photographer Jannica, has extensive experience shooting a wide range of subjects in arts, fashion, travel, food and interiors. Her work has appeared in The Guardian, the LA Times, Aftenposten, Svenska Dagbladet, The Scotsman, Vogue, Dazed & Confused, Tank, and Gaffa, while also being one of the most prolific contributors to The List, shooting over 20 front covers. In addition to her print publications, Honey has exhibited several photo essays in the UK, France and 38 [issue


Sweden. In 2011 she spent two months photographing Edinburgh strippers, providing a candid and sensitive insight into a world rarely captured.’ She explains her earliest thoughts on nudity. “For a time, in the ‘80s, I’d collect porn in a shoebox. Nothing to do with a primal fix, just pure aesthetics. As a child, I was mesmerized by the naked bodies that stood out starkly against the soft focus lens and harsh back light. In view, there were basket chairs, body hair and sometimes that badly disguised milky white skin hue. For a photographer, it was the greatest screen show on earth. But by the mid ‘90s, these images had disappeared. Close shaven women, authentic tanned bodies, airbrushed eyes. Porn had become sterile and for this project, I wanted to reconnect with the women in the picture. I wanted to tell the story of all their lives. Photographing lap dancers felt like a natural process and it also connected with my first degree in anthropology.” She continues. “It started, like all the best friendships, with a bottle of wine. Several bottles of wine actually, consumed in the darkness of Sapphire Rooms, Edinburgh’s premier fantasy strip club. Pole dancers, lap dancers, performers and striptease models shared the extraordinary stories of their everyday existence with me, a Swedish photographer in Scotland, as I set out to document their lives. In a project spanning three months, I have curated an unflinchingly honest, sometimes beautiful, exhibition showcase that was debuted during the Edinburgh Fringe Festival 2011. I’m not interested in ‘happy’ or ‘sad’ stereotypes. For me, the women in my photographs, all of whom work at The Sapphire Rooms, are just a diverse, compelling group of women I got to know. Strippers come from all different walks of life. In the end of the project I considered stripping, only for one night, myself. I wanted the experience. I thought it would be without difficulty since I had been obsessed with being naked since childhood, since I worked as a still life model and I have always been in touch with my own “inner stripper”. After of week of thinking about it, I bailed out. I spent the last decade recon-

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necting with myself and I felt like I would have to ‘switch off’ and objectify myself and the customer in order to last the night. The thought of “switching off” to survive the night alarmed me. It made me wonder, if you repeatedly disconnect, will you be able to switch back on when your shift is over?” Jannica and Mina’s thoughts certainly mirrored my own, the complex power relations with the endless misconceptions but most importantly, the effects on the psyche. The times when you have to “switch off”, actually disengage yourself from your emotions just to tolerate the experience you’re having. I can only be ecstatic about the measures being taken to ensure the safety of dancers, hopefully making the community light years removed from the one in which I worked. However, there are still many hurdles to jump in order to make the dancing world do a 360. In a world with less stigma and mindless judgement lapdancing clubs wouldn’t have this sense of extreme taboo that seems to attract less than savoury characters searching for forbidden fruit. In such a world the dancers would be free to earn and express themselves without all the mindful clutter that can accumulate. To round up, I asked Mina how she would like to see people’s opinions change on stripping. “I guess I would really like people, society, culture, and especially those big-mouthed, opinionated, so40 [issue


called feminists to take a step back and appreciate that the entire situation is not completely black and white. Stop tarring all lap dancers with the same brush of exploitation or empowerment. Like every other social issue, it is something which is hugely three dimensional and a lot of the issues which come with it are deeply intertwined in other aspects of society. But this is on the big scale. On the smaller scale I guess I would quite enjoy not having other people’s views prescribed on what I do and why I do it. Those are questions for me to ask myself and it is difficult enough without other people extrapolating from my situation in order to broadcast their own views of social corruption.” Please check out more of Jannica’s photography at and especially her exhibition of her Club Rouge work: Mina also writes a blog dictating her earlier lapdancing experiences, a stark and realist take on teenagers in an alien world: Many thanks to Alex, Mina and of course Jannica for her beautiful photographs. If you’re a dancer yourself and would like to share your experiences or you’d just like to voice your opinion on this article, feel free to e mail us at

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Wine Dreams

In we find coming upon us. Stylist: Dorothy Johanna Schmidt Models: Molly Ace and Amanda Haines Photographer: Gretchen Heinel

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Jus h tic e

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Quoted as knowing cool before cool by Studio 54, Justice Howard is la creme de la creme of erotic photography and her CV boasts such stratospheric names as Playboy, Dave Navarro, Clive Barker and Mamie Van Doren. Lucky for us, she has ever so kindly given us the mighty privilege of exclusively featuring never before seen shots of her visceral fetish work including a much appreciated sombre hint of the macabre. Justice, reading through your list of clients is like a who’s who of the most fabulous people on earth, your photography having reached the highest accolades imaginable. Can you tell us a bit about the girl behind the images? And what sparked your love for photography? As a teenager and younger I always had images floating around in my head, so much so in fact, that at one point I was convinced that I was becoming schizophrenic, because I had a sister who actually WAS schizophrenic. Now it seems that all of this imagery was the inherent building blocks for what would later become ‘my art’. Some establishments have incorporated your work within their walls, for example the Lord Balfour Hotel graces your work in 64 rooms and throughout the building, even down to the rugs in the hallway. The Tattoo Bar in Washington also boasts your work. How did it come about to show your work in such an unconventional way and how does it feel to see your shots as a 30 foot mural? The only thing I can really take credit for is doing the artwork. Alessandro Ferretti was the one who came up with the idea to utilize my artwork in the hotel as he was a fan of the work. And of course it is amazing to see it 20 feet high and 30 feet wide all over the hotel as well as having matching carpets created directly from the photographs themselves.

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Do you think great genius stems from a magnificent source of madness? In my case, most definitely so. My madness seems to be how my brain processes imagery and Im finding that my brain works very differently from everyone else’s. I have the gift of “previsualization”, which is seeing things in your head in fully executed and finished form before even doing them. Some artists just start to slap paint on a canvas and impulsively paint to get what they get, not knowing the outcome when they start. I see the finished product BEFORE I even do it, in my brainpan.

