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Issue 009 [Fall 2013] page 1 | Issue 009

The Like Magazine Team Jesse Alford: Photographer/Editor Maryanne Alford: Writer/Editor Victoria Melshaw: Layout/Editor Music/Layout Design: Andrew Jurado Album Reviews: Philly the Drunk Fashion Writer: Katrina AlĂ­s Vaca

I t’s our birthday! That’s right boys and girls...Like Magazine is turning 2. It seems like just yesterday we were planning our release party and editing the pages of our very first issue. Time flies when you’re having fun. We are always striving to grow and improve, this issue is no exception. We are excited to bring you our latest finds in music, art, fashion and photography. We are stoked to celebrate our second birthday with all of you, and the release of issue [009]. xoxo, The Like Team page 4 | Issue 009 page 5 | Issue 009 page 7 | Issue 009 page 8 | Issue 009


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$18.00 page 11 | Issue 009

[Models] Avianne Mc. / Laura M. / Viviane G. [MUA & Hair] Nadine Hermann [Stylist & Label] Katja Heidrich/Mable [Story] Maryanne Alford [Photographer] Dieter Konrad page 12 | Issue 009 page 13 | Issue 009 page 14 | Issue 009 page 15 | Issue 009 page 16 | Issue 009 page 17 | Issue 009 page 19 | Issue 009 page 20 | Issue 009 page 21 | Issue 009 page 22 | Issue 009 page 23 | Issue 009

e F e h T Re v i


Alford e n n a y : Ma r Ph

e Alford s s e J : r e h p otogra page 24 | Issue 009

eatures page 25 | Issue 009 page 26 | Issue 009 page 27 | Issue 009

Interview: Philly the Drunk Photographer: Jesse Alford page 28 | Issue 009 page 29 | Issue 009 page 30 | Issue 009 page 31 | Issue 009 page 32 | Issue 009 page 33 | Issue 009 page 34 | Issue 009 page 35 | Issue 009 page 36 | Issue 009 page 38 | Issue 009

Review page 39 | Issue 009

Blind Date interview with Janet Touma by, Maryanne Alford

When did you discover your love for acting? I was writing stories since I could write my name down on paper. As I got older I felt this immense need to see my stories come alive. I wasn’t sure how to make that happen. I saw my sister’s high school performances and I realized that acting wasn’t something just for the movies and television. There’s nothing quite like a live performance. But I was cripplingly shy so I didn’t think acting was in the cards for me. Until I realized that it was through someone else’s words, I could say what was on my heart and in my head behind the mask of a character without repercussions and judgment. As I went through classes, acting became less of a mask and more truth telling than anything else. It changed how I see the world, and it’s more beautiful than ever.

Do you do anything else in the industry? Writing is definitely a passion, always has been. As much as I enjoy telling stories through playing a character, I have stories of my own to tell. The more independent films I involve myself in, my intrigue for film making has grown. I can see myself dabbling in directing but I don’t think I would pursue it as a career choice. At least not right now.

Do you get nervous? I heard a quote once: “If you’re not nervous, you’re not doing it right.” It stuck with me. Of course I still get nervous. I want to do the work justice, I want to do the best job I can. One learns to use that nervous energy to propel the performance forward.

How do you memorize your lines? Any secret techniques? The best way I have found, thus far, to memorize lines is to move with the words (i.e. dancing while reciting the words out loud). My body remembers those words so my mind won’t forget. And it’s fun. Or I do difference voices so I when I’m memorizing I use premeditated inflections and emotions.

Do you have a favorite genre to act in? I don’t actually. The more ridiculous the character is the happier I am to play them. Villains are always fun. The bigger the personality the better. But that can be exhausting after a while. So playing “real” people is a nice balance.

If you could work with any BLANK who would it be? Director: Nadine Labaki - she’s a Lebanese filmmaker/actor who makes incredibly beautiful films that make you think, and laugh, and wonder. I’ve always been into foreign films. She has a beautiful way of portraying the Middle Eastern culture.



Johnny Depp and Natalie Portman both having played extremely ranging roles. I could learn a lot from them.

It doesn’t get bigger than Bruckheimer hahaha. To be in anything he has a hand in would be such and incredible adventure.

