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Britney SpearS lady gaga dOlly partOn MetalliCa BarBra StreiSand jay-z Marilyn ManSOn Kanye WeSt Katy perry draKe SKy Ferreira Ke$Ha ariel pinK BjÖrK lana del rey yOKO OnO daVid Byrne riCHard Hell Hype WilliaMS MiCK rOCK dreW BarryMOre and MOre...


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c i s u m V69 Nicki Minaj Photography Inez & Vinoodh Styling George Cortina


e m o c l e w

e h t to

Editor Elliott David Senior Editor/Online Patrik Sandberg Editor-at-Large Derek Blasberg Photo Editor Evelien Joos Bookings Editor Natalie Hazzout Managing Editor/ New Media & Special Projects Steven Chaiken


Contributing Fashion Editors Joe McKenna Melanie Ward Panos Yiapanis Nicola Formichetti Andrew Richardson Olivier Rizzo Jane How Clare Richardson Jonathan Kaye Fashion Editors-at-Large Jacob K Beat Bolliger Sally Lyndley SofĂ­a AchĂĄval

Senior Fashion Editor Jay Massacret Fashion & Market Editors Catherine Newell-Hanson Tom Van Dorpe Fashion News & Market Editor Christopher Barnard Contributing Editors T. Cole Rachel Sarah Cristobal Fashion Assistant Katelyn Gray Special Projects Jennifer Hartley


Editor-in-Chief Creative Director Stephen Gan

Consulting Creative/ Design Direction Greg Foley Art Director Sandra Kang Associate Art Director Cian Browne Design Maryellen McGoldrick Jeffrey Burch Contributing Editor/ Entertainment Greg Krelenstein/ Starworks

Advertising Directors Jorge Garcia jgarcia@vmagazine.com Giorgio Pace gpace@vmagazine.com Advertising Manager Francine Wong fwong@vmagazine.com Advertising Coordinator Vicky Benites vbenites@vmagazine.com 646.747.4545 Online Advertising Thalia Forbes thalia@vmagazine.com 646.452.6018

Visionaire Cecilia Dean James Kaliardos Online Managers James Gamboa Thalia Forbes Communications Anuschka Senge/ Syndicate Media Group 212.226.1717 Copy Editors Traci Parks Anne Resnik Research Editor James Pogue

Financial Comptroller Sooraya Pariag Production Director Melissa Scragg Production Assistant Gloria Kim Distribution David Renard Assistant Comptroller Farzana Khan Administrative Assistant Annie Hinshaw Creative Imaging Consultant Pascal Dangin

dance contributors

V18 David Bowie Photography Mario Testino Styling Camilla Nickerson


V75 Inez & Vinoodh Mario Testino Lady Gaga Drew Barrymore Nicola Formichetti Mario Sorrenti Andrew Richardson Hedi Slimane Terry Richardson Hype Williams Sebastián Faena Carlyne Cerf de Dudzeele Mick Rock Patti Wilson Daniele + Iango Karim Sadli Kacper Kasprzyk Anthony Maule Lawrence Schiller Jason Schmidt James Gooding Benjamin Lennox Daniel Lindh Dan Forbes Roderick Trestrail II Angelo Pennetta Derek Kettela Marcelo Krasilcic Marc Kroop Paul Flynn John Norris Karley Sciortino Cody Critcheloe Kevin McGarry Kurt Vile Geneva Jacuzzi Genevieve Hanson

Special thanks The Collective Shift Jae Choi Brenda Brown Art Partner Giovanni Testino Amber Olson Candice Marks Christine Lavigne Lisa Weatherby Box Delphine Delhostal Brian Anderson Stella Digital Lindsey Steinberg Jemima Hobson Ayesha Arefin Katie Fash R&D Maysa Marques Marianne Houtenbos Zaki Amin Dtouch Michelle Vitiello Jeanny Bachelin Kim Pollock Yann Rzepka Art + Commerce Lindsay Thompson Helena Martel Palma Driscoll Robin Jaffee Liz McKiver Neilly Rosenblum Claudio Napolitano Kelly Penford Dan Foley Lucie Newbegin Tim Howard Management Artists Francesco Savi Daniel Wiener CLM Cale Harrison Justinian Kfoury Katie Yu Jonathan Ferrari Michael Quinn Ford NY Paul Rowland Sarah Math Lauren Brown IMG Kyle Hagler Josh Otten community.nyc Sandra Sperka Kelly Smith Pier 59 Tony Jay Federico Pigntatelli Milk Studios Fast Ashleys Michael Masse Adrian Nina ROOT [EQ, Capture+Studios] Kip McQueen Aldana Oppizzi Morgan Anderson Splashlight Shell Royster Jack Studios Ron Fillman Smashbox studios John Cassidy Rebecca Cabage Spring Studios Bar Bar Verien Wiltshire Kimberley Brown Kelley Blevins James Hill James Merry Interns Bianca Ambrosio Julian Antetomaso Payton Barronian Rebecca Glaser Eva Kelley Aran Kim Alicia Olivares Maddie Raedts Jean-Charles Schildknecht Alexa Vignoles Photography Inez & Vinoodh Styling Nicola Formichetti Grooming Vanessa Price using MAKE UP FOR EVER (The Rex Agency) Lighting Technician Jodokus Driessen Digital capture Brian Anderson Photo assistant Barton Jahncke Stylist assistants Brandon Ma x well, Sophia Phonsavahn, Sandra Amador Studio manager Marc Kroop On-set production Gabe Hill (GE Projects) Production assistant Andrew Belvedere Retouching STELLA DIGITAL Location Milk Studios, Los Angeles Justin Bieber wears Top and tank Dolce & Gabbana Earrings and customized Gucci watch Bieber’s own On the cover: V collage artwork by Marc Kroop, photographed by Genevieve Hanson



32 HEROES Barbra Streisand grows stronger with each transformation; nobody knows how to dazzle like Dolly; and Richard Hell remains punk to his roots 38 NINA HAGEN The electric and eccentric godmother of zombie wave receives a transmission from Geneva Jacuzzi 40 MARILYN MANSON The antichrist superstar breaks his silence with a loud new record fit for a villain 42 FROM THE DESK OF LADY GAGA The fashion columnist lets her music do the talking, along with the designers who’ve shaped her recent looks 44 I WANT MY YOUTUBE The Internet saved the video stars—just ask these rising music video maestros 46 POP ROCKS Five female musicians are ready to take pop hostage, with a little bit of help from the iconic Mick Rock

an t i o n

30 PARTY V gets ghoulish with Terry and the girls from V74; Gramercy gets Very Classy with Derek Blasberg; Donatella parties with Prince and H+M; and Oprah gives Ralph Lauren a very public pop quiz— only in New York

V28 Janet Jackson Photography Inez & Vinoodh Styling Beat Bolliger

56 BLACK AND GOLD Antony prepares to bask in the Swanlights at Radio City; Santigold sets the record straight and stakes her new creative claim

92 WHO’S THAT GIRL? Fashion’s material girl of the moment, Sky Ferreira, takes a break from the studio to pay tribute to Madonna. Photography Mario Testino

58 HOUSE PARTY Actress, director, and burgeoning photographer Drew Barrymore shoots some of today’s hottest bands

104 HAIL METAL Mario Sorrenti goes onstage with Metallica to harness their trademark thunder. Photography Mario Sorrenti

62 WORK IN PROGRESS Yoko Ono opens a doorway to peace; David Byrne puts the planet right where he wants it

108 QUEEN OF HIP-HOP Carlyne Cerf de Dudzeele was the first fashion editor to make hip-hop haute. Here she revisits her round-the-way homegirls. Photography Sebastián Faena

66 NEWS From new retrospectives to live music directives, all the art you must see and the places you want to be 68 DRESSED TO KILL Emerging designer Anthony Vaccarello stops models in their tracks with his edgy designs— but they’re not for the faint of heart 69 HEAVY METAL Get chromed to the bone in metallic must-haves 70 THE KIDS ARE ALL RIGHT Kenzo’s Carol Lim and Humberto Leon celebrate their first season by catching up with Jason Schwartzman 71 HEEL ON WHEELS Mods and motorcycle mavens agree, there is one shoe this season worth saving from the flames

52 CITY OF ANGELS L.A. originals Ariel Pink and Kreayshawn might make it onto Terry Richardson’s playlist, but they couldn’t have less in common

72 POWERHOUSE Power to the pop stars! Five of our favorite famous faces take us backstage to show us who runs their world

54 LIVIN’ EVITA LOCA Latin American superstar Ricky Martin is back with a world tour, a new campaign, and a role on the Great White Way

80 WATCH THE THRONE Pop’s crown prince prepares to turn 18 and become a man. Does he have what it takes to be the King? Photography Inez & Vinoodh

122 THE BALLAD OF LANA DEL REY The Internet’s most controversial chanteuse gets ready to drop a devastating first album. Photography Karim Sadli 126 PERFORMANCE, 1978–1982 In every home a heartache, on every stage stardust, we had five years, and they called it glam. Photography Kacper Kasprzyk 134 SHIRLEY, MADLY, DEEPLY The postergirl for alternative rock returns with a new record from Garbage. Photography Daniele + Iango 138 THE HISTORY OF HYPE! Hip-hop’s golden auteur shares exclusive photos from his archive. Photography Hype Williams 144 MY MANY LOOKS After putting her permanent stamp on personal style, Björk signs off on her favorite ensembles



live foreword


There has never been a bigger moment for music and fashion than the present. The two have always been intimate bedfellows—for the past seventy-five issues of V, musicians have filled our pages and graced our covers—but it seems as if they’ve finally gotten married. It’s the music-makers who are inspiring the fashion and sitting front row at the collections, but the obsession goes both ways. The industry of fashion, and its army of stylists, photographers, makeup artists, creative directors, and others plays a more fundamental role in the output of performers than ever before. Fashion gives pop stars the sartorial magic to bring their out-of-this-world visions to life. It goes without saying that V contributors Lady Gaga and Nicola Formichetti helped revolutionize the fusion between music and fashion. Fashion can truly be a foray into the mentality of one’s favorite artists. Jay-Z and Kanye West had Givenchy’s Riccardo Tisci design the artwork for their recent album, Watch the Throne. Two-time V cover star Gwen Stefani has her own empire of fragrances and brands—and she recently launched her first collection of children’s clothes under her Harajuku Lovers fashion empire, sold at Target. Prince and Nicki Minaj (who rocked our cover exactly one year ago) kicked off Versace for H+M with Donatella in New York; Kelis played Roberto Cavalli’s London store opening; and Kanye West inaugurated his own namesake collection in Paris. Most recently, Victoria Beckham, former Spice Girl, took home Brand of the Year at the 2011 British Fashion Awards. Our industry has never been so inspired by modern sounds, and musicians have fused fashion with their identities and helped keep fashion on the stage of the world’s attention by making it their own. So it made perfect sense that we’d honor this inspiration and support with V’s first-ever Music Issue, our seventy-fifth in print. What better proof of music’s dedication to fashion than the caliber of contributors we have in this issue: Britney Spears, Drake, Katy Perry, Marilyn Manson, not to mention heroes like Barbra Streisand and Dolly Parton, and so many others. As for our cover star, Justin Bieber is a young pop juggernaut. On the eve of his 18th birthday, he now faces a major hurdle: can Bieber the teenage sensation become an artist for everyone? Beyond Bieber, we have a phenomenal lineup. Mario Testino captures Sky Ferreira in an homage to the original Material Girl. Mario Sorrenti goes not just backstage, but onstage with Metallica. Inez & Vinoodh capture an idiosyncratic and beautiful collection of artists, from Antony Hegarty and Santigold to punk icon Richard Hell. Legendary music photographer Mick Rock shoots five fearless female pop stars. Drew Barrymore, in her first-ever concept photo shoot for a magazine, turns her fresh lens on some of today’s hottest young acts. To top it off, legendary director Hype Williams exclusively shows us his never-before-seen photographs of icons both thriving and resting in peace. We’ve got a big show lined up for you. So without further overture, get up on your feet and let the music—and fashion—take you over. Mr. V

V43 Courtney Love Photography Mario Testino Styling Panos Yiapanis

these new york nights


Prince Bria Valentine

Joan Smalls Lady Bunny Hanaa Ben Abdesslem

Sophia Lamar

Ajak Deng

Allegra Versace Donatella Versace Stephen Dorff Sofia Coppola Ke$ha

Crystal Renn

Tom Van Dorpe Julia Restoin-Roitfeld

Toni Garrn

Linda Evangelista

Sui He Selma Blair

Alber Elbaz

Debbie Harry

Abbey Lee

Candice Swanepoel

Abbie Cornish Bambi Northwood-Blyth Chace Crawford

Nicki Minaj Cecilia Dean Stephen Gan

Terry Richardson

fit for a prince Donatella Versace launches the Versace for H+M collection with a special runway show on a Manhattan pier, followed by live performances from Nicki Minaj and Prince.

our scary affair

Andrej Pejic

Terry Richardson, along with V Magazine’s November cover stars Candice Swanepoel, Joan Smalls, Bambi Northwood-Blyth, Hanaa Ben Abdesslem, and Sui He, host V’s Halloween party at La Escuelita.