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A real autopsy room! First time I shot there I had all kinds of stuff floating around on the digital files, that showed up randomly on the film. [issue 8]


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I never look at the stuff PEOPLE ARE DOING. I look at the stuff that PEOPLE AREN’T DOING. Where do you draw your inspiration from? Basically it’s just all of the strangeness that is constantly rattling around in my eccentric brainpan. I am constantly seeing imagery. I am bombarded with it. In my dreams, during the daytime, when I’m relaxed, when I’m stressed and even when I’m jacking off. So basically 97% of the time I have imagery rolling around in my head in one form or another. Being visual in this manner is most generally a male trait, so I am told, so it is odd that I have it. When you were starting out what did you bestow to be the highest achievement in photography? And how do you feel about that looking back? My biggest goal used to be having one successful gallery show. My last three gallery shows were closed down by the police due to overcapacity, so I guess that would designate a successful show as well as having sold over 50 pieces at each show. After having accomplished these goals however, I have had to set newer and higher goals. These new goals were to start showing my art in museums. I have shown in 4 museums worldwide in the past two year period. So now it seems I must set even higher goals. [issue 8]


Can you name some of your favorite subjects to photograph? I like people who are hella wild and very fierce. Who like to experiment creatively and push the boundaries of art with me. Marilyn Manson was a trip. Black Veil Brides were fun as I shot them in my friends autopsy room, yes a real one. I bonded with Dick Dale. Waylon Jennings was also memorable. I have a couple of galpals who are very fierce that i love to create with. Malice is awesome. Dejah Garcia also. The closer the bond with the subject the better the shots will be, or at least that’s what I have found to be true. A real autopsy room! That’s incredible, how did you get access? I may need to take tips haha Well I have a friend that used to be the LA County Coroner. He now has a private autopsy facility and he is gracious enough to let me shoot on the premises. so its one of those “who

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Don’t just pick up the camera and call yourself a photographer. That’s like picking up a scalpel and calling yourself a surgeon.

you know” deals. First time I shot there I had all kinds of stuff floating around on the digital files, that showed up randomly on the film. Shadow spots, ghosting, dark cloudy spots, etc etc. so there was a lot going on in the room and I could feel it too when we were there. Is there still that elusive person that you still need to shoot? Tom Waits. Without a doubt. If I photographed him I would then retire. Danny Clinch is his shooter though. He’s in really good hands with Clinch and Danny Clinch is certainly one of my photo heroes also. 60 [issue


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How do you stay continually inspired and able to create such an impressive body of work time and time again? I never look at the stuff PEOPLE ARE DOING. I look at the stuff that PEOPLE AREN’T DOING. and then I choose to do that. Cause why would I want to replicate something that has already been done to death? Things that have been replicated over and over do not interest me. I wont even do something that I’ve done before, I’m already on to something else, something new and different. Do you have any advice for budding photographers? My advice would be don’t just pick up the camera and call yourself a photographer. That’s like picking up a scalpel and calling yourself a surgeon. You have to study your craft to be a master at it. Learn about exposure, composition, lighting ratios, calibration etc. etc. do an apprenticeship, do everything you can to garner the highest amount of knowledge in the field of photographics. And for God’s sake please learn about lighting as it is THE most important thing ever.

Head to WWW.JUSTICEHOWARD.COM to see more of her fantastic work. [issue 8]


That sombre child, it sits on the floor. It waits for you.. Watches the smoke as it lingers. Misses your hair, the years pass as it yellows, The etched, brown stains set deep in your fingers. It rests his head... on the chipped, wooden door. Your crooked, beige teeth a testament to addiction. The smoke now fades to an airborne stain, Your clogged, black lungs, an abominable affliction. That lonely child... now down on the floor, Traces the lines by your glazed, steel eyes. The eyes won’t open, they won’t dance anymore, That child lays down to watch... as your spirit flies.




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Salleh Sparrow Photography 67 [issue 8]

Welcome to SKIN magazine Moniasse, it’s wonderful to have you, how are you doing? I am very well thank you. It’s fitting you’re a featured guest in SKIN magazine, as your skin is a source a great intrigue and some beautiful artistic expression. First of all, could you tell our readers a little more about yourself, and how you became the agency represented model that delights us today? What can I say about myself? Not that much… I guess I’ll start with the basics. My birth name is Laurence Sessou, when I was 14 years old my big brother started calling me Moniasse. Don’t ask me what it means, I don’t know but when I started modelling I decided to use it as my trade name. I have been a self employed therapist (Bodywork, Neuromuscular therapy and more…) for the past 8 years; I am enjoying a busy practise in Waterloo and London Bridge. I like to think that I am a simple person (though my friends and family would probably laugh at this idea), being around my family and good food make me happy. I don’t go out socialising much, I don’t have many friends, I enjoy my own company, I Love silence as much as music… I talk little unless I feel I have something of importance to say… Hanging out in a cafe with a hot chocolate, a book or my laptop or a walk in the forest is my kind of perfect way to chill out. I meditate and enjoy Bikram yoga (at least 5 times a week). The idea of modelling sprouted while I was travelling to Mexico, I was having such an amazing time there, often random people would want to take pictures of me or with me, my friends were joking saying I should start charging for this, ‘you’d make good money here!’ they use to say. Or maybe you should start modelling… I was thinking no way, I am far too old for that, but then I thought; stop putting boundaries around yourself and be open to new opportunities. It would be fun, I’d have the opportunity to explore my creativity and most importantly, I could do it my way; nobody looks like me so it could be a plus. So I did my first ever professional photo shoot in Cancun (Mexico) with Carrots Photography, I was surprised at how good the pictures came out. I was returning to London soon so I started checking out agencies and Dark Arts seemed to be the one I should go for. 68 [issue


About a week after I got back from Mexico, I approached Asha Tank via Facebook and I was part of the team. Your portfolio is a carnival of wonderful imagery and artistic flair. What inspires you as a model, what moves you to produce such stellar work? Ha-ha! Thank you! I am a dreamer; I’ve always been since I was a little girl. I fantasise about a lot of things including how I could look and what I could be, and then I try to recreate it. I am also happy to help create somebody else’s fantasy if it appeals to me.

Salleh Sparrow Photography

SKIN magazine proudly presents this introduction to an extraordinary model. The miraculous Moniasse is a talent with a depth behind her work that is unparalleled. A spiritual and beautiful person whose images wonderfully reflect her personal inspirations and influences. I’m honoured to be able to bring this piece to our audience, and spread the fantastic message inherent in everything this lady does.

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Lauren-Becki Rowlands Photography

You’re a multilingual and multifaceted lady, with a look that seems to be informed by many different cultures. Is travel and experiencing different environments something that is important to you and your work? I’ve always been fascinated by languages at school, the different sounds and rhythms of a language amazes me. If I had one skill I could pick and use instantly, it would be to be able to speak all languages. I am well travelled and I think it has hugely influenced my style but also the person that I am. Travelling has transformed my life because of the wonderful experiences and special characters I have met along the way. I intend to travel more in the near future for sure. Your body is a strong weapon in your modelling arsenal, not only due to your modifications. You’ve got a talent for utilising your body to project a number of very different emotions and messages. Are you conscious of how you use your body in your work, and do you consider it as important as your beautiful facial features? I have done African dance most of my life and use to perform a lot when I was a teenager, so I know how to use my body well. I kind of needed to put myself into a different character depending on choreographies, so I guess moving with a flow is like second nature for me. I try to flow as much as possible while on a shoot. Trust me it is not always easy to look natural and flawless when someone has a camera right in front of you. The less I think, the more I flow, the less tension on my face and then all is well. It all works together you can’t separate anything.