All time favorite film? Oh goodness! Honestly, I feel foolish for saying it but, Pirates of the Carribean. I don’t even have to watch it while it’s playing. I have it in the background while I do other work. The music, the humor, the magic. I’m a kid at heart what can I say. page 40 | Issue 009

Is there anything you aren't willing to do for a film? I’ve thought about this before. I think when I was younger, there were definitely things I wouldn’t do. But now with more life experience, I can open myself up to even more vulnerable situations in acting. Let’s face it, those are the roles that people have trouble with. It’s hard for a woman to shave her head. I think I’d do it though. Nudity, of course, if done tastefully and it really depends what purpose it serves for the role. In that case, compensation has to be worth it as well. I think that biggest issue I would have for a role would be extreme weight gain/ loss. Health is so important to me. Most weight gain/loss is done in such a short period of time it is so taxing on the body and it is hard to come back from.

Have you ever turned down a role? I have. There have been casting situations and people that I have not felt comfortable with. An actor, especially females, are put in difficult situations all the time. And there are some dark, seedy people in the industry. I have learned to go with my gut feeling. No role is worth my life.

Does acting ever interfere with your personal life? Sure. I spend a lot of time researching, memorizing lines, table reads, shoots, long set hours, costuming, etc. It takes up so much time. Not to mention the business side: meetings, emails, traveling, auditions. It leaves very little time for family and friends. And still being in the beginning of my career, I have to balance all that with a day job so that I can remain financially secure, aka not go hungry. It’s hard. But when you love what you do, it’s all worth it.

Does it render situations where you have to choose between the two? Sure. And I will make sacrifices in all aspects of my life. I will turn down shoots or gigs to be with my family. In turn, there are times when I focus on my career. It is so important to have balance.

How do you deal with the critical nature of the industry? You just do. I don’t take anything personally. I have projects of my own I have to cast. I can’t put all my friends in them because they don’t particularly fit the part. Nothing personal. I understand that for myself as well. If I’m too skinny, or too big, or too ethnic, or I look too much like an ex-girlfriend, well I can’t do much about that. There are other roles out there, ones that are meant for me. I go into an audition, I bang it out like my life depended on it, I have fun, and I leave. As soon as I walk out the door, it’s yesterday’s news. I move on the the next thing at hand. If I get a callback or get the gig, great! It’s a pleasant surprise.

Any auditions ever go terribly wrong? Oh yes. I had an audition where the casting director wanted to make out in the middle of it, then proceeded to ask me out. I got out of there as quickly as possible. I had an audition where I had to make sex noises, the world is a strange place. I’ve fallen walking in heels at an audition. It all makes for funny stories later.

What does "I've made it" look like for you? There is no “I’ve made it”. To me, it’s “I’m making it.” I need to make it happen on a daily basis. It’s what makes me happy. In this industry, there’s no such thing as retirement or a comfortable part in your career. It is constantly threatened by new faces, new talent, new media. As long as I am making an effort to create every day, to tell stories, I’m making it. I guess I’ve already “made it.” page 41 | Issue 009

Lydersen Images interview with Dan Lydersen by, Maryanne Alford

When did you create your first piece? I’ve been drawing for as long as I can remember and painting since I was 17, so it’s hard to say what would count as my first piece. The first thing I made that I’m still really happy with and would show publicly is a little diptych I made in 2006 called “The Willful Suspension of Disbelief”.

Do you have a favorite? It’s hard to choose just one, but “Little Lamb” has always been close to my heart. I spent a lot of time in my early twenties experimenting with different styles and mediums before settling into the mode I work in now. I didn’t realize it at the time but I was pretty confused as to what kind of artist I wanted to be and what kind of art I wanted to make. When I finished “Little Lamb” I felt like I had finally found what I was looking for. I think I really hit my stride with that painting.

Or, one you are most proud of? Again, it’s hard to single out just one. “Cowboys and Indians” is one I finished recently that I think is particularly good. page 43 | Issue 009

When you start creating a piece do you immediately see the finished product? Or does it develop as you create it? I usually have a pretty clear idea of what the painting's going to look like before I start. I do a lot of planning before the brush ever hits the canvas and that's really the most creative part of my process. Sometimes it involves a lot of free association and playing around with different imagery, other times it involves research and careful construction of a narrative. My paintings take so long to make that it can be a big setback to change things halfway through so I try to be very sure about an idea before I start painting. Once I do start, the colors and values of the paint may shift from my initial conception but the imagery almost never does.