Oprah Winfrey Ralph Lauren

Barbara Walters

Tracy Pollan Michael J Fox

Caroline Sieber Olivier Theyskens Jack McCollough Byrdie Bell

Lazaro Hernandez

Diane von Furstenberg

Lisa Eisner

Kerry Washington

Naomi Watts Camilla Belle Jessica Alba

Leigh Lezark Hilary Rhoda Olympia Scarry Vanessa Traina Max Snow

Samantha Boardman Vera Wang Tory Burch

Derek Blasberg


Lauren Santo Domingo

a very classy dinner Moda Operandi, Tory Burch, Samantha Boardman, Lauren Santo Domingo, and Vera Wang throw a dinner for Derek Blasberg’s book Very Classy at the Gramercy Park Hotel.

two legends, one conversation

Uma Thurman Steve Buscemi

Oprah Winfrey hosts a Lincoln Center gala in honor of Ralph Lauren in which the legendary television personality quizzed the fashion icon in front of a star-studded audience.

Belvedere is a quality choice. Drinking responsibly is too. Belvedere Vodka 40% ALC./VOL. (80 PROOF) 100% neutral spirits distilled from rye grain. ©2012 Imported by Moët Hennessy USA, Inc., New York, NY.



F A C E B O O K . C O M / B E LV E D E R E VO D K A

barbra streisand

perhaps No other artist has achieved as much commercial aNd critical acclaim as BaBs, aNd she’s still goiNg stroNg There is perhaps no other artist who has transformed herself as prolifically and successfully as Barbra Streisand. Her many style shifts aside, professionally she has gone from nightclub singer to Broadway performer to silver-screen star to celebrated director. It’s not merely that she’s one of the rare artists who has both an Oscar and recorded a number-one single, or that she’s created five number-one albums in five consecutive decades— Streisand has won nine Grammys, four Emmys, five Golden Globes, a Tony, and two Oscars (for Best Actress in Funny Girl and Best Original Song for A Star Is Born). Whereas the saga of Streisand might be more an evolution than a transition, there was a moment in time when Babs underwent a true metamorphosis. In 1969, Streisand and her entourage of hairstylists, makeup artists, and wigs traveled to London to film Vincente Minnelli’s adaptation of On a Clear Day You Can See Forever, a story about a chain-smoking clairvoyant New Yorker who, while 32

undergoing hypnosis to kick the cig habit, discovers she’s the reincarnation of a coquettish 19 th-century British lady. And to help Streisand make the shift was famed photographer and designer Sir Cecil Beaton, who designed the costumes for the film. Beaton had already won two Academy Awards for his masterful designs and art direction in My Fair Lady, and was a worldrenowned photographer of celebrities, intellectuals, and royalty. In tow during that trip to London was photographer Lawrence Schiller, who documented it all and shares with us here these previously unpublished photos. “This was a man of elegance and taste,” says Schiller of Beaton. “And his reputation preceded him. So Barbra and [Beaton] got along fabulously. She was like a little puppy dog in Beaton’s presence. You know, she would bark every once in a while, and voice her opinion, but she was delighted with what he created. He understood her face, he understood the shape of her body. And Barbra knew what her assets were. Of course the greatest asset was her voice, but now she was moving on in life and she was making the transition to being a great actress. Eventually she’d become a great director. So what do you do, you surround yourself with the most talented people in the world. And she surrounded herself with Cecil Beaton.” Clear Day would be Beaton’s final project, and this was not merely a transformation of Streisand’s character, but for Streisand personally, as he would forever have an impact on her style and grace. Elliott David

Sir Cecil Beaton and Barbra Streisand in London, 1969 Photography Lawrence Schiller


dolly parton

The Queen of CounTry musiC has builT an empire on her musiC, her movies, and her one-of-a-kind moxie


Photo courtesy Dolly Records

Dolly Parton has written so many songs in her six-decade career that she alleges she can’t count them all. When asked if she has a favorite, however, she doesn’t hesitate to respond: “Coat of Many Colors,” the title track from her eighth studio album, which debuted on the country charts in 1971. The song tells the simple autobiographical story of her mother finding a box of colored rags when Dolly was a child, which was all she could afford to whip into a winter coat for her. When young Dolly goes to school in her coat of rags she is teased, but finds resilience in the love of her family. In the song Parton sings, “Now I know we had no money / But I was rich as I could be / In my coat of many colors / My momma made for me.” “It’s still my favorite,” the music icon says. “I believe it helped

me and has helped a lot of people around the world. It shares a powerful message.” Dolly’s compelling message of faith and pride has been her professional hallmark and the backbone of a career that began when she was a preteen growing up in backwoods Locust Ridge, Tennessee, the fourth of twelve children. Childhood was, by her own account, “dirt poor” and tough growing up in a log cabin deep in the Great Smoky Mountains. As a young girl, she performed on local radio shows, and at 13 she performed at the Grand Ole Opry. She moved to Nashville the day after she graduated high school and embarked on what has become one of the most decorated, prolific, and respected careers in the history of music. Parton’s list of achievements includes Grammys, American Music Awards, a star on the Hollywood Walk of Fame, a place in the Grand Ole Opry, and a Kennedy Center Honor. Throughout, she’s done it with her own unique blend of pluck, moxie, wigs, short skirts, and rhinestones. Parton represents a unique paradox: she’s a country girl, but she’s in-your-face glamorous; familiar, but also a real-life cartoon, possessing a physically augmented figure that resembles the ultimate ageless pinup. “I’m a Backwoods Barbie,” she proudly says, invoking the name of her fortieth studio album, which was released in 2008. Even in her comical nicknames for herself, she seamlessly embodies both the coquettish charms men love and a unique brand of fabulous feminism women want to believe in.

In all her performances— onstage, in the studio, and on-screen— she proves she’s not afraid to use her false nails as claws if she needs to. Anyone else remember when she went from a sexy secretary to a gun-toting girl-gone-wild who hogtied her boss to a garage-door opener in the hit film Nine to Five? This is perhaps her most endearing quality: resilience. She may be blonde with an oversized bust, but she’s hardly a pushover. Beneath the shimmery ditz, there’s always been a business blitz. Famously, in 1974, Elvis asked to record her song “I Will Always Love You,” which Parton had written and recorded (and Whitney Houston would famously turn into one of the mostplayed songs of the ’90s when she sang it for the soundtrack of her hit film The Bodyguard). Presley’s management told Parton that Elvis didn’t sing songs he didn’t own, and it was standard procedure for the songwriter to sign over half of the publishing rights to any song he recorded. Parton balked at the King, and kept her millions in future royalties. Since recording her first album, Hello, I’m Dolly, in 1967, Parton has not slowed down. She is still acting in films, making records, and writing as often as she can. “I’m inspired by everyday life, my friends, and my family,” she says. “I can write anywhere and I try to write as often as I can.” She is currently starring alongside Queen Latifah in the film Joyful Noise, the story of a local choir, lead by Parton and Latifah, out to win a national singing competition. “I’m always being sent scripts, but I really liked this one because I would be working with Latifah and it has some of the greatest gospel music I’ve ever heard. I also got to write a few songs that will be featured in the movie,” Dolly smiles. Her biggest full-time job, however, might be maintaining her trademark look. On her appearance, Dolly is notoriously selfeffacing. Some of her best one-liners? “It costs a lot to look this cheap!” and “I never leave a rhinestone unturned.” She is particularly fond of a piece of dialogue she says in Joyful Noise: “Who cares if I’ve had a few little nips and tucks? God didn’t make plastic surgeons so they could starve!” There’s a formula to Parton’s silhouette: something fitted with a short skirt; opaque and/or shimmery tights; a peep toe high heel; a wig; lots of makeup; and a neckline that hints at her well-maintained décolletage. (Dolly trivia: the opening acoustic sequence on her hit “Nine to Five” is actually the sound of her tapping her acrylic fingernails together.) It’s been this way for decades, and it doesn’t look like she’s going to change anytime soon. “I’ve never tried to keep up with the trends and I’ve always just had my own style. I like everything overdone and I’m comfortable with that,” Parton laughs. “People always say less is more, but I say no, more is more.” Parton has come a long way since her rag coat of many colors in the Smoky Mountains, and even though she has closets and tour buses full of her own costume creations, she hasn’t forgotten where her roots are. In fact, she ended up thanking her mother for that coat of many colors with an upgrade of her own. Asked what was the first thing she splurged her money on when she started to make it in the business, Dolly proudly says, “A mink coat for Mama.” Derek Blasberg


Fact: RichaRd hell basically invented punk. Fact: now a wRiteR, he hasn’t played music in a long time. Find moRe Facts in his FoRthcoming memoiR, but FoR now—and FoR us—hell spoke with Rock’s new cult idol kuRt vile Kurt Vile i know you’re focusing on mainly being a writer now—you don’t even pick up a guitar at home? richard hell No, not at all. I don’t. KV in Please Kill Me, you said that back in the day you didn’t go to live shows. Since then, have you enjoyed a concert or two? rh I’m not into concerts. I’m not into live music. I’d rather listen to a record. I don’t like being in crowds, and live shows don’t 36

rh You can be more honest in fiction. In writing an autobiography people’s feelings can be hurt, and lots of issues around your own ego come up too. It’s delicate. Even in Go Now, when people thought they recognized themselves they got pissed off, no matter how admiring and affectionate I was being. I came to understand that; it is annoying to have yourself depicted, because it’s degrading, you know? The writer never really delivers the whole person, the picture has to be partial and by that token warped, and who wants to be deformed like that? Another issue, of course, is accuracy of memory, along with how selfserving it might be. So for my book I thought, finally, that I was ahead on those two counts far enough to try it. I wanted the challenge, I wanted to see what my life had been and I wanted to make a good book from the material. But it was hard as fuck to write. It took a long time. I started the book in 2006, and I finished the first draft in 2010 and then spent another year reworking it. In the last year I got pretty depressed sometimes. I didn’t know if I could make it work. There were times when I thought this is just too all-over-themap and it’s boring and it’s a waste of my time. I ended up cutting out twenty-five percent of it, one hundred pages out of four hundred. But it worked out. The book is good.

Richard Hell in New York City, November 2011 Photography Inez & Vinoodh Styling Patti Wilson

Grooming Wendy Rowe (Tim Howard Management) Hair Duffy (Tim Howard Management) Manicure Gina Viviano using Chanel (Artists by Timothy Priano) Tailor Lucy Payne (Lars Nord Studio) Lighting technician Jodokus Driessen Digital capture Brian Anderson Photo assistants Shoji Van Kuzumi and Joe Hume Stylist assistants Taylor Kim and Eyob Yohannes Studio manager Marc Kroop Grooming assistants Asami Matsuda and Chisa Takahashi Hair assistant Neil Grupp Printing Box Location Pier 59 Digital Studios Catering Nuela Special thanks Tony Jay

richard hell

usually sound good. Plus they’re usually fake; bands pretend that it’s spontaneous but they’re doing exactly what they did the night before. It’s hot and smelly and unpleasant. When I toured, I found the clubs so depressing. The whole thing would be depressing. You’d get to the club and it was usually painted black inside, and the sound system is terrible, the people who work there are usually completely indifferent or are actively hostile to you as a musician. It’s unpleasant when it’s filled up with people who are looking at you, with like “what do you have to show me?” And it’s even worse at sound check, when it’s empty and the lights are on. KV i want to ask you about the autobiography you have coming out. What was it like writing it? rh The weird thing is that once you’ve described something in writing, it’s engraved in your brain in a way that doesn’t alter. It’s kind of scary and sad. Because before you write about it, it’s a rich memory. It’s got a lot of dimensions. Most memories aren’t that precise. The clarity is a little wanting, but they’re deep and they’re rich. But then once you write about them, they’re fixed, they lose that swirly emotional richness; they’re turned to lower matter from being on this higher and ethereal plane. But that’s the only way to communicate. You do your best to get it all. KV i read an interview from around the time of [your 1996 novel] Go Now, in which you admitted the novel came a lot from your life, but you said you’re not sure you could ever write an actual autobiography.