I’ve always been fascinated by languages at school, the different sounds and rhythms of a language amazes me.

Your modifications are a glorious feature to your work, and something I’d love to focus on now if we may. You exhibit examples of incredible ink, as well as scarification work. Could I ask what your relationship is with both art forms? It sounds a bit cliché but I’ve always been fascinated by body art. I had my first tattoo when I was 21, 2 little Ankh on each wrist, something very small but significant to me the ‘Ankh’ is the sacred Egyptian key of life, I loved that, I had it done in London. Then I went to Thailand in 2005 and had a pathetic little African fairy on my right shoulder, I say pathetic because a few years later I’d lost [issue 8]


I was going through a lot of changes at the time, the young woman looking for herself was becoming wild, very wild, her spirit needed to be free… a lot of weight and we couldn’t even see her face anymore it was so small! I was looking to have something specific done on my body that had a strong meaning but had not had it right yet. Then I travelled to Mexico and met Sanya Youalli Olman and that was it. After meeting her I knew I was going to have lots more tattoos done, so I had my first biggish tattoo with her in the middle of the jungle in Palenque (Mexico). When I return to London I found Touka Voodoo at the Divine Canvas studio, he worked on my right arm and did the cover up of the sad African fairy! That is where I also met Iestyn Fly, who specialises in piercing and scarification… I remember Iestyn offering to scar my skin, he told me he had never worked on black skin before even though the art is mainly coming from African land. I was horrified and told him he would ‘never’ cut my body! I was going through a lot of changes at the time, the young woman looking for herself was becoming wild, very wild, her spirit needed to be free… My spiritual practice was becoming more important and became integral to my lifestyle. About a year after Touka did my arm, I had the idea of having certain symbols tattooed on my back, I knew what the symbols would be, I wasn’t sure how the design was going to work. That is when the idea of the scarification popped in my head. I went to the studio, spoke with Iestyn, discussed the design: The cross in the middle is ‘the Chakana’ sacred cross where the fire of life burns, the 4 arrows around it represents the 4 nations and 4 directions, flowers symbolises beauty and femininity, spiral symbolises infinity and dots for their simplicity and how lovely they look. I often say that I carry my dream on my back; the four nations enjoying the fire of life together in the four corners of the globe, in beauty and harmony with each other, with nature... So to answer your question, yes this scarification has a profound spiritual meaning to me. It represents my spiritual path as well as my African roots… My mum has scarification on her temples representing the tribe she comes from. So I grew up understanding what scaring your skin meant on some level.  72 [issue


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Tattoos are a medium with which I am very well acquainted, but it’s your scarification work that I’d love to know more about. There are many connotations inherent in scarification. What exactly played a part in your decision to pursue scarification as a mode of expression Moniasse? Initially it was a form of expression and gratitude to my roots and my spiritual practice. I see the scarification process as a ritual; it was like a self inflicted initiation. It is one of the most ancient ways of marking your skin, in some African tribes for women having scarification was a way to show their eagerness to tolerate pain, an indication of their emotional maturity and willingness to bear children. For men in the East Sepik province of New Guinea for example, it is a way of testing and introducing adolescents into manhood. Whatever the reason behind a scar I truly believe that it transforms you physically as well as emotionally.  It was a beautiful experience for me; I’m still enjoying the effects of it today and probably for the rest of my life. I honestly didn’t think it was going to raise that much, the idea was to have a beautiful, meaningful, discreet design on my back and it turned out its own way. Could you explain the process of scarification for our readers please? The technique used for my scarification was cutting with a scalpel. Iestyn did a first superficial cut then put some anaesthetic and then went over it deeper. The dotted spirals and flowers had some skin removed. My roots are from the West African Republic of Benin. My Grandfather was a spiritual healer (call him a ‘Shaman’ if you want), my Grandmothers on my Mum and Dad sides where shamanic dancers. My Mum’s scar represents her tribe, my Dad’s family scar symbolise their bloodline (chiefs and healers). Animism is the path they followed, they believed in life and energy in everything, they have a great respect for the Earth and worship their ancestors. I grew up seeing my Mum and Dad knelling on the floor, bowing and praying to their altar. I wouldn’t be the person I am today without my ancestry, I am very proud of it. It is in my blood. I will carry on with these practices and hopefully pass it on to the next generations.

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The reasons why I had it done are so profound, I don’t expect everyone to understand.

Could you also tell us about the recovery period after getting your scarification Moniasse? I need to clean the scar twice a day and wrap it up in cling film for a week, then it needed to be moisturised everyday. Once the scabs come off and the scar starts to raise, that is very challenging, it itches like hell! Imagine 500 mosquito bites on your back; I couldn’t sleep on my back for over 7 months. The results are particularly striking, and the art form divides opinion for sure. What kind of reactions have you had to your work? Not so bad… I’d say the first reaction is generally a huge shock! Often people like it and instantly want to ask questions and touch it… It is quite funny actually… I’ve never had anyone saying to my face they didn’t like it, apart from my sister, she can barely look at it, she thinks it’s awful! I’ve seen some comments online that were not very nice but either way it doesn’t bother me that much. The reasons why I had it done are so profound, I don’t expect everyone to understand. It is my journey at the end of the day. Is there a similar addictiveness to scarification work as there is associated with getting tattoos? Do you think you’ll get more done in the future? I don’t think they are comparable no. The after care of a scar is very intense, well depending on where you have it I guess. Will I have more? I don’t know. I remember after having my back done saying I won’t do it again and then I had my chest done. I was paid for it though this time, Iestyn was approached by Nick knight, he wanted him to perform a scarification on a black boy for a music video, Iestyn told him he didn’t know of a black boy who would do it but he knew a girl that might be interested, it was me. When we asked who the artist was we were told we needed to wait, it was highly confidential. A couple of days before the shoot we were told it was for Kanye

Elle Jepson Photography [issue 8]


Elle Jepson Photography

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I’ve had photographers refusing to work with me several times because they didn’t think they would know what to do with me, with my look.

West’s new video! We did it, it went very well and of course they didn’t use what we did for the video but I have a beautiful scar on my chest, and working with Nick Knight is every models dream. I’m happy for the experience of the day, it was great fun! If I get paid to do it I’ll probably consider doing it again. How, if at all, has your modelling work been affected by your scarification body art? It’s such a powerful statement, are there ever any fears that your scarification might take focus away from the overall image you’re trying to achieve? I wasn’t modelling before the scars and tattoos so I don’t know; this is how I am known as a model (with tattoos and scars). I’ve had photographers refusing to work with me several times because they didn’t think they would know what to do with me, with my look. It makes me laugh because all they see is the scar, male photographers particularly. I mainly work with female photographers for some reason. I have one photographer in particular I really enjoy working with: Salleh Sparrow; she is amazingly creative, the thing I like about her when we work together is that she never focuses on the scars; in fact she never took a picture of it! We’ve done some edgy to editorial fashion photo shoots without a problem. I think it is a risk to take when you decide to be so bold with body art, it is a very powerful statement and I live up to it. I don’t do normal stuff, I always aim for the extraordinary, I am an extreme character so when I meet creative people that can see the whole picture and be as mad as I am, then magic happens. 