What inspires your work? In no particular order of importance: Historical painting, bike rides in the Sacramento Valley, colorful plastic objects, trash, the high deserts of California and Arizona, obese people, weird children, fear, optimism, food, playgrounds, people in homemade costumes, human futility, banality, Christian mythology, Greco-Roman mythology, comedy, waterslides, wonder, and curiosity. page 44 | Issue 009 page 45 | Issue 009

In your statement you say your art is meant to “balance tragedy with comedy, beauty with ugliness, and rationality with uncertainty�, do any of these outweigh the others? The interplay between the opposites is what I find interesting, so hopefully none of them outweigh the others. I don't see them as competing with each other so much as coexisting. The opposites help define each other so I think they're equally important. On a less abstract level, I also think a good balance between these qualities just makes the work more nuanced. page 46 | Issue 009

Do you listen to music while working on your art? If so, anything in particular? I'm always listening to something while I work. Half the time it's music and half the time it's podcasts. There's no music that I specifically like to paint to. For me, any good music is good painting music, whether it's Fats Waller or Brian Eno or Ennio Morricone. I usually just put my entire collection on shuffle and let it surprise me. The podcasts I listen to are across the board as well, everything from "Democracy Now" to "Comedy Bang Bang". page 47 | Issue 009

If you could only paint with two colors for the rest of your life, what would they be? Well, definitely black and white if you count those as colors. I spent my early twenties painting with nothing but black and white and was perfectly happy doing so. Technically they're not colors though, so I guess I'd go with Indian Yellow and Dioxazine Purple. They're pretty versatile pigments and they make a nice brown when mixed together. page 48 | Issue 009

Do you incorporate hidden aspects within your paintings? I do like to include little details in my paintings that you wouldn't necessarily notice at first. I really like the experience of seeing a painting from across the room and discovering more and more of the picture as you walk closer to it. In a lot of my paintings those little details are really the focal point of the work. The big skies and landscapes are mostly there to provide context. I also include a lot of references to historical painting and Christian and Greco/Roman mythology. Some of these are overt but others are somewhat hidden if you're not familiar with the original artwork or text. They're basically little Easter eggs for my fellow art history fans, but they can also help deepen the reading of a painting if the viewer cares to go there. page 49 | Issue 009 page 50 | Issue 009

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model: Nathalie for Vizage make’up stylist/hairstylist: Samantha McLeod fashion stylist: DonnaMay photographer: Kaja Tirrul page 62 | Issue 009 page 63 | Issue 009 page 64 | Issue 009 page 65 | Issue 009 page 66 | Issue 009 page 67 | Issue 009 page 67 | Issue 008 page 68 | Issue 009 page 69 | Issue 009 page 70 | Issue 009

She Was Lost All Along model: Kayla Marie Cromer with LOOK make’up artist: Molly McCormick of Foundations Hair & Makeup hair stylist: Heather Werner of Foundations Hair & Makeup wardrobe designer & stylist: Chelsea Brest of Gilded Eccentric 1967 chevrolet camaro owner: Mitchel Portera assistants: Dominic Portera & Caynan Copeland photographer: Molly Van Kley page 72 | Issue 009 page 73 | Issue 009 page 74 | Issue 009 page 75 | Issue 008 page 76 | Issue 009 page 77 | Issue 009


model: Michelle B @ NUMA Vancouver make’up artist/hair stylist: Elena Ismail stylist: Anna Talbot photographer assistant: Greg Bricknell photographer: Christina Lazar-Schuler page 79 | Issue 009 page 80 | Issue 009 page 81 | Issue 009 page 82 | Issue 009 page 83 | Issue 009 page 84 | Issue 009

Solitude model: Elizabeth Ostrander wardrobe stylist: Estasha Goodwin photographer: Danielle Rueda

make’up artist/hair stylist: Joel King designer: Oylum Altuncuoglu page 86 | Issue 009 page 87 | Issue 009 page 88 | Issue 009 page 89 | Issue 009 page 90 | Issue 009 page 91 | Issue 009 page 92 | Issue 009 page 93 | Issue 009 page 94 | Issue 009 page 95 | Issue 009

Mea Culpa model: Andra @ LA Models styling: Pei Lee

make’up artist/hairstylist: Tara Shakespeare photographer: TJ Manou page 97 | Issue 009 page 98 | Issue 009 page 99 | Issue 009 page 100 | Issue 009 page 101 | Issue 009