nina ha en



GENEVA JACUZZI What planet are you from? NINA HAGEN I was born on planet Bearth! Most of the inhabitants here call it Earth, but I love to call it BEARTH because we are being BORN here...as holy little babies! GJ Do you have recurring dreams? Are there any dreams you would like us to know about? NH No, I don’t have recurring dreams, but some of my dreams are precious dreams come true. For example, I dreamed of a loved one, who had left planet Bearth a while ago. I missed her so much and we could not say goodbye, so that was a wonderful thing—to receive a dream with her, my sweet singer/friend/ sister, Ari Up from the Slits! I gave her a BIG KISS in the dream; she was dressed all in white and soooooooo beautiful! GJ What is your earliest memory? NH That I fell down the stairs in Boltenhagen and had a little brain shattering, I had to stay in a children’s hospital and my sweet mom came every single day for many, many hours singing

one groovy song after the other! Amazzzing! GJ Do you believe in good and evil? NH Yes, of course. I know everything. GJ What’s so bad about sex? NH Nothing. Why? GJ I’m feeling lots of fire from you, Nina. What feeds this fire? NH GOD! GJ What mellows you out? NH Talking to God and singing groovy thanks and praises. GJ How do you personally deal with jerks? NH I give them the full amount of love love love! GJ What brings you pleasure? NH Working on building to stop the U.S. and NATO’s depleted uranium warfare destroying our human DNA; this is a high crime against humanity. GJ Who do you admire in the world today? NH ALL THE CHILDREN, ALL THE MOMS, ALL THE MIDWIVES, ALL THE DADDIES! I love and admire every single human being, and to the evil ones I say: the truth shall set us free! And LOVE! Love never fails. GJ What is the biggest fear you’ve had to face? NH Once upon a time, I had a near-death experience. I was 17. There was a huge fear factor. But my biggest fear turned into my biggest hope and my biggest joy, because God came to the rescue! And God is soooooooooo REAL and GOD IS LOVE SWEET LOVE SWEET SWEET SWEET LOVE LOVE LOVE! Can’t miss it! It’s the way and the goal! Wow wow! Hohoho! Volksbeat is available now from Universal/Polydor München

Photo courtesy Polydor

Is there anyone on planet Earth as electric— or eccentric—as Nina Hagen? If you trace back to the origins of her preternatural, polychromatic career (and probably earlier), the legendary punk singer has literally made it her business to be nothing short of her absolute, uncompromising self. From her first band, the early ’70s East German pop group Automobil, through her time spent in London touring alongside the Slits and the Sex Pistols, to her controversial appearance on an Austrian talk show—during which she simulated masturbation—to her prominent years spent recording under the Nina Hagen Band, to her marriage to a teenager in 1987 (which generated the celebrated Punk Wedding EP), to her outspoken protest of the war in Iraq, to her discovery of God and subsequent baptism in the Protestant Reformation Church, Hagen has built up tremendous notoriety and extended the hypercolored umbrella of her stylistic influence over the careers of many

of the world’s most famous pop stars. All along, she has acted internationally in films and onstage, contributed her talents to a variety of charity organizations, hosted a weekly television series on the British Sci-Fi Channel, performed with Finnish metal band Apocalyptica, and served as a muse to Parisian artists Pierre et Gilles and designer Jean-Paul Gaultier. To honor the genre-defying, visually stunning spectacle that is Nina, we turned to L.A.’s own unique anomaly of pop experimentalism, Geneva Jacuzzi. When asked to describe Nina Hagen’s influence on her own shimmering cauldron of sideways sci-fi songs, Jacuzzi replied: “Nina Hagen is the godmother of zombiewave. I would shave my head to be her slave.” Patrik Sandberg


marilyn manson

The anTichrisT supersTar who liberaTed an army’s worTh of suburbaniTes wiTh his mainsTream inTroducTion of goTh expressionism reTurns wiTh born Villain


Photo assistant Frank Terry Production Kim Pollock Special thanks Yann Rzepka

God. Where to begin? How about two minutes ago, when I pressed play on my audio recorder from my night with Marilyn Manson and heard nothing but silence, sort of like trying to see a vampire in a mirror. Or we can start in 1995, when I kicked a hole in my bedroom door while listening to Smells Like Children, the EP that was bookended by his 1994 debut, Portrait of An American Family, and his breakout follow-up, Antichrist Superstar—all three of which were produced by already-established Trent Reznor. Superstar helped push punk and industrial music into a new demonic domain of pop surrealism, a pill more easily swallowable by the American masses. Or we can start with the fact that Manson’s new album, Born Villian, is out this February via Cooking Vinyl Records and Manson’s own label, Hell, etc. Villain is Manson’s first record in three years and marks his eighth studio album, and his first without longtime label Interscope. Or maybe we should begin where we began: God, which Marilyn Manson is basically considered to be, not merely by his legion of devotees, but countless kids from the ’90s. Marilyn Manson lives on top of a liquor store in Hollywood. It used to belong to Billy Zane, and Manson first visited his future home when he’d just arrived in L.A. and was trying to make it as a musician. Now it’s his perfect lair: a recording studio, a

bedroom with a “bad girls room” (some former shower or steam Born Villain’s title track. Manson’s been out of the scene for a room that’s now a lock-able, soundproof glass enclosure), and an while, popping up at some events here and there but generally enormous and blacked-out space that serves as a movie theater, reclusive, so I anticipated he’d keep me at a bit of a distance, bar, art studio, and den for congregation. This is where Manson enclose himself with the moats of the mind unique to herleads me when he opens the dense metal (possibly bulletproof) metic eccentric brilliant avant-weirdos. But he’s actually this door to his home. “What are you drinking?” he asks. I tell him warm and wonderful man. Maybe it’s because we’re kindred whatever he’s having, and I start on my first of many glasses souls. Or maybe he’s actually the gentle genius he was often of absinth. What happens next is a bit of a blur, but a beautiful described as during the worst of his scandals and lynch mob one. Manson is high on the list of people I want to meet, and we moments. I remember not wanting to leave. I remember Lily the get along as well as I prayed to the black dogs of hell we would. white cat. I remember a whole shitload of IHOP food showing Which means lots of drinking. And after a technological fail with up. Manson showed me a book inscribed to him by Hunter S. my digital recorder, and the backup analog recorder’s then- Thompson, a gift right before the writer took his own life. “See unknown inability to record Manson’s deep, cellar-door-creak- that doll? Pick it up.” It’s a crash-test-dummy type of doll on ing voice and the entirety of the record we listened to together— the ground, wearing a blonde wig, with several non-car-crash I’m going to chalk it up to fate. So we’re gonna have to go off my inflicted wounds, and it’s heavy as shit. “It’s heavy as shit,” I totally unreliable memory of the night. probably say. “I’m renting it for $150 a day,” I definitely rememThe first sentences Manson speaks to me are whispered. He ber him telling me because it’s such a uniquely and harmlessly kneels by my side while I’m sunk into a black bean bag chair in strange extravagance. But in all honesty, I remember many the lair. A couple of musicians and friends sit on the humongous incredible quotes, but naturally the ones I recall are the ones black couch, facing the giant white wall that serves as a make- I can’t (won’t) repeat. shift theater screen, which was plastered with Jeremy Piven’s Most of all, I remember that the album is incredible. It’s a hysterically crying face. They’re watching an early screener of dance-to-it, fuck-to-it, anthemic beast, perfect for these insurI Melt With You, a scene wherein (spoiler alert) some bearded rectionary, riotous times. Manson’s music has always been the guy shaves his beard then kills himself. I remember remarking ideal fight song of the enraged and suppressed, tuned perfectly that Wes Anderson cornered the market on shaving-then-sui- to the key of generational angst, but there’s maturity here. And cide, but Manson says there’s some sort of connection between definitely more depravity, indicative of today’s prime-time sex the removal of body hair and a heightened immediacy of death. crimes and uncensored Internet war coverage, i.e. transparency We’ll get back to that. in all the wrong places (like gruesome acts of humanity) and In the corner of this room are countless giant paintings. none of the right ones. Countless because there are a lot, maybe thirty, but also Manson tells me he’s recently been painting with a tattoo ink. I because they’re strewn about and stacked on top of each other. ask him if he has a tat gun, and he points to it. “Let’s use it,” I say. Marilyn Manson is a phenomenal artist, whose stunning portraits “Let’s start with that beard,” he says, referring to my dense grizzly are these devil-on-their-shoulder versions of friends, freaks, bas- situation which took a lot of patience and awkward moments. I tards, and his beloveds; they’re breathtaking studies on the dark, think back to his earlier correlation between grooming and death. damaged shadow of beauty. He pulls out a razor. And then my dream of Marilyn Manson We sit in his recording studio and listen to the record for coming at me with a blade came true. Elliott David hours. I play with the guitar he wrote Superstar on. I play with a gun. He shows me the film Shia Lebouf directed for Photography Hedi Slimane

from the desk of lady gaga


JANuARY 2012



From: To:


Copy to:



Giorgio Armani: “It is always stimulating to work with Lady Gaga because it allows my imagination to roam freely in order to create genuinely theatrical stage costumes, as was the case on this occasion. Lady Gaga is an artist with a huge personality and amazing stage presence. I was attracted by her genuine interest in fashion and design, which she projects with a conviction that knows no limits—and which she definitely considers a vital ingredient of her career.”

Lady Gaga in Armani Privé, backstage at the Bambi Awards, Berlin, November 2011 The winning submissions from our Drawn This Way contest, inspired by her Paco Rabanne looks worn at the 2011 MTV European Music Awards, Belfast, Ireland, November 2011


Artwork/photographs (clockwise from top): Stephen Gan, Anthony Taysub, Thulio Beacker, Jamie Reardin, Jane Lane

Manish Arora (Artistic Director of Paco Rabanne): “Daring, far beyond fashion and beauty, Gaga’s style is unpredictable, iconoclastic yet iconic and out of time. She is now and tomorrow, between fantasy and reality... She is a statement of re-creation, a piece of art.”

Karl Lagerfeld: “Gaga gives the world her music and her talent, but the thing I like most is that she fights against boredom and banality. She also puts forth an ever changing, inspiring, and strong image—an image beyond fashion. She is an extreme concentrate of ‘zeitgeist,’ freeing us from the heavy boredom of publicly displayed political correctness by being herself more than politically correct. Something in today’s world would be missed if there would be no Lady Gaga because Gaga is a Lady.”

Lagerfeld’s sketch for Lady Gaga’s Chanel couture gown, worn for the unveiling of Gaga’s Workshop, Barneys New York, November 2011


i want my YouTube

The inTerneT didn’T kill The video sTar. The arT form is alive and well, and here are some of iTs laTesT and greaTesT. see These sTills come alive on vmagazine.com

Yeasayer – “Ambling Alp”

radical friend

Directors Kirby McClure and Julia Grigorian are Radical Friend, whom German Rolling Stone described as two of the “top fifty people who will change music.” Their music videos and, to use their own term, “Web-based interactive worlds” have been featured in Wired and Vice, premiered at the Saatchi Gallery at Art Paris, Art Basel, and other impressive facts. Of their video for Yeasayer’s “Ambling Alp,” which premiered at the Hammer Museum and was nominated for a UKMVA, they say, “In this epic ride we are taken from the primordial ooze of human consciousness, through vast volcanic landscapes, eventually reaching the final step in human evolution, the shimmering fist of technology.” Shimmering fist of technology sounds about right to us.

Dawes – “Love Is All I Am”

ausTin PeTers “I’m part of the last generation of kids who saw the golden age of music videos,” says NYC-based, LA-bred 24-year-old Austin Peters. “As I got older, fewer of the artists I liked would be on MTV, so I’d have to put in quality time waiting for the videos I wanted to see. Growing up, all my friends were in bands, I knew I wanted to be a filmmaker so eventually the connection happened out of necessity,” e.g., his videos for friends Dawes and Chief. On the rise, Peters is definitely one to watch.

Slayer – “Beauty Through Order”

St. Vincent – “Cruel”

Seventeen Evergreen – “Polarity Song”

Terri TimelY

The brainchild of Bay Area-based Ian Kibbey and Corey Creasey, Terri Timely has directed videos for such artists as St. Vincent, Darwin Deez, Modest Mouse, the Wrens, Joanna Newsom, and Bobby Birdman. Of their Seventeen Evergreen video, they say, “The only thrift store that would let us film all night was in a pretty sketchy area of Oakland. It’s a bad sign when the only person in the crew getting paid is the security guard.” DIY clean.

Ratatat – “Drugs”

carl Burges

London-based filmmaker Carl Burges has created videos for bands as varied as Slayer, Kap Bambino, and Jon Hopkins. He takes a simple element— e.g., some friends and family taking wholesome photos — and pushes it past realism into the surreal and distortedly creepy. “Searching for ‘stressed businessman’ or ‘old man

Jon Hopkins – “Light Through the Veins”

smiling’ on Getty Images throws up hundreds of great results,” Burges says of researching the Ratatat video. “There is a surreal quality to these staged clips, and often a strange, dark humor. Unconvincing acting and cheap lighting are some of the things that make these clips unique, and are the qualities I wanted to embrace.”