Elle Jepson Photography

What are the most common misconceptions about you as a result of your scarification work? Often people ask me if it was my choice or if it was done from when I was little. I’ve had people telling me they though I was self-righteous and above everyone else, and that is without having sharing one single word with me. Some see it as self-harm, some people think I am just crazy or an attention seeker. My father though I was part of a cult for a while and was worried, he is ok now! My sister hates it, she cannot even look at it. But I’d say most of the time in the street, the general public like it; they think it looks beautiful and different.

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What would you advise people who are thinking about getting scarification work done? Part of me would like to say think very carefully about the design you want to do just like for a tattoo. I feel it has to mean something to you to some extent… Think about ‘why’ you want to do it. Do you trust the artist that is going to perform on you? The only thing I would advise people is not to think too much about the pain. I can only share my experience of how I’ve dealt with it, if I’d focused on it I would have never been able to handle it. I literally had to transcend (like an out of body experience), the less you focus on the pain the better. I think often people get confused and think that scarification is the next level to go after tattoos. I don’t think that is true, scarification is another art form, a challenging one. I wouldn’t recommend anyone to have a scar done if they don’t feel connected to the art form. Back to your modelling now Moniasse, and can I ask what projects you’re working on at the moment? Where might supporters be able to see you next? It has been very busy lately. I am about to be featured in 3 different magazines, 1 in Poland and 2 in England, 1 book in Germany and the most exciting event this year is having my sculpture done by Marc Quinn. I was approached by the man himself at the London tattoo Convention. Feeling blessed and chuffed at the same time… What a beautiful way to be immortalised. What are your goals and ambitions as we come to the end of 2013 and enter 2014? I like to think that I am always working toward being a better human being each day, each second, each moment… Enjoying life to the fullest, being loving and creative, travelling… Developing my relationship with nature. I am receiving lovely message from people from all over the world and what often come from them is the word ‘inspiration’… I would like to keep being an inspiration for people that follow my work, ‘dare to be different

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and extraordinary,’ that’s my motto. I haven’t done any high-fashion work yet, and the designer I’ll always dream to work with is Jean-Paul Gaultier, I love his work, I love him, he is extraordinary. Finally, as a guest of SKIN magazine; a publication that embraces the unique and creative individuals of this world. Have you got a message for our rambunctious readers and fellow seekers of esoteric truth?

Keep creating, keep loving, follow your heart… Dare to be...

Salleh Sparrow Photography

[issue 8]



Kely Hi Kely! Can you tell us a bit about yourself? Where are you from and what you do? Well, I’m originally from NY. I lived on Long Island for most of my life and went to college at NYU in NYC. I moved to Florida in 2009 and so far so good. My degrees are in HR and business and I work full time for a Fortune 500 company with HQ in NY, but I work from home and only travel to NY once a month or so. Wow, that sounds incredible, beauty, brains and an amazing lifestyle. So how did you get into modelling? I’m good friends with Jordan Skye who is just the sexiest alternative model in the world. She inspired me to give it a try and when her friend and photographer, Hugo V was in Orlando I jumped at the chance to shoot with him. That led to a Model Mayhem profile and from there I started doing shoots with various photographers for the Suicide Girls website and other projects.

Ah cool! The clandestine Suicide Girls phenomenon, how does it feel to be part of such an infamous and feisty community? It’s a great community full of beautiful girls. Many of the girls on the site have lots of tattoos and piercings, but contrary to popular belief that’s not a must to be on the site. It’s all about attitude. Even if you don’t want to model for the site, just joining and becoming a member lets you interact with everyone in different groups and on various boards and blogs. It’s like Facebook with hot naked chicks. 80 [issue


Stunning, fiercely intelligent and magnificently sexy, Kely chats to us about what it’s like to be part of the

Suicide Girls phenomenon, her two Yorkies and shares some advice to budding models.

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Actually I’m not a

typical girly girl.

Most of the time I’m in shorts and a t-shirt and don’t wear much makeup at all.

That sounds much better than Facebook! Haha Do you have any favourite Suicide Girls? Definitely better than Facebook! Favorite Suicide Girls is a long list, but at the top are Plum, Jennings (Long Island hottie!), and Katherine. If you haven’t seen the girl/girl set Katherine and Plum did together, I highly recommend it ;-) And what do you do just for fun? I spend a lot of time in the gym and I like doing Spin classes. I LOVE to eat, oh and I have 2 little Yorkies (Ben and Jerry) that keep me occupied. Aaw cute! In a total dream world, what would your ideal shoot entail? I like shooting with other girls a lot. Every now and then the Suicide Girls will do a big “shoot fest” where a bunch of girls and photographers show up and just act silly and sexy and shoot all day with each other. I’d love to be involved in one of those. That does sound amazing! What photographer/ models would you most like to hook up with at one of these? Hugo V is the most talented photographer out there right now in my opinion and I plan to shoot with him again in a few months when he comes back to Florida. Keith Selle is also amazing so I’d love to shoot with him some day. You have the most incredible figure! What do you do to stay in shape? Oh thank you! I still have some work to do, but really I just try to watch what I eat, and I spend at least an hour in the gym 5 or 6 times a week. 82 [issue


And what’s your beauty regime like? What products do you love the most? Actually I’m not a typical girly girl. Most of the time I’m in shorts and a t-shirt and don’t wear much makeup at all. But I do love anything from Bath and Body Works. What does the future hold for you, what plans have you got for the rest of the year? My little brother recently graduated college and just got a job where I live in Florida so he’ll be moving down here from NY very shortly. My future probably holds a lot of babysitting and keeping him out of trouble. Do you think one day, you’d like to be on the other side of the camera? I don’t have an artistic bone in my body. A child with a Polaroid would take better pictures than me. Haha! Do you have any advice for budding models? I mainly do this for fun. I give a lot of credit to the girls that model full time as a career. It’s a very tough thing to do. My advice would be to have fun, but try to have a Plan B in case things don’t go the way you thought they would. Absolutely! Thanks so much Kely!

Stay up to date with Kely by following her at:

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Andariel Rose hello

K C oopman P hotography

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What a first peaked your interest to start modeling? I started drawing as a toddler drawing the female anatomy without reference. Seeing deferent size and shapes of the female body that from my prospective is what sparked my interest. Later, in my teenage years I started doing commissions for people before advancing to pixel art and pixel animation. While still in high school I enrolled in graphic arts for traditional art, adobe Photoshop, Adobe Illustrator, Paint Tool and SAI. I still love to expand on my creativity through hand drawing and expanding my digital ideas with Photoshop. Currently, as an adult, I have again expanded my desire to create through modeling. I have no intentions to stop as I am always looking for new things to keep my ideas alive. Your partner is a photographer, what’s it like working with your other half? It must be wonderful and intimate. It’s amazing to work with my partner (Kelly) I feel truly blessed to have been given such an opportunity to join him as he creates his ideas bring them to life. Im thrilled to be a part of his expanding creativity. As a couple, we communicate to each other our ideas and then him being the photographer and me the model, its exciting and fun to watch our ideas come to life in print. Currently we have completed our 100th photo shoot together and from this we have created a awesome personal and professional working relationship together as each of us have come to know what to expect of the other and the work flow blends very nicely. I owe a lot to Kelly for picking me out of all the models he could have had and teaching me what it takes to be a model; honestly, I had no clue the art is a complex as I have been taught. We both continue to learn and feed off each other to create, yes, an intimate team.