You’re my next coat kitty. model: Sara Cecil

photographer: Jesse Alford page 102 | Issue 009 page 103 | Issue 009 page 104 | Issue 009 page 105 | Issue 009 page 106 | Issue 009 page 107 | Issue 009 page 108 | Issue 009 page 109 | Issue 009 page 111 | Issue 009 page 112 | Issue 009 page 113 | Issue 009 page 114 | Issue 009 page 115 | Issue 009 page 116 | Issue 009 page 117 | Issue 009 page 118 | Issue 009 page 119 | Issue 009

Hello Boys!

models: Leonel Lugon, Tremen Bolton & Jose Pena | HELLO MODELS NYC photographer/stylist/groomer: Raen Badua page 120 | Issue 009 page 121 | Issue 009 page 122 | Issue 009 page 123 | Issue 009 page 124 | Issue 009 page 125 | Issue 009 page 126 | Issue 009 page 127 | Issue 009 page 128 | Issue 009

MORNING IN VEGAS model/make’up stylist/hair stylist: LovelyBre photographer/styling: Cherise Josephine page 130 | Issue 009 page 131 | Issue 009 page 133 | Issue 009 page 134 | Issue 009

DON’T LET ME GET ME model: Heather Doss mua: Dan Burke page 135 | Issue 009

hairstylist: Stacey Barton photographer: Jesse Alford page 136 | Issue 009

“Keep on going Heather. Come on. Push forward. You’ve got this. Work Bitch!” Ever feel like you are running from yourself? I do. page 137 | Issue 009

Come On

Perception is everything right? Or is it? Is it my perception that is right, or is it yours? Constant mixed signals coming from all angles. Weeks fly by where I am floating up on cloud 9, focused, driven, I can’t be stopped. Inevitably, what goes up‌.well you know. page 138 | Issue 009

The wall. Let’s climb it, shall we?

Rumors, self-doubts, he-said she-said bullshit. Those walls used to wreck me. Self-doubt is an incessant little bastard, isn’t it? My perception used to be, when everything is good, there had to be a wrecking ball close behind. It was only a matter of time. So I just kept running, even when I couldn’t quite figure out what it was that I was trying to escape from. page 139 | Issue 009 page 140 | Issue 009

Push Forward

Running….Running….what’s your first thought when you say that word? I hated running when I was younger. I could never seem to get past that initial shock to the system. Heavy breathing, accelerated heart rate, flushed cheeks, the pain, muscle fatigue….how could something so exhausting possibly be beneficial? Another flawed perception. This is becoming a thing, I think…. page 141 | Issue 009

You’ve Got This

What if I change my mind on how I feel about something or someone? What if she’s not all those terrible things that have been said about her? What if she is? Who the fuck cares? Who are we to judge? Just hit that 10 mile mark…. It’s all just a perception that I am in control of altering at any point I choose. I’ve got this. page 142 | Issue 009

Work Bitch

It would shock some of you to realize what the human mind is capable of when you apply it fiercely and unapologetically. Run. Run faster. Run harder. Don’t stop. Don’t slow down. I’ve been knocked down time and time again, by myself and by others. Stop. It happened. Let go of the fear. Let go of all of the pain. Forgive, forget, and stop expecting. My life. My rules. So I go full throttle now with a free mind. page 143 | Issue 009

“ Success consists in being successful, not in having the potential for success. Any wide piece of ground is the potential site of a palace, but there is no palace until it is built. �

-Fernando Pessoa page 145 | Issue 009

Heartless model/make’up artist: Katharina Schatow photographer: Sabine Rosch page 146 | Issue 009 page 147 | Issue 009 page 148 | Issue 009 page 149 | Issue 009 page 150 | Issue 009 page 151 | Issue 009 page 152 | Issue 009

Animal Style

model/styling/make’up: Oodie

hairstylist: David Lopez page 153 | Issue 009

photographer: Jesse Alford page 154 | Issue 009 page 155 | Issue 009 page 156 | Issue 009 page 157 | Issue 009 page 158 | Issue 009 page 159 | Issue 009 page 160 | Issue 009

End of Summer model: Thania Rodriguez hairstylist: Carina Wettstein

make’up artist: Monica Wegenast photographer: Carol Sieberg page 162 | Issue 009 page 163 | Issue 009 page 164 | Issue 009 page 165 | Issue 009 page 166 | Issue 009

Forever Young model: Codi Babcock hair stylist/make'up artist: Morgan Merrill wardrobe: Yesenia Cuevas photographer: Raushan Murshid page 168 | Issue 009 page 169 | Issue 009 page 170 | Issue 009 page 171 | Issue 009

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