Duck Sauce – “Big Bad Wolf”

keiTh schofield

Schofield is the genius behind the Charlotte Gainsbourg and Beck video for “Heaven Can Wait.” This still from his recent Duck Sauce’s “Big Bad Wolf” is an accidental PSA for condoms, since it will freak you out about ever having unprotected sex again.



Kasabian – “Days Are Forgotten”

AB/CD/CD is Arnaud Boutin, Camille Dauteuille, and Clément Dozier, who before getting into music videos, were creating websites for Cartier, Colette, and Kenzo, and art directing and illustrating for magazines and children’s books. “After realizing we had only a third of a brain each,” Dozier says, “we decided to gather.” That was three years ago, and the award-winning filmmakers have since created videos for Lily Allen, Uffie, Kasabian, and others. “We feel like there is this great humility about artists now,” Dozier says. “They play the game and they are not precious superstars that you can’t knock out anymore. It’s good for them to be able to deal with humility, proximity. All this is closer to emotions, which is the key to music in general, isn’t it?”

All images courtesy of the artists

Uffie – “Difficult”



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Solange Knowles doesn’t mince words. “There are a lot of songs with her debut hit single, “Me & U.” An icy and addictive ballad, about sex,” she says of her new album, a personal project she the track instantly rocketed her to number 3 on the Billboard funded and managed herself. “It’s the kind of record you put Hot 100 and spawned hundreds of Internet-bred remixes. The on when your man is coming over, when you’re with your girls. song has enjoyed unnatural longevity, and interest in the young performer hasn’t managed to wane. Good thing she isn’t short There are songs that make you wanna dance because we were kind of partying our way through the record, but it’s very chill.” on material. “I have hundreds of songs recorded for this album,” Knowles worked with a few new friends on the album, forgoing she says in disbelief, driving through the hills of L.A. “I’ve been the major label route to make a statement that is entirely her own. working on it for a long time. Finally, I had to decide my direcAlong the way, she found a fated collaborator in Blood Orange’s tion. I felt kind of exposed when I stopped working in the studio. Devonte “Dev” Hynes. “Dev was a complete surprise, his role My friends would call me to hang out and I would say, ‘nope, changed substantially throughout the process,” she says of the going in the studio,’ and they’d say, ‘you’ve been in the studio rising star, who wound up producing most of the record. “It’s for four years!’” very rare that you work with someone with whom you have this The record itself maintains the dark and sultry elements of her creative chemistry, it’s almost like a relationship. You have a sort early material but merges it with electronic dance, jungle, reggae, of musical love affair.” and even ska. “It’s the perfect definition of who I am right now Working with Hynes, Vincent Vendetta of the Midnight and what I’m going through,” she says, smiling. “People aren’t Juggernauts, Ariel Reichstadt, and polishing things up with going to expect me to come out with what I have.” Pharrell, Knowles aims for a pop-soul sound that’s equal parts JoJo might be best known as the teen star who danced her progressive and throwback. “My references for the record were way through a junior high breakup in her “Leave (Get Out)” video, or the girl who cried in the rain with her sing-along all Jimmy Jam and Terry Lewis, not just their typical Janet and Prince stuff, but SOS Band and their b-sides with Chaka Khan. anthem “Too Little Too Late,” all the while juggling a mainAt first the songs were really dark because I had a premonition stream acting career (see: Aquamarine, the Hollywood teen before the record that I was going to die. I was having panic flick about two friends who discover a mermaid at a beach club). While she may seem like fodder for Disney Channel attacks and wiling out.” Once the team realized a house they programming, the brooding adolescent has always tranhad rented in Santa Barbara to record in had a bad vibe —to scended that expectation with unparalleled attitude and put it bluntly—they relocated to L.A. and saw a light at the end depth, earning her fans of all ages and musical inclinations. of the tunnel. “I have never been invested in believing anything about haunt- Last summer, the singer scored a viral phenomenon when ings,” Knowles says nervously, “so of course I was thinking it she released her own version of Drake’s “Marvin’s Room” on was something within myself because I am in complete denial the Internet. Sample lyrics: “Fuck that new girl that’s been in of ghosts. But I think it was haunted!” your bed/ ’cause when you’re in her I know I’m in your head.” Despite the album’s intimate overtones, the blissfully in-love “I never expected it to elicit the reaction that it did,” she says. mother manages to address the downside of domesticity. “Now “My best guy friend told me about the song, and I just had something in my heart that I wanted to get out. I was going being in a stable situation, sometimes that feels fucked up within itself,” Solange says. “I’ve been on the road my entire life since through a really stupid situation and I decided to write about I was 13, even when I had my son he came on the road with me. it.” Such can be said of much of the content on her new album, Now that he’s in school where there is a real structure, we have Jumping Trains. “It’s about taking risks and feeling exhilarated.” to be home during those times. Being that grounded feels really Her daring motif is supplemented with new directions for ’Jo, foreign to me.” Writing, recording, and putting the record out including a heavy dance track produced by Danja, best known herself has helped her maintain a lot of independence. “I don’t for his work on Britney Spears’s Blackout. “I hope people feel need anyone telling me ‘this isn’t cool enough’ or anyone from like ‘damn, that’s exactly what I’m going through, that’s what the opposite end saying ‘this seems kind of weird.’ I’m lucky I’m thinking but I wasn’t sure how to put it into words.’ I want enough to have been in this business for so long that I know how to sing what people are thinking and feeling. I want it to be the soundtrack to their lives.” it works. It’s not that hard. It’s not rocket science.” R&B sensation Cassie knows a thing or two about the busiFor Amanda Warner— more commonly known as MNDR— ness herself, having blown up overnight in 2006—via MySpace— addressing the public’s collective consciousness takes a differ46

ent form. “Pop music is the ultimate platform to talk about whatever you want to talk about,” she says. After all, she would know as much, coming off two years touring as part of Mark Ronson’s Business Intl. band and playing to sold-out audiences alongside the likes of Boy George and Duran Duran. This spring, she plans to release her first LP on Ultra Records, recorded with her production partner Peter Wade. “It’s political and sort of anthemic,” she says. “When I was a kid, bands like the Clash would have really danceable anthems that could cross over into a club, but the lyrical content was really progressive. Maybe it’s been all about more personal or narcissistic topics lately. I want to reach as many people as I can, saying something that is resonant with what’s happening.” MNDR needn’t worry about her political interests overshadowing the infectious pulse of her sonic output, as is evidenced in her work with Ronson and her previous bangers like “C.L.U.B.” and “Fade to Black.” Her first single from this record is a wry salute to Patti Hearst and the Symbionese Liberation Army. “Look at Occupy Wall Street, Libya, and Egypt,” she says. “You can be slightly armchair and not really paying attention and still realize there’s revolution happening. Thinking back to the last big political pop moments, the only one I can really think of is the tank man in Tiananmen Square in 1989, which is what the R.E.M. song ‘Stand’ is about. It’s fun and the video is kitschy but if you think about the lyrics there are different levels…it makes it so much more interesting.” Speaking on the phone with VV Brown in the U.K., it’s clear she feels similarly about widening the rhetoric of pop lyricism. “My second album has a message: it’s about my generation and things going on in the world,” she says. “But I didn’t want it to come across preachy. I love writing upbeat songs with darker undertones.” This idea is likely what led her to title her February album Lollipops and Politics. While Brown isn’t shy about making sartorial statements, her fans might be caught a bit off guard considering her last album focused on more personal fare. “Sometimes you want to shy away from political things because people will tell you to leave that to the politicians,” she reasons. “But I want my fans to hear a message that is about questioning the world and getting them to question what fame is.” She pauses, exerting a laugh. “I find it difficult to even say the word ‘fan.’ We’re all the same. As a generation, let’s evolve and shift away from celebrity culture, I think it’s really unhealthy.” Punk. Patrik Sandberg

For extended interviews with Solange, Cassie, JoJo, MNDR, and VV Brown, log on to vmagazine.com

“I’m lucky enough to have been in this business for so long that I know how it works. It’s not rocket science.”–Solange Knowles

Solange Knowles wears Jacket Bess NYC by Doug Abraham Shirt Jil Sander Navy

Cassie wears Dress Theyskens’ Theory Jewelry her own

“My friends would call me to hang out and I would say, ‘nope, going in the studio,’ and they’d say, ‘you’ve been in the studio for four years!’” –Cassie

Jojo wears Dress Guess Jacket Dsquared

“I want to sing what people are thinking and feeling. I want to be the soundtrack to their lives.” –JoJo

“Pop music is the ultimate platform to talk about whatever you want to talk about.” –MNDR

Makeup Talia Shobrook (community.nyc) Hair Bok-Hee (Streeters) Manicure Bernadette Thompson for The Bernadette Thompson Nail Collection Photo assistants Cody Smyth and Chris Polinsky Videographer Francisco Garcia Video equipment ROOT [EQ, Capture + Studios] Special thanks Fast Ashleys Brooklyn and FeralCat Productions

MNDR wears Jacket Versace Tank Theyskens’ Theory

VV Brown wears Top DKNY

“I want my fans to hear a message that is about questioning the world and getting them to question what fame is.” –VV Brown

city of an els Los angeLes’s two most taLked-about musicians share a penchant for the weird and way-out, but they couLdn’t be more different Photography Terry Richardson

ariel pink

I have never heard Ariel more inspired and energized about management, and a period of “self-sabotage,” when he questhe various projects on his plate. He also recently provided tioned his commitment to music and wanted to “give the finger music to a California-themed Hedi Slimane exhibition at L.A.’s to everybody.” On the upside, this year’s highlights for Pink Museum of Contemporary Art, and is working on an album with included a trip to Russia, where he played for several thousand his longtime friend and lo-fi hero R. Stevie Moore, which bears and says he felt for the first time in his life “like a rock star,” and a typically button-pushing title, Ku Klux Glam. (An unfinished “Witch Hunt Suite,” a song he wrote on 9/11 but expanded, reversion of it is already on Soundcloud.) But all of this creative recorded, and released this year on the tenth anniversary of activity has another purpose: to provide Pink with distractions the attacks, along with a provocative YouTube video, a collage from a difficult recent breakup with his longtime girlfriend, art- of images including jihadist training camps, Batman, death, ist Geneva Jacuzzi. Pink blames himself (“I was a fucking idiot”) destruction, a dinner party, and Ariel himself doing a little jig and says at times since the split he has been “inconsolable.” while wearing headphones. “Having someone by your side for eight years gives you a real He’s feeling productive now, and that’s what counts. Should false sense of protection and support,” he says. “I’m not out A Death in Hollywood pick up where Before Today left off, just of my dark cloud yet, because it has a way of creeping back maybe Ariel Pink will continue to move the pop world ever so in. I was with a partner for so long that I’d forgotten who I was slightly toward something interesting. Or not. “I’ve got so many without that person.” things going on, but I’m still not writing standard pop songs, you There were a few live shows, particularly early in 2011, that know?” he says. And thank God for that. “I still have a pretty Pink would just as soon forget— notably the Rock & Roll Circus fierce renegade spirit running through me. It’s one of those at New York’s Lincoln Center and Coachella— where he sulked, things where I can’t help myself.” John Norris stalked, withdrew, and eventually walked off. He attributes that onstage acting out to exhaustion, dissatisfaction with new Ariel Pink in Los Angeles, September 2011

Retouching Dtouch

He grew up a child of the 90210, attended Beverly Hills High only a few years removed from Angelina Jolie, and yet Ariel Pink never knew a movie star. “I was so disaffected and had such a total aversion to that world,” he recalls, “that I kind of x-ed out any possibility of befriending anybody in the industry.” But Pink had multiple starstruck moments when he showed up at L.A.’s Chateau Marmont for our shoot with a kindred subversive spirit, Terry Richardson. “My drummer, Aaron Sperske, and I walked in and there’s Richard Lewis in the corner reading a script,” he says. “We go to the patio to wait for Terry, and lo and behold, Lindsay Lohan sits down next to us. Terry comes down, we were introduced briefly. And then at lunch, who is sitting next to us but Denzel Washington!” Pink is a star in his own right of course, certainly in indie-rock circles, where years ago he became a DIY legend, and increasingly in the mainstream, thanks to 2010’s remarkable Before Today, an album whose distillation of retro pop and wicked subject matter drew wide acclaim and produced a hit, the warped pastiche “Round and Round.” Now, as he plans the followup record, he’s turning to his hometown — and his past— for inspiration. “It’s called A Death in Hollywood,” he explains, “and it’s based on a childhood movie that I made with my cousins, basically a combination of Ghost and [1990 Andrew Dice Clay vehicle] Ford Fairlane. It’s like a rock-and-roll detective story. There’s a rock star who dies onstage and his brother wants to get to the bottom of the caper.” The album will only be loosely based on the film (which apparently no longer exists), “to give it an overarching theme,” and Pink’s band Haunted Graffiti has yet to hear the music, which at the moment “is in my head and on my phone, things that I document on the fly.” It will be the band’s job to “decode” Pink’s ideas, he says. “It’s cool because now they kind of understand me. It’s all very intuitive. There’s no demos, nothing to fall back on. It really is a new step in the evolution of the band, and it’s very exciting for me.” There’s also an actual movie on the way. Tentatively titled Bad Vibes, it’s a horror film set in the ’60s that Pink is set to produce, act in, and score—a collaboration with writer and director Dave Gebroe. “It’s a werewolf movie,” explains Pink, “but it revolves around a band called the Sunrise Majesty, which is a mixture of Sly and the Family Stone and Jefferson Airplane. There’s already a whole backstory and mythology around them that’s pretty elaborate.” Pink will write new songs for the band, as well as rival bands in the film, with varying styles. “And then there’s the actual score, which will be completely different,” he adds, “so I’m just over the moon about how much I get to play here.”