I have no intentions to stop as I am always looking for new things to keep my ideas

What kind of things/people inspire you? I’ve been inspired by my own creativity, there isn’t really an inspiration, specifically, but the enjoyment of being a part of my favorates such as, Anime, Manga, past and famous painters, video games, and concept art.

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I do shoot mainly adult but not in the sense of smut, tasteless or vulgar material.

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What would you bestow to be the highest modeling accolade? I’m not looking to look for a title, recognition or the highest anything to be a model. I enjoy modeling through my creativity. However, if I had to choose I would say to work hard, stay focused but most importantly, never stop learning and listening. Each day something new occurs as does w/ each photographer. I learn what is good and positive and what is simple meaningless words or rhetoric; this can only be gained through exposure and experience. Do you ever see yourself working on the other side of the camera one day? Yes I do and I have actually already accomplished that side of the field. Again, being blessed to have an inhouse photographer how could I not. My interest are a bit removed from the model photographer Kelly is and I have found my interest are in macro photography the tiny amazing details that come from it. I also see you do webcam shows, can you tell us a bit about what you do? I have stopped my web cam work as I found it to be too closely related to the adult porn industry. My intent was to earn a little money on the side when not professionally modeling but what I found was mutual masturbation and various forms of unusual sex acts or performances was common and more pervasive than I wanted to be involved with. Also, and I suspect the cliental involved; there was no money to be made or what was, was minimal at best. Yes, I am a nude model but that does not make me a disposable paid slut bowing to others commands; do I sound bitter??? You shoot mainly adult; do you ever get totally peculiar requests? This question I think has already been answered by the web cam question. I do shoot mainly adult but not in the sense of smut, tasteless or vulgar material. The human body be it, male or female, is a creation of art. We all come in different shapes and sizes, colors and features. I hate that we have been forced by society and our nation of Christian values to be clothed. Yes, clothing serves a purpose, I do not deny that in any way. But there are places and people that appreciate the human body for

what it is not what it should be. There is no doubt sex sells and with that the creation of a perverted concept and ideas. Do I get peculiar request, how can I say this, absolutely. Also, I have to add, some of the things I’ve been asked to do….ummm, I don’t think is even possible w/o being injured.

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It has been said that modeling is an “easy” job, involving merely standing around getting your picture taken. What do you think? ( I personally know there’s a lot more to it ;) ) Modeling to say the least or for those who choose to make it their best, there is big money to be made and many take advantage of that and it profoundly shows in the quality of their work. Anybody can stand in front of a camera and take a picture as well as with the introduction of digital photography, everybody can be a photographer or should I say, someone one who owns a camera. There is so much more to making it work, how to hold your head, facial expressions, or lack thereof, what do you do with your hands, what do you do with your fingers, are they even something to consider? Where do you look, up down to the side and when and when looking at something other than the camera, what does it look like to the photographer and how is it perceived by the public. I can really go on and on, on what to do. I see so many and I mean so many that think they are something because that is what is being fed to them by those that don’t want to hurt their feelings. Kelly told me one day, and I will never forget it, “…..learning a new skill is like bowling. Anybody can walk in to a bowling alley, pick up a ball and send it down the alley to the awaiting pens. However, until someone shows you, or you take the initiative to learn you most likely will never accomplish anything but the fun of the sport. To those that think is an easy job and nothing more than standing in front of a camera….ya, keep thinking that; these are the one’s who are not here for the right reasons and will soon fade off on to the next popular thing. What inspired the theme of this shoot? I was inspired to shoot this idea from another photographer who I will have to remain anonymous; I failed to acknowledge the person who’s picture I took for my idea. I spend a lot of time looking though other photographers work and from that research and over time I generate ideas. I don’t ever duplicate the concept but expand on it to make it my own. One evening I happened upon a photo, (B&W) of a half nude female laying on a bed in a grungy, “roach motel.” Surrounding her were items of disarray, trash, empty alcohol bottles, beer cans and other items of garbage. This model was laying face down on the bed, obviously the setting was that of a prostitute or call girl and drug use. The model had collapsed on the 90 [issue


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I’ve seen the effects of drug abuse as well as alcohol. [issue 8]


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unmade bare mattress and around her was the obvious signs of drug use. From this concept I wanted to create such a set but in a different light to illustrate the actual act of drug use, the dilapidated or dirty setting and the effects commonly associated with this type of activity. I wanted to achieve a reaction from my viewers what life of a drug dependant individual is really like or at least, from the extreme, can be like. I worked in law enforcement as a probation officer for 17 years and trust me when I say, the scene Ariel and I created was very real and as close to real life as possible. To give away some of my secrets in the set, the look alike drug is actually baby powder mixed w/ salt and the liquid substance in the syringe is soda. The straw is a rolled up dollar bill, also a common tool used on the street. The bathroom is my home and the dirt on the wall and floor, from the back yard and if I may add, was fun to put together but extremely laborious to clean up. We did ask ourselves, was it all worth it??? Ya, it was. It’s quite a sensitive subject, what have you noticed about people’s reactions to this set? I have not really put this work out there to achieve comments or reactions. I did share a few pictures on FaceBook and not surprising, from my friends or lets say, those I associate with on FB, were minimal. Each comment I did receive was strong and of a repulsed nature as well as, “how in the hell did you do that.” What is your personal stance on drug dependency? Personally, and this from my professional experience, drug dependency is serious and must be viewed that way. I was inspired by a probation case that I was supervising, a female, who I was able to spend a deal of time with and really get to know what life for her was like. She was able to articulate to me the profound need to seek, by whatever means, her drug of choice (cocaine). She explained that once you have the taste in you, alone, fighting it is a losing battle and knocking over some lady at the store or on the corner, not an issue when the cause to achieve a means to the end are in play.

I have not really put this work out there to achieve comments or reactions. I lost contact, over time with this young lady and I only hope she sought the help as her life was set for a early demise should she continue on her chosen path. I’ve seen the effects of drug abuse as well as alcohol. Its powerful and will control a person and eventually and usually, ultimately, kill them in the process. Do you have any advice for budding models? As I said previously, learn, listen, learn some more and did I mention listen?? Don’t get caught up in the money concept as well as don’t be hesitant to give a little to accomplish a lot. Too many I see are all about the money, as am I, don’t get me wrong, but you have to crawl before one can walk. I have had my fair share of free work, bad photographers, nasty perverts and countless offers for temporary roommates and bed partners. Keep it professional and learn from the work of others that have been there and have already endured the blood and sweat it takes to get somewhere and if I must add, in irony, I really have only scratched the surface.

K Coopman Photography Andariel Rose

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B R E A T H T A K I N Gis simply erotic asphyxiation, being that I’m not

by Mistress Hayden As I feel the air draining from my body, my heart racing in an attempt to revive my lungs, which at the moment are struggling for oxygen, I claw at the hands gripped tightly around my neck in a desperate attempt to free my neck and gulp air hungrily. I fail, however, and I begin to see static, feel my limbs go numb, and I know I’m about to lose consciousness. As I begin to blackout, my frantic attempts to free myself in vain, I only remember his voice fading. Seconds later I open my eyes. In ecstasy I gasp to breathe and my vision returns. I turn around, my heart still pounding from the instinctual fight to survive, and feel my whole body tingle. I smile at him and he grabs my hair. This whole time, he’s not stopped fucking me. Being choked til a near death blackout has, for as long as I can imagine, has become a staple in my sex life. My depraved rock star lover, who you can read about in the previous issue, was extremely skilled at it. Never letting go of my neck, despite my desperate fight for air, until the exact right moment. It’s an extremely precise skill, and must be done exactly right. Lest you don’t wake up, gasping for air, endorphins and adrenaline rushing through your body. If he’d strangled me two seconds longer and I’d have been killed. Two seconds earlier I wouldn’t have reached the moment of ecstasy that I described. Hence, it’s an exact science. The consequences of not being exact are severe. One of my heros, Michael Huchence, of INXS, died attempting auto erotic asphyxiation, the proper term for what I’m discussing. Although my fetish

doing it to myself. So subtract the ‘auto’ and you’ve got another fetish of mine. To add to blood, which you can also read about in the last issue. The risk does sound, to most, to outweigh the reward. Not to me, and I’ll explain why. The first advantage of losing oxygen during sex is the physical sensation. Adrenaline surges through your body, and as you pass out, usually an orgasm follows, and it continues as you come to, head sideways on the pillow, slowly regaining vision and vitals. While still being fucked, people into this usually cum again upon waking. Endorphins flood your body as the confusion of waking up to being fucked subsides. These very extreme physical effects of being choked are only one part of it, for me at least. I’m sure it differs for everyone. At this point, if you read my contributions regularly, you know I have a very specific and rigid set of things that turn me on. With blood, consumption is Abigail part of my fetish, and the same goes with erotic asphyxiation. The person strangling you has your life in their hands. Needless to say, the thrill seeker in me gets off on that idea. But they are also metaphorically taking you. For those moments you belong to them, and the animalistic instinct innate in almost everyone to be ravaged and consumed by a lover can be sated during this extremely intimate act. Whether physical, or mental, asphyxiation during sex has always been arousing to me. Add that to the intimacy it can achieve, and it’s one of the perfect little fetishes. Because what’s the point if there isn’t a bit of danger, anyway?

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RHODES RHODES Good evening dear friends. Today we have another great interview for you. We have the most badass pimp who ever graced the silver screen (Dolemite ain’t got shit on this guy), it is the legendary, one and only, Bobby Rhodes! Bobby Rhodes was born on 25 October 1947 in Italy. He began acting in the late 60’s, his first role was in the movie Virgin of the Jungle in 1967. In the 80’s he became the classic cult actor he is now when he starred in Lamberto Bava’s Demons in 1985. He also starred in the sequel Demons 2, and has went on to star in many movies and his own web series. Now without further delay,

let the fun begin. [issue 8]


How did you get the role of Tony The Pimp? What were your first thoughts on the role when you read the script? Actually there was a proper audition! I was told by my agent I should attend it that same morning and so I did. When I met Bava and Argento I felt rather intimidated and I was sure my audition hadn’t gone so well… but to my great surprise they absolutely loved my rendition of Tony and gave me the part that same afternoon! Then I got the script and for some strange reason I immediately started to build the character, researching a few people I knew that could give me the right elements... and as they say, the rest is history! Were you familiar with Lamberto Bava and Dario Argento’s work before making Demons? Who wasn’t, come on! Especially Dario (Argento) was incredibly popular in Italy! Can you tell us what it was like working on Demons and Demons 2? Also which movie did you prefer? When I was called to play Tony the Pimp I immediately looked back at real characters I met over the years and I knew the direction I was going to take. Bava is a peculiar director, which tends to be more hands on with regards to the groups and the photography. This meant for me to have a great deal of freedom in creating an over the top character, that would manage to be a tough guy and yet lovable and human. I recall Bava and Stivaletti being incredibly enthusiastic with my rendition of Tony, especially in the scenes where he needed to be a leader. The lines “Quite! Quite!” and “Smash Evrything!” have become part of our never-ending jokes, especially when we all get together for the Horror Conventions. There is one thing I have to admit: Demons has been one of the best filming moments for me as much as for many of the people involved. We become some kind of a family and we really enjoyed every single moment on set. Bava comes from a filming family and I guess that helped a lot with feeling at ease with such a huge group of people. When did you realise that there is a cult following for the movies, especially for your characters, Tony The Pimp and Hank The Gym Instructor? The success of Demons was really big at the time, especially on an International level. Studies and statistics showed Tony was one of the best loved characters in the film and both Bava and Argento decided to call me back for the second. And yet I’ve only recently realised how popular Demons franchise was when I attended In100 [issue


ternational conventions: I was moved by the love of the fans, the feedback, the nice words they had for me. I couldn’t believe my own eyes and I still consider myself incredibly lucky! At first I didn’t even think I had such a huge following. My team showed me the numbers online and I was in a state of shock for a few seconds! Meeting all my fans at the several Conventions is incredibly fulfilling: having the chance to talk to them personally and spend some time with them discussing movies as well as life makes me so happy and I can’t wait to hit the road again! My fans can definitely keep up with my dates on my facebook page, I have told my fans all over the world, through my short docs on youtube and in person during the conventions,

Demons been one one of of the the best best Demons has has been filming moments moments for forme meas asmuch muchas as filming for for many many of of the the people peopleinvolved. involved.