kreayshawn the colloquialism “nigga.” The media ran with it, ignorantly missWithin a few short months, Kreayshawn has become a global ing the vital fact that the word was used as part of a quotation, obsession. A loudmouthed 22-year-old with a passion for the sparking claims that she was racist. “It’s so dumb,” she says. Spice Girls and smoking mad blunts, the California rapper has earned millions of fans and haters alike, thanks to her viral hit “People hear ‘white rapper’ and they say, ‘Oh, she’s racist.’ But when Tiger Woods plays golf, no one calls him racist. Why do I “Gucci Gucci.” The population is torn: we love her, we hate her, she’s a lesbian, no she isn’t, she’s a poser, she may or have to go through this?” Kreayshawn has also been accused of appropriating black may not be racist, she’s a Craigslist prostitute, maybe she isn’t, culture, but in 2012, such conversations feel lazy and redundant. nobody knows, everybody cares. But while the authenticity of the young singer’s plastic, white-girl rap is argued by some, After all, white women have been rapping for at least thirty years, if you consider Debbie Harry’s rapped interlude on Blondie’s her reported million-dollar record deal with Sony and her Best New Artist nomination at the 2011 MTV Video Music Awards “Rapture,” so it’s no wonder Kreayshawn is more than ready to make for a strong defense. One thing is for sure: she’s any- move the conversation forward. thing but boring. Kreayshawn—birth name Natassia Zolot— grew up in the San Francisco Bay Area, writing punk songs since the age of 5 under the influence of her mother, a member of the ’90s all-girl surf punk band the Trashwomen. In addition to these ditties, Zolot spent much of her early years learning the violin and making freestyle mixtapes. At 15 she left home, subsequently dropping out of high school and living on the couches of her friends. “I was just a really bad kid,” she says. “The Bay Area is crazy. People die every day out there, and I have friends who were in and out of jail. It’s just too easy to get caught up in shit.” In her late teens Natassia began directing music videos for Bay Area rap figures like Lil B before starting her own music career. In May of 2011, she released her video for “Gucci Gucci,” which features her goofing off with pals— including members of Odd Future — on L.A.’s Fairfax Ave., rapping about weed, Arby’s, and Adderall. The video has upward of thirty million views on YouTube, and its polarizing effect has made Kreayshawn one of the most talkedabout artists of the last year. “One thing I’ve learned from all of this is that when you’re exposed to the whole world, you get the whole world’s opinion,” she says from behind a pair of oversized grandpa glasses. “I’m a person who talks before I think. I believe honesty is the best policy, but it can get you into trouble too, as I’m learning.” We are speaking as the budding star is traveling around America alongside Neon Indian on VICE’s Noisey College Tour— her first such endeavor to date. Seated on her tour bus, covered in tattoos with a big pouf of two-toned hair, she looks as if Amy Winehouse had crawled out of a Kid Robot junk drawer. (Somehow, it works.) In between clicks of her gum, she mentions that her recent gig scheduled at Smith College, a liberal arts school for women, was canceled after students petitioned against her performing on campus. “They said that I’m antifeminism and that I degrade women,” she says incredulously. “I was like, what?! I thought I was doing the opposite! I want to inspire girls to do whatever the fuck they want— art, painting, graffiti, whatever. It’s the girl-power message!” She pauses, smiling a big lipsticked smile. “Sure, I use words like ‘bitch’ and ‘ho’ in my songs, but I’m not some male chauvinist asshole. I’m a girl talking to a girl saying, ‘If your boyfriend cheats on you, cut his fucking dick off, bitch!’ It’s meant to be empowering.” Of course, controversy is nothing new to the neophyte rapper. From leaks of underage nude photos to a feud with Rick Ross, to her endless self-professed pot-headedness (“Yeah... I smoke a lotta lotta lotta weed”), Kreayshawn is making a name as hip-hop’s newest enfant terrible. One bout of online hysteria began when she tweeted a lyric from a DMX song containing

Hopefully, this is precisely what will happen when Zolot releases her debut album this spring. At the very least, it should be telling of whether she is more than just a fleeting cultural meme. For the time being, it’s difficult to deny that “Gucci Gucci” is a great pop song and that Kreayshawn just has it—that certain something that makes her endlessly intriguing, however polarizing she may be. “People criticize what they don’t understand,” she says with a flick of the hand. “I try not to worry about it. I mean, I’m chillin’ out on a dope tour bus. It’s all good.” Karley Sciortino Kreayshawn in Los Angeles, September 2011



livin’evita loca

following a brief hiatus, latin superstar ricky martin is back with a world tour, a winning new campaign, and a walloping role on the great white way When Ricky Martin speaks, the people of Puerto Rico listen. Martin, who grew up on the island and has reached god-like status there, started his Musica+Alma+Sexo tour in San Juan last year. During that kick-off concert, he blurted out in a moment of performance-passion that he’d come back to wrap the tour with the same sold-out crowd, which only heightened their insatiable frenzy. Nine months later, he kept his promise and here we are at the Coliseo de Puerto Rico. There is not an empty seat in the house; women are crying; men are screaming; and flags are 54

waving. Martin is older, wiser, and — es posible? — even more handsome than when he bounded onto the scene twenty years ago. He’s also busy. He and Nicki Minaj have both taken the reins from Lady Gaga to front the M.A.C Viva Glam campaign, marking the first time the company has created unisex makeup products. It is also the first time there will be initiatives in the Latin American countries. To top this off, the superstar is now a superdad who has plans to move his family (he has 3-yearold twins) to New York while he stars in a new Broadway production of Evita, which opens in April. A day after his sold-out concert, Martin takes a pensive moment from his hectic schedule to talk about his new perspectives, his decision to come out, and his impending move to New York. Derek Blasberg

DEREK BLASBERG Your last album in English was in 2005, Life, and then it seems you took some time off and started a family. What brings you back? RICKY MARTIN I was hungry again. There was a moment when I was just exhausted, and it was like, “Take that camera away.” I wanted to strip things back and recharge. But just because I was tired doesn’t mean I didn’t have strength. I’ve been working for twenty years, and it was my time to take a break. DB It’s smart to pace yourself, and pick the right projects. RM I’m in a really cool place right now. I’m very grateful. I have a beautiful family, a stable career, I feel good about myself.

DB You seem very at peace. Do you think coming-out had anything to do with that? RM If I only knew how good and how amazing I was going to feel, I would have said it ten years ago. It’s like, why didn’t I say it before, man? It feels amazing. I taped an episode of VH1’s Behind the Music and it was the first time I was actually talking about it in front of a camera, and you can see the passion in my eyes. It was a very touching moment. Afterward, people came up to me and said they understood what it meant to me, what that represented at that specific moment in my life, and they thanked me for sharing that. DB As you know, this is our Music Issue. Tell me about some of your musical influences. RM I’m a 1980s guy. I love the Police. When I was onstage the first time with Sting it was such an amazing moment for me. He is my idol. When you listen to “La Vida Loca” and that powerful ska influence, it’s the Police. And who wasn’t influenced by Madonna? She helped define the ’80s. I love the Beatles and that era too, but then I always have to go back to Latin America. DB Have you always been influenced by your Latin roots? RM There was a moment in my life when I was only listening to 1980s rock, like Journey and all that. Then one day my mom said, “Enough with all this rock music, let’s get closer to your culture here in Puerto Rico.” She started bringing out Celia Cruz and José Feliciano. I remember she’d always tell me that

Retouching Jason Hill (Provision Studios, London) Special thanks Hampton Carney

José Feliciano’s presence at Woodstock was proof that you can mix Latin sounds. DB I think that’s funny, all those magazines that said you were on the forefront of this new Latin Pop explosion in 1999 and 2000 — and it was all your mom’s idea. RM Yes, it was my mother! But while it’s flattering to say I was the first one to push a Latin sound, it’s not exactly true. Go back to José playing with Jimi Hendrix at Woodstock. And then Gloria Estefan and the Miami Sound Machine, and everything that she did. Don’t get me wrong, thank you to Time magazine for making me the first pop artist to have a cover— I’ll take it! — but if you go back, there were others too. DB Let’s talk a bit about M.A.C’s Viva Glam. RM Didn’t they do an amazing job with Gaga last year? It was everywhere; it had such a powerful message. When they came to me and asked if I wanted to be a spokesperson, I was like, “Let’s do it!” DB Were you aware of M.A.C and the campaign before? RM Oh yeah, definitely. M.A.C has worked with me on my tours for years, since back in the “La Vida Loca” days. What really appealed to me is that my own foundation [the Ricky Martin Foundation] works a lot with human trafficking, especially child trafficking, and kids who are getting forced into prostitution who are getting infected with the H.I.V. virus. So one problem is interconnected with the other. We’re going to Latin America to talk to each country about [their] specific problems, which is important to me too.

DB Is there a stigma to the disease in some of those places? RM There’s a lot of ignorance and people not wanting to talk about the problem. So we can go into different countries and point to the problem; we can come here to Puerto Rico and say the problem is drugs and needles. DB How was working with Nicki Minaj? RM Nicki’s hot! She’s great. This is her moment, and she’s working like crazy. She’s surrounded by great people, and she has cool music. She’s breaking boundaries, and what I mean by that is that everybody likes her. That’s awesome. DB Are you excited about coming to New York for the new Evita? RM Really excited. Che is a really cool character and you can do so much with him. The director said, “I don’t want you to just be Che Guevara. Let’s take it to another level. One night you can be him, but the next night I want you to be the taxi driver, the next evening the bartender. Literally, be the voice of the people.” So I won’t get bored, that’s for sure. DB This isn’t your first time on Broadway. RM I did Les Miserables back in 1996. I have such beautiful memories of that time. It’s intense. You work every day. You get tired. When I did Les Mis, I got physically sick by the end of my run. But at the same time, I’m looking forward to the stability of it. My kids are going to school in New York, and I think it’s going to be very healthy for the entire family. DB How did your book, Me, do? Were you happy with it? RM So happy to tell my story. And it was translated into nine

languages. The first country that wanted it was Finland, and then it went into Portuguese, French, Italian, Spanish, English, Dutch, and German. DB Really? Finland? RM I have a really, really beautiful relationship with Finland. I know, it’s a little random. When a song doesn’t do good anywhere else, in Finland it does well. I would go to Europe just to go to Finland. What a beautiful country. It’s always been like that, for fifteen or twenty years. DB It’s hard to believe you’ve been making music that long. When you look back, are you nostalgic? RM I can look back. It motivates me. For one, I look back to see where I never want to go to again. DB Sometimes you have to look back to look forward. RM I have pictures where I look in my eyes and I don’t like what I see. I look and say, “I don’t ever want to go back there.” And then there are moments and pictures where I see joy, and something good happening in my life. Looking forward now, I plan on seeing a lot more pictures like that. Ricky Martin and son in San Juan, Puerto Rico, November 2011 Photography James Gooding All Martin’s clothing Giorgio Armani

For more exclusive coverage of Martin’s Musica+Alma+Sexo tour, go to vmagazine.com


black and old Yin and Yang. Sun and moon. ebb and flow. there are no oppoSiteS in the world of muSic, juSt complementS that work toward a greater whole. antonY and Santi: bright conStellationS in a univerSe of endleSS Sound Photography Inez & Vinoodh Styling Patti Wilson


There’s no rest for the wicked and certainly not for the wickedly talented, in the case of the prolific Antony Hegarty of Antony and the Johnsons. Following his groundbreaking show, The Life and Death of Marina Abramovic –a stage interpretation of Abramovic’s life directed by Robert Wilson–at last year’s Manchester International Festival, the singer and artist continues to push the boundaries of beauty, gender, and sound to euphoric new levels. Before embarking for distant shores for repeat performances in Europe, however, Hegarty will stage an epic one-night-only show in New York City. “Klaus Biesenbach had seen another performance I did in Manchester, in 2009, and he wanted to commission a development of that piece for MoMA,” Antony says about the upcoming collaboration. The result is Swanlights, a visual concert event taking place on January 26 at Radio City Music Hall. “We decided to do it at Radio City as opposed to the museum because I’d always dreamed of performing there,” he says. “It’s like this giant, round airplane hangar and has this wonderful sense of space to it. It’s like a giant planetarium.” 56

For the show, Antony is collaborating with an impressive lineup that includes composers Nico Muhly, Rob Moose, and Maxim Moston as well as a sixty-piece orchestra that will play songs from all four of the Johnsons’ albums – his self-titled debut, I Am a Bird Now, The Crying Light, and Swanlights – with a stunning visual accompaniment by London-based light artist Chris Levine, lighting designer Paul Normandale, and set designer Carl Robertshaw. “It’s definitely a concert, but with a lot of attention tuned to the set and the environment,” Antony says. “We’re working with lines of light to illustrate the invisible world, the world that I always dream of.” The scale of the production is less of a concern for the seasoned artist, who grew up perfoming in small East Village venues, than it is something to marvel at. “It’s funny because a lot of the songs are the same ones I performed with a keyboard at the Pyramid Club when I was 20 years old,” he says. “To perform them with a symphony orchestra, in New York which is my home, is really rewarding. Anyone who sees the performance and knows about Marsha P. Johnson [the African-American

transgendered activist who passed away in 1992], and knows why I named my band that, is a secret reward for me.” A consummate performer, a homecoming of this nature is not lost on Antony. “It startles me,” he says. “Especially in light of where I came from and who I am. I can’t help but think about it in the context of my community. Most of the artists downtown don’t even have a doctor. My fortune is a reflection of a great circle of cultural artists and performers, transgender people, and punk women. It shouldn’t be the exception that people are granted a forum. It should be the rule.” Patrik Sandberg Antony Hegarty in New York, November 2011 Cape Givenchy Haute Couture by Riccardo Tisci Dress and wax necklace by Antony Cotton wrap Julius Pants Stina Gunnarsson Swanlights is at Radio City Music Hall on January 26, 2012. An exhibition of Antony’s illustrations is on display at the Hammer Museum in Los Angeles from January 22 – May 13, 2012

Makeup Wendy Rowe (Tim Howard Management) Hair Duffy (Tim Howard Management) Manicure Gina Viviano using Chanel (Artists by Timothy Priano) Tailor Lucy Payne (Lars Nord Studio) Lighting technician Jodokus Driessen Digital capture Brian Anderson Photo assistants Shoji Van Kuzumi and Joe Hume Stylist assistants Taylor Kim and Eyob Yohannes Studio manager Marc Kroop Hair assistant Neil Grupp Makeup assistants Asami Matsuda and Chisa Takahashi Printing Box Location Pier 59 Digital Studios Catering Nuela Special thanks Tony Jay


The struggle to make a successful sophomore album has left many a hit-seeking star out in the cold. The difference with Santi White, aka Santigold, is evident in the title of her forthcoming record, Master of My Make-Believe. In it, she takes control of her music as well as her vision. SSION’s Cody Critcheloe sat down with her to discuss recording a second slam dunk.

CODY CRITCHELOE Who did you work with on the record? SANTIGOLD It was a very lonely process. I worked with Greg Kurstin on three songs, Switch on several songs, and Dave Sitek [of TV on the Radio] on one song. I worked with Nick Zinner [of the Yeah Yeah Yeahs] a bunch on writing and he played too. CC How do you go about songwriting? S I write to the music. The lyrics came slowly on this record. CC Why do you think that was? S It was about learning to trust myself. I also had expectations. Never have those! Everyone I worked with before was in a different headspace. I had to get past that. That’s why I started writing with Nick, and it started being cool and fun.

CC So was that the turning point? S That was when it was like, I just want to work with who I want. We recorded in Jamaica for a little while and finally some lyrics started to come to me. I think that time really colored the record. CC Do you meticulously oversee every aspect? S Yeah, I’m really hands-on with everything. It’s the difference between an artist and a plain pop star, right? CC Don’t you compete within that realm on some level? S I think I am looked at by people as a peer but in reality I’m like a stepchild. I’m trying to be like that on my own terms and everyone respects it, but it doesn’t make the money. You’ve always got to come harder than everybody, but with less. CC But that’s what makes it cool. It’s easy to hire a stylist with a ton of clothes, and say “Let’s use all of it! ” S I once interviewed Debbie Harry and she said, “Every artist is influenced by something.” The trick is to filter it through yourself so it has your personal stamp. The difference is when someone takes something and it has nothing to do with them at all, but they copy it. Why are people so short-sighted right now?

CC Probably because it’s easy and it’s encouraged. S No one wants to be real anymore. Wikipedia is always wrong. No one fact checks and it’s not even a priority. My record is called Master of My Make-Believe because I want it to be about creating your own reality. I have a song called “The Keepers”: “we’re the keepers, while we sleep in America our house is burning down.” It’s about how if we accept this then that’s what it is. We’ve got to fix it. CC Is that, in your opinion, the overall feeling of the record? S I connect with music that makes me feel alive, or a sense of possibility. Music is powerful. If I go out and I’m watching a show and it’s really good, all I want to do is go home and work on music. It’s a backhanded motivation when something is really good. I want my music to be that for people. I want it to be an initiator of something compelling, to set something in motion. Santigold in New York, November 2011 Top D&G Multi-strand bracelet Ralph Lauren Fine Jewelry Other jewelry Santigold’s own

Back row (from left): Stella Mozgawa and Emily Kokal of Warpaint, M83 (aka Anthony Gonzalez), Audra Mae and the Almighty Sound Front row (from left): Steve and Paige Trezevant of the Peach Kings, Spank Rock (aka Naeem Juwan), Johnny Pierce and Jacob Graham of the Drums

house party

actor, director, and devoted audiophile drew Barrymore holds a camera up to some of today’s most au courant acts and puts pen to paper on what music means to her Photography and text Drew Barrymore

Mac Miller

From left: The Drums, M83, Spank Rock

M83 and his girlfriend Kimberly


house party

Jenny Lee Lindberg and Theresa Wayman of Warpaint

Mayer Hawthorne and Warpaint

From left: Mayer Hawthorne, Johnny of the Drums, Spank Rock, Jacob of the Drums, Mac Miller

Spank Rock

start and finish with perfection. No cutoffs. And they had to be eclectic. We have to find music. We have to search. Shazam. Share playlists. From satellite radio to the almighty record store. For me, the word “discover” is synonymous with “music.” I am so swayed by music that I can’t actually stay mad if something awesome comes over the speakers. All of a sudden my mood shifts as well as my body. I still am very much that same girl who wants to rock out. I want to be in the pit at a Girl Talk show and I want to feel my heart swoon to Best Coast songs. I can’t help but have a swagger when I’ve got my big old headphones on. I still get sad if a sad song comes over me. I come down to the melancholy of the song until it’s over. I feel music to the core of my being. The day we did this shoot, Mac Miller’s album went to number one on iTunes. He also ruled the beer pong table with Warpaint— talk about foxy ladies with utter style. I loved taking a

Processing and printing Richard Photo Lab, Los Angeles Special thanks Brian Greenberg and Kelly Smith

hen I was about 7 I discovered the Go-Go’s. I went out and bought their album Beauty and the Beat, and as the vinyl twirled, my whole world changed. I stared at the girls on the cover like they were a gateway to cool. The fact that they were girls made me feel not only invited but more important— like I could be a badass too. I looked over to my Pippi Longstocking poster on the wall and thought, Yes! I like girls who rock! Although I have no gift of music, my gift would be that I wanted to give it to people. Show them. Turn them on. I used to go through painstaking days trying to make the absolute perfect mixtape (as in cassette) for those I longed to reach. I wanted the playlists to say something to someone. They had to

Lord Huron and M83

Photo assistant Aaron Lippman Equipment Rental Smashbox Studios, Los Angeles

picture of M83 and his girlfriend at sunset as we were all winding down. Lord Huron made fun of me for chasing him around with my camera, but I told him it’s gonna look great. The Drums and Spank Rock were a clique all day, whether on the roof or on the dance floor. The Peach Kings were my little love couple, and I adore the romance of a man and woman who make music together. Mayer Hawthorne was super social and supercool — he even brought me some vinyl for my collection. And with a voice that knocks me out, there was Audra Mae, with her whole band that looked like they were from another era. And everyone got along brilliantly. Just set up the vibe and away they went, talking, drinking, and hanging out, pumping the keg to a great playlist floating out of the speakers and making the whole day sound as good as it felt.

I will always put music all over everything I do. I feel like it’s one of the most profound ways to convey emotion. Just like when I was 7, music makes me feel like anything is possible—the drum intro to “We Got the Beat” will always make my body and soul know it’s all about to happen—that something rad is kicking off, and that I, too, in my small way, can rock for as long as I shall live. These bands that I feel privileged to have shot are amazing and current and all over your world. I hope you enjoy them as they fill your space. And hopefully—the way only music can—transport you somewhere truly moving. Drew Barrymore Los Angeles, November 2011 To see a video of this shoot, download the V75 iPad app

Photography Jason Schmidt

now open the inimitable artist yoko ono continues to open doors of perception to new visions of freedom and peace I was inspired by the fact that the doors in Hiroshima all led to disaster, burnt and disappeared. I wanted to recreate the doors, and this time let them lead to world peace. Yoko Ono 62

work in progress

global shift musician and artist david byrne reconfigures a childhood emblem to show how the world—and our perception of it—continues to morph I was invited to propose something for 508 West 25th Street [in Manhattan], a space under the High Line that will, in the next year, become an expansion of The Pace Gallery, designed by Bill Katz. I looked at the space, though I’d seen it before and had walked by it loads of times while checking out gallery shows in the neighborhood, and I actually wasn’t sure anything would work with the inherent site-specific restrictions: the space is noisy, chaotic, and, when I saw it, half-filled with parked cars. It gives serious competition to anything placed in there. I realized that the type of map we associate with our days at primary school, with our childhoods—that was what I was imagining—is not a realistic rendering of our planet or a map showing the physical world. This childhood world is all nation states, and all of them are in pastel colors with the names labeled (the pastel colors are practical—they allow the type to be legible), with a few rivers maybe and some other features (the equator, perhaps) — but not much else. That’s the world ball we—or some of us—grew up with. A wholly unrealistic world, a world of somewhat arbitrary political units. Not a planet of clouds, deep-blue oceans, beige deserts, and swaths of green jungle. The squishing of an oversize childhood thing is sort of fun, it’s not overly metaphorical—it’s a childhood thing that’s grown way out of proportion and has been constrained by what? The grown-up world of train lines, apartment buildings, and art galleries? David Byrne 65

wiley image courtesy rizzoli; dzine photography kai regan courtesy standard press

news heaven or las vegas walK on the wiley siDe a b out ten ye a r s ago, at the rip e old age of 24 , kehinde wiley struck a combination that worked. tirelessly, wiley paints portraits of urban, contemporary young men of african diasporic origin in the st yles of the european masters. posed in heroic stances with florid, old-world patterns in the backgrounds, like french rococo flocking and islamic tiles, wiley’s subjects recast the mainstream perception of gangstas and thugs to something princely. this spring, rizzoli rolls out the first comprehensive monograph of the artist’s work, at a particularly busy juncture in his soaring career. for one, wiley is about to have his first commercial show since last year’s dissolution of his not-pop-averse former gallery, deitch projects, at sean kelly in Chelsea this may—where he joins the likes of marina abramovic and the abstract painter peter halley. an interview bet ween w iley and the lat ter is included in the book, as well as a conversation with superstar director and curator of the studio museum in harlem, t h e l m a g o l d e n , a n d e s s ay s by r o b e r t h o b b s , sarah Lewis, and Brian keith jackson, all of which exhaustively plumb the formal referents of wiley’s canvases and offer cultural interpretations spanning postcolonialism to drag balls. Kevin McGarry

it’s been said that what happens in Vegas stays in Vegas. But that probably only pertains to bad judgments and moments of low morality. at the end of january there will be nothing shameful about taking something back home from the newly revamped Chanel boutique at the famed Bellagio. overhauled by retail wizard peter marino, the 6,000 square foot boutique

will be an appropriately over-the-top, sin City-themed tribute to the french brand, complete with special edition accessories only available at this particular store. our favorite? this diamond ring, which would be the perfect addition to a late-night, last-minute trip to a 24-hour wedding chapel. Derek Blasberg

get naileD Beauty is not always in the eye of the beholder. prettification can also take place on one’s hands. at least that’s the way Chicago based artist dzine has chosen to interpret ongoing trends in Nailed, a new book that highlights claws as canvas and a mode of personalized style expression. published by standard press, the glossy tome examines the history of nail art from its nascent stages during the ming dynasty to present-day customization. with an introduction by Paper’s kim hastreiter and contributions by Luis gispert, mickalene thomas, and the legendary fab 5 freddy, Nailed is as much an anthropological study as it is a fashionable endeavor. in addition to the chronological timeline, the book also features images of dzine’s painstakingly elaborate designs, which include grills big enough to accommodate a small car. the around-the-world exploration provides a handy glimpse into nails that are razor sharp, crystal-encrusted, and decaled with milkshakes, wizards, or the interlocking Chanel logo. whatever your style, nail art is here to stay—and that’s the long and short of it. Sarah Cristobal