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pretty much everything. Sometimes it seems like I’m repeating the same things and that people might think of me as boring but then I realize if fans ask me the behind the stage it’s because they really want to know a bit more of what happened on the set and then I keep talking…! Have a look at ‘Through Horror and Back’, listed also by IMdb, on my youtube page, rhodesbobby and let me know what’s missing…! What made you want to do your The Pimp series, on YouTube? In this occasion I must be humble and say that the idea has been discussed and created with my beloved team, Alex Madia Levi and Gerry Nappo, who have an incredible and vivid imagination. We thought it would be great to bring back Tony, especially after seeing the huge following he had with the fans all over the world. The great thing is that the director’s vision has been not to start from where we ended in Demons, but rather show several sides of the character and delve into the possibilities that Tony could offer. We had great fun doing it and managed to drag into it some of my very creative fans. Let’s remind the fans to go and watch them on my youtube page, We were first in New Jersey, then Philadelphia, then we moved over to NYC and finally in LA. In each place we managed to collaborate either with guest fellow actors, such as the talented Joe Zaso, or with some of my die-hard fans with whom we had a real blast! My greatest surprise was the overall response of the fans and people in the business who have watched the shorts. I got a call from Sergio Stivaletti saying he loved the “actor/character” meeting in the LA episode. Then when the shorts got officially on the IMdb database I knew we had done something cool! Would you return for another Demons movie? I can definitely say that I would have been in Demons 3 - where Bava had gone through with the project. He wrote the main character for me. I’m afraid the film was handed to Soavi when Bava decided to withdraw, who changed it radically (it became The Church) and decided to give the character that was written for me to some other black actor… But I still want to play the priest! But not all is lost: Alex Madia Levi is a very prolific filmmaker and has an incredible talent as a writer. He has started writing the third and last episode of Demons, where we’ll see Tony the Pimp coming back in all his glory! I read the first 30 odd pages and I fell in love with the twists and turns he has given the story and most of all with the incredible depth that he manages to give his characters, including Tony. 102 [issue


What would you say your favourite horror movie is? The exorcist, hands down!!! Do you think that modern horror movies rely too much on CGI over practical effects? There’s nothing wrong with CGI, actually I love it when used properly. What I mean by properly? Well... CGI should only be another instrument to obtain effects that otherwise would be impossible to render. CGI should never ever fill in for the lack of ideas or a weak script... Can you tell us anything about any upcoming projects you have? Meanwhile I will take part in a couple of films overseas: one in Australia and the other in Arizona. Then in the spring there will be a cameo in a UK production and eventually, early summer, will see the shooting of 6DANA66GODINA, an amazing supernatural thriller written by Alex Madia Levi together with US based Michael Rodriguez. I read the script and all I can say it’s bloody genius! I can’t wait to go into production as I believe we have a cult in the making.! An incredible story of ghosts of nazi soldiers, killing sprees, thriller and character drama. Among the others, I’ll share the screen with my dear friend Geretta Geretta and the very talented Serbian actor Milorad Kapor, who recently starred in 007 Skyfall and Luc Besson’s Lockout. We also have a page for the film, which my fans can go check: And last but not least, I wrote a feature, whose working title is Black Angels, for which I’ll start pre-production as soon as the others have hit the screens… I can’t wait to see it come to life! And lastly, what the hell happened to Rosemary? Who? Just kidding! Geretta is a very good friend and we often cross each other’s paths at convention in the USA. She’s doing great, I hear she got herself a couple of laundrettes in Costa Rica... from chasing Demons to spinning washing machines, well done I say!!!

Once again that was the legendary Bobby Rhodes! If you haven’t already seen the Demons movies, then go out and watch them now!. If you’d like to follow Bobby, you can add him on face book at and be sure to check out his you tube videos at and lastly if you’re a twitter user, you can follow him here

[issue 8]


SCA As fetish writer for SKIN magazine I’ve covered many subjects in this diversely deviant world of ours. I’ve been exposed to fantastic fetishes that I never even knew existed, and revelled in the opportunity to ask questions of a varied collection of people. Whenever I mention I write fetish articles, people are always interested to know what particular proclivities I’ve investigated. One fetish however is never far from people’s minds upon inquiring about my experience commentating on the fetish world. Call it the elephant dung in the room, if you will. SCAT play or “EFRO” is arguably the most taboo subject on the fetish landscape. Everyone knows what is involved, but few have delved deeper into the mire, if you’ll pardon the expression. For the purposes of this article I have been given privileged access behind the scenes of one of Europe’s leading SCAT and EFRO websites, and have talked with performers about the work and what’s really involved. First of all, I need to make this distinction. SCAT and EFRO are two very different fetishes. When first looking into the SCAT scene, I had no idea EFRO was even an associated term, let alone its very own fetish. EFRO stands for Erotic Female Relieving Observance. Unlike SCAT play, where faeces are (as the name suggests) played with and even consumed, EFRO models are merely observed relieving themselves in various venues and situations. To help flush out the truth behind the SCAT and EFRO scene, I needed a guide, an experienced performer who regularly finds herself going to the bathroom to delight and titivate an audience. Her name is Ana Didovic (, a multilingual model and performer based in the Netherlands; she also has a passion for dancing and music, and has travelled extensively throughout Europe.

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got your tongue?

She specialises in soft SCAT/EFRO material, and also has a penchant for “power peeing,” which is exactly what it sounds like. I interviewed Ana about her work in front of camera, and asked those questions everyone muses over when pondering the SCAT scene…

Welcome Ana, can I start by asking when and how you got involved with the SCAT scene? Well, my former boyfriend introduced me into the fetish. I consider myself not as a “Scat girl,” much more like an EFRO girl, because I love to relieve myself and to show that. If working with a partner, do you prefer defecating on them, or having them defecate on you? I have no special preference in doing that. But, if I need to choose I prefer defecating on a partner. What I really like is to shock people, especially by making huge dumps. More like they cannot believe what I am doing and they need to watch it because they are too surprised and shocked by it. What is the chosen vernacular you use with others in the SCAT community? Are terms like shitting and crapping industry standard, or is there a more professional lexicon? Like I said, I am really an EFRO/soft Scat girl. I prefer words like poo and

dumps. But because I am an EFRO girl, I love to pee as well. Especially megapee. I believe that’s my specialty.

Would you say you as a performer have a scat fetish? Do you get erotically aroused when performing, or is it just a job? Just a job? No! Erotically aroused? Yes! The reason is, I know the watchers love to see what I am doing, and I know that I am able to give that. I am a giver, so in a certain way I get aroused by the idea I can please the viewers. So I love to play and have fun with the camera. Do you have to eat certain foods when leading up to a performance? Healthy food is important: vegetables, cereals and I love my pancakes with oat bran; very healthy and good for the intestines. But I do not eat something special for a performance; it is more like a lifestyle. Are there different audiences for different “types” of fecal matter? My experience teaches me that for all types of feces there is an audience. It is like food: some people love brown bread, others love white bread. It is the same with poo. Do you perform anywhere else away from your website?

AT No. Only a little show for myself every day on my own toilet. Ha-ha.

Is there a sisterhood of SCAT performers? Are you particularly close or friendly with other EFRO girls for instance? I know other EFRO and Scat girls, like Santara, Wamderful, Mia Roxxx and others, but this is because I am busy with my partner to develop the fetish and I am looking for kindred spirits. In a certain way I am developing a kind of sisterhood of EFRO and Scat performers. I believe this is the only way to develop the fetish and to provide nice and new material now and for the future.