Kehinde Wiley is out on march 6, 2012, from rizzoli shopthestandard.com

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Cindy Sherman Untitled #425, 2004, courtesy the artist and Metro Pictures, New York Jennifer Herrema photography Fumi Nagasaka

Teengirl Fantasy

planet of sound You don’t have to wait until the summer months arrive to set out for the best and brightest showcases of sound. Fest with the best this spring with our helpful and handy guide to 2012’s fast approaching music festivals:

taste of cindy Few artists of the late 20 th century have inspired as many subsequent geniuses or half-baked art students as Cindy Sherman, mother of the postmodern photographic self-portrait. In February, MoMA will mount a retrospective of more than 170 photographs comprising roughly a third of the artist’s complete body of work to date, each of which she conceived, styled, shot, and developed in solitude. The MoMA survey begins with her iconic “Untitled Film Stills” (1977-80), which channel wholly invented yet uncannily familiar personas that plunge straight into the heart of our media age collective unconscious. From there, Eva Respini, the exhi-

bition’s curator, traces all of Sherman’s significant series—from impersonations of chalky monarchs and postcougar Southern California socialites, to scenes created by some of the most abject uses of latex imaginable, and, perhaps most frightening of all, clown costumes. The show culminates with a new type of work: large format photographic murals. John Waters contributes an essay to the exhibition catalog that hopefully touches on Sherman’s little seen, Netflixable foray into moving pictures starring a murderous Carol Kane, Office Killer (1997). KM Cindy Sherman is at MoMA from February 26 – June 11, 2012

The Weezer Cruise 1/19–1/23/2012 Nothing screams new frontiers for the new year like an actual voyage. It must have been in this same spirit that perennial nerd-rock darlings Weezer decided to take their fans to a place unlike any they’ve been before—to Cozumel! Front man Rivers Cuomo and the gang lead a ship of fools (including Dinosaur Jr., Wavves, J Mascis, Sebadoh, Free Energy, and Yuck) on a full-fledged cruise from Miami to the Gulf Coast. It’s only four days, but you might destroy your sweater. theweezercruise.com Pitchfork Forms Festival 2/1–2/4/2012 The kingpin site of the indie music blogosphere has already established its popular Pitchfork Music Festival in both Chicago and Paris, and now it’s finally New York City’s turn. For this four-day festival, music fans will not only take in performances by some of the most barrierbreaking artists on the East coast, but they will interact with digital technology, gaming, and new visual onstage stimuli. formsfestival.com

Winter Music Conference, Miami

South by Southwest 3/12–3/18/2012 You can’t have a spring guide to live music without SXSW. This year, the festival that routinely spotlights the most promising emerging artist hosts buzz bands like Teengirl Fantasy, Psychic Ills, Soft Metals, Spectrals, Com Truise, Class Actress, and Big Deal…among many many other very big deals. sxsw.com

if you seek amy The world will forever continue to mourn the loss of the talented icon Amy Winehouse, but her legacy — that of both her award-winning music and her incomparable personal style — lives on. Of course, designers like Karl Lagerfeld have exalted her beehive hair and her disheveled classicism, while publications like Vogue Paris have honored her in editorial tributes. For Spring, Cesare Paciotti gives a respectful nod to the fluorescent iconography of Amy with a signature pump inspired by and dedicated to the fallen star. From the coral-hued colorway (a shade she notoriously favored) to the dotmotif texture, to the shape and design, it’s certain that Amy would have loved to make her hair six inches taller by putting these on. Mr. V

paint it black Jennifer Herrema has long been the baddest bitch in music, since her days heading up the heavy and influential act Royal Trux—through which she was discovered by Steven Meisel to be the subsequent face of CK Jeans, kickstarting the heroin-chic craze of the ’90s. For the past few years she has been fronting the realest and rawest metal ooze band in America, the cryptically named RTX. With a new name and a new record of electrocuted rock anthems, Herrema and company are back as Black Bananas. Expect: tunes about California quakes, acid binges, and “killer weed.” Accept: no prisoners. Patrik Sandberg Rad Times Xpress IV is out January 31, 2012, from Drag City

Miami Winter Music Conference 3/16–3/25/2012 The 27 th annual music conference takes over South Florida, showcasing new music up and down Miami Beach, along with trends and the latest technology. Poolside parties, DJ spin-offs, and workshops will entertain any audiophile. wintermusicconference.com Lollapalooza Chile 3/31–4/1/2012 Perry Farrell’s world-famous festival of alternative excellence expands its reach to Chile for the second time as part of its twenty-year anniversary. Headlining acts Foo Fighters and Björk are joined by MGMT, Joan Jett & the Blackhearts, Calvin Harris, and a harem of South America’s brightest bands around. lollapaloozacl.com



anthony vaccarello’s supersexy cutout dresses are not for the faint of heart

Anthony Vaccarello has been on a roll. Born and raised in Brussels, he studied at La Cambre and was plucked by Karl Lagerfeld to work for Fendi one week after showing his graduate 68

about my friends Lou Doillon and Caroline de Maigret, two women who really inspire me,” the designer explains. “I ask myself, Would Lou or Caroline wear it? If it’s yes I continue, if it’s not I try to understand why, then rework it until I’m satisfied. They inspire me—the way they move, smoke, laugh. They are real women, real mothers, real artists.” While it’s flattering to be the young designer that everyone is rooting for, Vaccarello has made a conscious effort not to be intimidated by the pressure. “I try not to pay attention to that,” he says. “The pressure is part of the job. And I like it.” Derek Blasberg Photography Benjamin Lennox Styling Tom Van Dorpe All clothing Anthony Vaccarello S/S 2012 For a video of this shoot, download the V75 iPad app

Makeup Ralph Siciliano for Chanel Beauté (D + V Management) Hair Akki Manicure Gina Edwards for Chanel (Kate Ryan Inc) Models Pauline Van der Cruysse (Marilyn), Nikole Luna, Cate Underwood (New York Models), Amanda Ware (Silent NY) Photo assistants David Gilbey, Luzena Adams, Jeremy James, Gary Golembiewski Digital tech Andrew Reed Weller Stylist assistant Maddie Raedts Producer Francesco Savi (Management Artists) Production coordinator Daniel Wiener (Management Artists) Production assistant Jean-Charles Schildknecht Equipment rental ROOT [EQ, Capture + Studios] Retouching Upperstudio, London Videographer Erez Horovitz

dressed to kill

collection in 2006, which just happened to win first prize at the Festival of Hyères that same year. “Working with Karl was just a dream,” he says now. “It was surreal.” But the real validation of his designs came this season when, for his second solo collection, some of the top runway girls in fashiondom (we’re talking about Anja Rubik and Karlie Kloss here) actually approached him and asked to walk in his show. “It’s the best compliment. You can see when it’s true in their eyes. They felt strong and sensual at the same time.” Why wouldn’t they? Vaccarello’s designs are sharp, angular, cutout, subversive, and ridiculously sexual. When Kloss wore a black strappy single-leg jumpsuit that left little to the imagination to Carine Roitfeld’s vampire ball in Paris, traffic stopped. Vaccarello now says that when he saw her he decided it would forever be known as the Karlie dress. “When I design I think


heavy metal


Photography Daniel Lindh Fashion editor Catherine Newell-Hanson

Prop stylist Rachel Haas (Jed Root) Photo assistants Ward Price and Neal Franc Prop stylist assistant Leah Mulartrick Producer Francesco Savi (Management Artists) Production coordinator Daniel Wiener (Management Artists) Location Formula Studios, New York

Clockwise from top Clutch Givenchy by Riccardo Tisci Shoe Burak Uyan for Rodarte Minaudière Reed Krakoff Bag Diesel Black Gold Shoe Louis Vuitton


Following the well-received debut collection For Kenzo, actor and musician Jason schwartzman—who perFormed a live set at the show—checKs in on the brand’s new creative directors, carol lim and humberto leon JASON SCHWARTZMAN Who taught you the most about fashion? CAROL LIM Our mothers. Not only did they teach us about quality, but also how to wear clothing that fits you perfectly, no matter what your budget is. JS Do you ever disagree about new things you want to make? 70

ence. It was also really emotional to see our moms’ reactions. Also, seeing you perform—that was priceless. JS How did you feel after? HL Exhilarated. And hungry. JS What pieces are you the most most most proud of? CL That’s a tough question. The mesh print pieces are incredible, and the reversible taffeta group was so fun to design. HL Who doesn’t love something reversible? JS What does Kenzo mean to you? HL Kenzo is a brand that understands our world as a global community, and how to translate that global community into beautiful clothes. JS Have you found that to make a collection of, say, twelve pieces, you have to make twenty things and make cuts? CL It seems scary with clothes, because you never really know what your idea will be until it is actually made, unlike, say, music, where you can roughly sketch something with a small keyboard to at least get a general idea of what you’re creating. JS Do you believe in ghosts? HL Definitely in ghosts. With so much history here, we feel like there are so many of them in Paris. We hope they like what we are creating! JS Is there a skill you wish you had? And why can’t you have it? HL We wish we had the ability to teleport. It’s something that we’re working on. JS Who do you want to make out with right now? CL You.

Photography Anthony Maule Styling Jay Massacret All clothing and accessories Kenzo S/S 2012

Makeup Janeen Witherspoon using M.A.C cosmetics (Julian Watson Agency) Hair Panos using Bumble and bumble (CLM) Manicure Sharon Gritton (LMC Worldwide) Models Magda Laguinge (Next London), Louis and Claude Simonon (Storm) Photo assistants Rob Low and Paul Whitfield Digital technician Andre Skjegstad Stylist assistants Mara Palena and Samuele Marfia Makeup assistant Keiko Mizuno Special thanks Spring Studios, London

the kids are all ri ht

HUMBERTO LEON The problem is less about disagreeing than about which items we need to edit, because we end up loving so many things! JS How much does music fit into your creative equation? HL Music is our way of expressing to people what we are trying to create. What’s amazing is that it is a universal form of communication. It’s like when you meet someone you don’t know, but say “Don’t you just love that Cocteau Twins song ‘Cherry Colored Funk’?” and that person nods with excitement— you know that you are on the same wavelength. JS In fashion, do you get what you pay for? CL We like to think that you get more than you pay for. That is our idea of luxury. JS Where do you suppose your impulse to create comes from? CL I think we are both very curious by nature and find inspiration in all kinds of places and with all kinds of products. JS When you design certain things, do you imagine someone specific wearing it? Like how certain screenwriters will write a part with an actor in mind? Or is it possible to conceive of a dress without a body in it? CL We always keep the Kenzo girl (or boy!) in mind when designing the collection. The Kenzo girl likes to experiment, she’ll try anything, and she loves color! She isn’t afraid to mix things up. JS Was the recent experience of unveiling the new Kenzo line in Paris frightening? HL I think in the momentum of getting everything ready, we didn’t really have an opportunity to think about whether or not we were nervous. We made sure to enjoy the whole process, and having our friends and family there was the support we needed. JS What was it like watching the show? CL It was amazing to watch it from the perspective of the audi-

Prop styling Janine Trott (MAP Ltd.) Model Elisaveta (Parts Models) Pedicure Elsa Durrens (Artlist New York) Photo assistants Will Styer and Rocky Luten Location 205 Studio, Brooklyn Special thanks Adrian Nina

heel on wheels prada puts the pedal to the metal with this rockabillyinspired shoe. walk the line

Photography Dan Forbes Fashion editor Catherine Newell-Hanson Patent leather shoe with ame and oral detailing Prada


life as a pop star isn’t all about champagne, sequins, and swag—performing in stadiums is serious business. here, four of our favorite forces of fame make a tour stop to take us behind the scenes with their devoted teams 72

britney spears Name: Britney Spears Name of Tour: Femme Fatale Describe your team in three words: My second family. What is your favorite memory so far of working with this team of individuals? I have worked with all of them for many, many years so it was fun to see them all together again on the first day of the tour. Everybody was catching up and telling all of their fun stories from the past, laughing and just having a great time. We were all so happy to see each other again and so excited to start working. It really made me smile. Where is the strangest place you’ve ever performed? At a small restaurant many years ago, when I was first starting out. I just got up and sang in front of a room full of strangers. I had never done it before and it felt really weird singing in this small restaurant. What is the most fun part of

touring? Meeting different kinds of fans from all over the world. They are so different in every country. I just did a few shows in Russia and all of the fans had big heart signs in the audience and had hearts painted on their hands. It was really cool. Also, having the people I am closest to with me all of the time and staying in the same hotels every night. We have been together for many years now so we have become one big happy family. What is the hardest part of your touring? The actual traveling. It’s basically planes, trains, and automobiles every single day. I always have fun when I get to a new city but getting from place to place can get old and boring. I read a lot of books. Is there anyone not pictured who is integral to making your show happen? Yes! A ton of people: my entire crew who builds my show, runs