Are there good financial rewards in SCAT/EFRO work? Outsiders might think there is good money to be made due to the nature of the work, but is it a more lucrative adult genre in reality? It depends on your view of what good money is. It is a subjective concept. There is a lot of mainstream porn on the internet, there is too much for free, so the value of the ‘work’ becomes less. But I believe the fetishes, the specialties in porn, have great value as long we make good quality and we protect it from piracy. The great enemy of Scat is piracy, because good Scat performers invest money to make the best movie clips. As long as they can earn good money with this, they will make good quality clips, so the Scat performers will be happy, but the Scat lovers, the viewers, will be happy as well. This is my goal; to promote this to help, on the one hand, the Scat performers, so they are able to make nice clips (to be creative and have fun). While on the other hand to provide new material for now and in the future. The hunger for more and new videos will always be there. But if we do not pay for this work, it will disappear; which would be a pity for everyone!

In your opinion, is SCAT the ultimate fetish taboo? Well it seems it is. In a lot of countries Scat is forbidden. And even in countries where Scat is not forbidden it is difficult to make because of the regulations of some billing companies. They are trying to exile it from the internet, but do you know what? As long as people enjoy the experience and they do not harm another, there are reasons enough to make sure that Scat has a place within all fetishes. For me enough reasons to ensure that Scat and EFRO retain the right to exist. That is why my work has changed nowadays in two important areas; one being to help Scat and EFRO models/producers to make the best material, and the other is to provide to the fans this material. I like to bring them together and that’s why we started a platform (www. to develop this fetish.

In what was one of my strangest topics of discussion for a SKIN magazine article, my collaboration with Ana and the world of scat website has aided my understanding of the defecation nation. If nothing else, it has shown me the difference between the Scat scene and the EFRO environment. With very different practices and proclivities involved in both aspects of a similar fetishism. I’m hoping my discussion with Ana has shed some light on those questions everyone must have about the Scat world. It’s been a fascinating insight into yet another weird world, and while I can’t see myself taking in a Scat or EFRO performance to get my kicks, the scene and those involved will always be of interest to me. I sought understanding and answers when setting out to write this piece, and I hope those among you reading this with similar queries feel a little more informed and satisfied with the results. Now don’t forget to wash your hands.

[issue 8]




by Gregory Hadley

I masturbate,

while I read this book. I touch myself, whenever I ogle the cover. I see the Confederate flag and the nude Skull Woman and I get wicked sick with my dick. Mer Whinery describes a forgotten region of the United States of America, where Dixie meets the Great Plains. This is an interesting area of Oklahoma. I never had the opportunity to experience Little Dixie, while I was stationed at Fort Sill, as I was fucking an Okie in Oklahoma City, Oklahoma. I traveled through the setting of the stories, while I was driving a big rig truck, sadly, I did not fuck anyone in Little Dixie. However, I remember the stark beauty of the land and the amazing

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sunsets. The stories range from strange and supernatural, to titillating and stimulating. Haunted truck-stops, ghosts and cross-dressers appear in these twisted tales of terror and temptation. Whinery has an interesting touch with words, he communicates with the imagination and he inspires fantastic fantasies. This collection of stories made me homesick for a place I am not from, this book will make you miss a place you have not traveled to. This anthology is a great chance to experience south-east Oklahoma, the best kept secret west of the Mississippi River. I usually read the stories while I am drinking, I get drunk and I act as if I am a character in some of the stories. I blackout and awaken nude, covered in blood, with faint memories of the fantasies inspired by the writing. I recommend this book to readers seeking superstitious secrets, to people interested in scary folk stories, to readers that want something different than the usual collection of horror stories. The book is well written, the tales are unique and will not be forgotten. I do not recommend this book to the goddamned Mormons. I will keep this book in my collection and I will read the book, again and again. This is one of the best books I have read, since I began collecting books on my Kindle. I hope the author has more to offer, in the future.



HELL HATH NO FURY… I must admit

, I love female writers and authors. I would cheerfully perform cunnilingus on Harper Lee. The mysterious feminine mind is a creative psyche, giving birth to fascinating fantasies in fiction. The Goddesses have conspired to create an intense experience for the readers, the stories flow from the pages, as vaginal nectar flows from The Essence of Womanhood. This assembly of Horror fiction is an amazing anthology. The living dead will ravage your head, mayhem and madness will fill your brain with dramatic images and deadly events. Pandemics and panic, corpses and car-

nage fill the void with dreadful tales of torment and terror. “Waking The Dead” by Chanteau Boudreau was an interesting foray into Horror-humor writing, while “Love Stinks” by Stacey Longo provides a unique perspective on necrophilia. The “Baseball Bat and the Axe” by Hannah Masaryk provides cannibals with some grotesque points to ponder and “Tips” by Dina Leacock is a ghoulish work with ghastly implications. Every gory story made a lasting impression on me, my imagination was incited and excited by the estrogen fueled tales of terror. The collection is a triumph, women practicing and perfecting their mastery of the written word and the art of the Horror short story. The drawings are an additional asset, for those inclined to appreciate hand rendered masterpieces. The editing, by TW Brown, is an accomplishment. May December Publications is the growing voice in Horror fiction publishing. I recommend this anthology to readers fascinated by the contemporary apocalyptic resurrection obsession; I recommend the anthology to readers who consider intelligent women to be the most incredible beings in existence. I exclude chauvinist scum from my recommendation, although even the misogynists would have to admit and admire the talent of these wonderful women.

[issue 8]



REVIEWS by Jerry Lentz

VLF’s NO VASELINE: The Great Porn Swindle

I stared in morbid disbelief at a speculum being ram rodded into a sphincter that protruded with the grace that can only be administered with a performer’s handstand. The metal, it pushed deeper and deeper in, then there were cogs being twisted and the tightening of screws and I was perplexed. I was half expecting to see someone come along with a car jack to pump open the anus even more. What was this in the name of, cyborg sacrifice? Medical experimentation? The mere enjoyment? I was wrong, the end product proved to be vomit. Waterfalls of it, as the model was to deepthroat a willing participant thus inducing herself to vomit where else, but into the anus. I thought I’d seen it all. I clearly have a lot to learn. VLF’s No Vaseline: The Great Porn Swindle is a testament to all things extraordinarily perverse and sacrilegious, pushing boundaries and airing two fingers at the airbrushed community of identical android pornography. Its glitchy, VHS aesthetic as pleasing and sexy as it is distorted. No Vaseline encompasses all things devious, creative, fun and vitriolic, characteristics of the freedom of sex that we seldom see. Wonderful, grotesque, horrendous, arousing, terrifying, bewildering and bizarrely beautiful and macabre. I hope the DVD comes with a complimentary sick bag.

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Special Thanks JG, Rich Saunders, Alexander Davis, Brittany Ann Selditch, Mr Conner, the gibbles, Gregory Hadley, Jannica Honey, Alex and Mina, Bobby Rhodes, Justice Howard, Adreena, Adam Robertson, Gretchen Heinel, Kely Suicide, Moniasse, Andariel Rose, K. Coopman, Mia and VLF.

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www. play with skin .com [issue 8]


bu y } d o wn l o a d } d o n ate } www.p l ayw it