“I believe I make my own luck.” –Britney Spears my show, and moves my show from city to city. They work SO hard and I am so thankful for them! My band, Shock and Awe, made up of my longtime musical directors, Simon Ellis and Marc Delcore; my wardrobe girls who help me dress every night and keep my costumes together; my dad who keeps me on track; and of course my boyfriend, Jason, and my boys who keep me smiling every single day. Do you have any lucky charms? I believe I make my own luck. What are your pre-show rituals? I always get to the venue early to go over my show notes with my supervising coordinator and my dancers. We rehearse anything that wasn’t perfect or needs rehearsing from the show before. Then I sound check, do hair and makeup, meet and greet, and then pray with my team, my dancers, and my family. What are some

of your essential backstage items? Any special food or beverage? Fashion magazines, good music, scented candles, veggie dip, hummus, pita bread, Shabby Chic furniture (which we take with us from city to city), a treadmill, and yoga mats. If you could play anywhere, where would it be? A tropical island so I can go straight on vacation after the show. What is the biggest misconception about being backstage or on the road? That it’s a giant, nonstop, never ending party. I mean, we do have a lot of fun backstage and we are always laughing and telling jokes and stories, but it’s mostly a large group of people working really, really hard to put on a great show every night for my fans. Team Motto: We have two: “You can’t make this S#!T up” and “No Surprises!”

From left: Lou M. Taylor, business manager (Tri Star Sports & Entertainment Group); Seth Lichtenstein, entertainment lawyer (Hertz & Lichtenstein); Adam Leber, manager (ReignDeer Entertainment); Brett Miller, executive assistant; Jimmy “Sugar” Kane, #2 security; Britney Spears, femme fatale; Larry Rudolph, manager (ReignDeer Entertainment); Derek DeGrazio, health and fitness trainer; Edan Yemini, director of security (Black Box Security); Robin Greenhill, business management (Tri Star Sports & Entertainment Group) Photography Roderick Trestrail II

Photo assistant Guy Lowndes Equipment Prolighting Production Lucie Newbegin (MAP Ltd) Retouching by Output


katy perry Name: Katy Perry Name of Tour: The California Dreams Tour Describe your team in three words: Leaders, bosses, and punks. What is your favorite memory so far of working with this team of individuals? There are too many memories for me to just say one. This whole year has been an insane, wild, spontaneous ride where all of us have either wanted to kill each other, or don’t want to hang out with anyone else besides us. Where is the strangest place you’ve ever performed? I wouldn’t say any of the places we’ve played are strange, but a very unique place we’ve played that we always love to go to no matter the size, venue, or the length of the flight is Tokyo. What is the most fun part of touring? The most fun part of touring is feeling like you’re reaching your goals every day with a new set of people,

“The hardest part of touring is smiling when you don’t feel like smiling.”–Katy Perry a new crowd. What is the hardest part of your touring? The hardest part of touring is smiling when you don’t feel like smiling. Is there anyone not pictured who is integral to making your show happen? A few people from my management: Steve Jensen, Martin Kirkup, and Ngoc Hoang; and my show director, who helped me create this tour, Baz Halpin. Do you have any lucky charms? We have a book of positive thoughts that we read in a circle every single night. What are your preshow rituals? Have a workout, eat a healthy meal, do a vocal warm-up, and meet and greet with fans. What are some of your essential backstage items? Any special food or beverage? Essential items: baby wipes, humidifiers, Entertainer’s Secret vocal spray, Grether’s pastilles; special beverages: a bottle of

nice Malbec; special food: good soups and complex carbs. If you could play anywhere, where would it be? I would like to play on the moon. What is the biggest misconception about being backstage or on the road? That nobody works as hard as they actually do. Team Motto: “WERK!”

Carrying Katy Perry, from left to right: Todd Delano, makeup artist; Carrie Burstein, personal trainer; Tamra Natisin, personal assistant; Angela Hudson, VIP coordinator; Bradford Cobb, manager; Kim Gueldner, hairstylist; DJ Skeet Skeet, DJ Photography Angelo Pennetta 75

“My band and I always give each other butt-fives before we go onstage. It’s a lot like a high-five but more fun because you use your ass instead of your hands.” –Ke$ha

Photo assistant Rocky Luten Retouching Bespoke Digital


ke$ha Name: Kesha Rose Sebert aka Ke$ha Name of Tour: Get $leazy Describe your team in three words: Rowdy animal misfits. What is your favorite memory so far of working with this team of individuals? We were driving from one gig to another and one of the buses broke down in the middle of nowhere in Iowa. While we were stuck there waiting for the repair we got antsy and so we found a biker bar nearby and partied with metal beards all night. Needless to say, everyone’s memory is pretty fuzzy but all I know is the damage report said something about motorcycles, duct tape, balloons, and a goat. We’re still piecing it all together but we’re all pretty sure it was an amazing time. Where is the strangest place you’ve ever

performed? Moscow. I performed for someone at a private concert and wasn’t allowed to even know his name or the occasion. What is the most fun part of touring? My fans!!! What is the hardest part of your touring? Remembering what country I’m in. Is there anyone not pictured who is integral to making your show happen? My mom. Because she birthed me. That’s pretty integral. Do you have any lucky charms? My placenta necklace. What are your pre-show rituals? My band and I always give each other butt-fives before we go onstage. It’s a lot like a high-five but more fun because you use your ass instead of your hands. What are some of your essential backstage items? My record player and as much Iggy Pop, Black Sabbath,

and Judas Priest vinyl as possible. Any special food or beverage? OB tampons. If you could play anywhere, where would it be? In outer space. What is the biggest misconception about being backstage or on the road? That it’s glamorous. Because it’s filthy. Team Motto: “Hey, drink this.” From left: Max Bernstein, Aslyn Mitchell Nash, Elias Mallin, Logan Shyvynck (seated), Jenn Stone, Justin “Boot” De Meulenaere, Ke$ha, Brianna McKee (crouching), Austin Westbay, Pat O’Donnell (unicorn) Photography Derek Kettela 77

“No matter what, you can always turn your situation into a great show.” –Drake

drake who is integral to making your show happen? My entire band and production team and all my fans. Do you have any lucky charms? Jimi Hendrix Live at Woodstock on DVD. I always have it looping on my bus just to remind myself no matter what, you can always turn your situation into a great show. What are your pre-show rituals? Vocal warm-up, prayer, and a shot of Henny. What are some of your essential backstage items? Any special food or beverage? Listerine spray, chicken dishes, fresh clothes. If you could play anywhere, where would it be?

Toronto. What is the biggest misconception about being backstage or on the road? That it’s not everything it’s cracked up to be...’cause it is. From left: Courtne Smith; DJ Future the Prince; Jorden Williams; Oliver El-Katib, manager; Drake; Chubbs; Spoon; Cortez Bryant, CEO of Young Money Entertainment Photography Marcelo Krasilcic

Retouching Jeremy Dyer

Name: Drake Name of Tour: Club Paradise Tour Describe your team in three words: Loyal, honest, hungry. What is your favorite memory so far of working with this team of individuals? We spend each day creating new memories...so my fondest is always the most recent. Where is the strangest place you’ve ever performed? In a barnyard full of horseshit. What is the most fun part of touring? Having a great crowd that just wants to sing loud and go hard. What is the hardest part of your touring? Staying healthy. Is there anyone not pictured




watch the throne JustIn BIeBer turns 18 thIs march. as PoP musIc’s lIttle PrInce takes hIs fIrst stePs Into adulthood, wIll he ProVe he’s ready to Be the kIng? PhotograPhy Inez & VInoodh fashIon edItor nIcola formIchettI

Jacket Versace T-shirt Mugler Helmet Marianna Harutunian Earrings (worn throughout) Bieber’s own

Tank Dolce & Gabbana Watch (worn throughout) Bieber’s own custom Gucci On hair, Davines Sea Salt Primer No 14

“At the end of the day, I’m not completely grown-up. I’m still learning. I’m going to grow up how I grow up. I’m not going to try to conform to what people want me to be.” –Justin Bieber

Jacket Versace Cuff (worn throughout) Bieber’s own

I was going to write this all out. Spit articulate on the birth and the beast of Justin Bieber’s celebrity, his place in the annals of youthfame, how he stacks up against its storied casualties and its few but phenomenal survivors. As Justin (b. 3/1/94) approaches 18 — exiting the protective bubble of adolescence and entering the first chapter of adulthood— can he transition into an artist for everyone rather than a teen phenom? What are the dangers of being Bieber? Decisions are now more his own than they’ve ever been, and as a target his attacks broaden from G-rated darts (agro tween tweets; wardrobe judgments; girlfriend problems) to all-bets-are-off bullets. The recent press explosion surrounding the baseless accusations of illicit babymaking weren’t so much about did-he-or-didn’t-he? but rather a global excitement that Bieber can now be subjected to such tabloid see-what-sticks shit-tossing. I was going to write it all out, because I assumed I’d have to— that none of it would come from the teenager himself. We first met several months back at the photo shoot, where I held strong to my preconceived (and incorrect) notion that he’s probably a brat, a punk kid overfed on the perception of a world obsessed with him. Like many, I didn’t give him a chance, and I didn’t like him before I knew him at all. I’m his perfect demographic of dis-

approval: an adult man, the exact audience that Bieber will have to win over as he becomes a man himself. The second time I met Justin Bieber, I watched him get punched in the face. We sat on a couch in his hotel room days before his second studio album, the Christmas themed Under the Mistletoe, debuted at number one on the U.S. Billboard 200, right in the middle of the highly publicized paternity scandal, the day before he went on an extensive press tour abroad. Justin walked in the room wearing a trapper hat that swallowed his head, looking genuinely exhausted with a pimple on the side of his mouth but every bit the handsome kid who defines for girls around the world their notion of love. This Bieber was insightful, self-aware, and prescient. He was totally unguarded, earnest, and real. I quickly stopped interviewing him and we just talked. I felt like I was hearing out the issues of a little brother, a descriptor I’d heard countless people close to him use in the 2011 concert film Never Say Never, a documentaryshaped strike against haters who write him off as another talentless pop-machine-robot, showing the journey of a hardworking, near-prodigy precocious kid, a born star. I’m not writing this all out because I don’t have to. Apparently the first sign of Justin Bieber being an adult is that no one has

to speak for him. He knows exactly who he is, where he’s at, and what he wants. You don’t need to hear it from me because you can just hear it from him. After our talk, Bieber showed me a video on his phone of him and his friends boxing. More precisely, of him beating the shit out of one of his bigger friends. Justin Bieber’s a fighting man—fearless, graceful, ferocious — and that’s a pretty good place to start. I left our talk with plans to hang out when he returns to the city, without a doubt in my mind that he’s going to be just fine. I left with a sensation something like pride. A sensation the rest of the world will perhaps come to know once they meet the man Justin Bieber becomes. Elliott David Elliott DaViD How you doing? Justin BiEBEr Doing tired, man. ED You’ve only been in town for a couple of days? JB Just yesterday. I got in the night before. ED that’s rough. JB It’s rough, but that’s what we do. ED How often do you go back to Canada? JB Hardly ever. I’m going to go back and see my family during Thanksgiving. But other than that, I don’t really go back.

ED I read once that you try to take off one to two days a week. Does that still happen? JB I try to take one now. When I’m releasing an album, I don’t really get time off because I’ve got to work to promote the album. But other than that, I try to take one to two days off a week, yeah. ED And then what do you do? JB I just hang out with my friends, go to the movies. In L.A., I go to Jaden [Smith]’s all the time. ED Taylor Lautner once told me he doesn’t really go out much due to the rabid fandom, how it snowballs from one person recognizing him and quickly escalates to a really bad situation. You say you’re going out, but are you ever concerned you’re going to get bombarded or, basically, attacked? JB Not really. I don’t really feel that. I just kind of do whatever. ED That sounds healthy, albeit dangerous. Let’s rewind to how you got to this place. You went from obscurity to selling out Madison Square Garden in, what, two years? JB Yeah. I went to watch Taylor Swift perform at the Garden with [longtime manager] Scooter [Braun], and everyone was waving their arms back and forth—she was getting everyone to do it. I said, I want to be here and make everyone wave their arms back and forth. And Scooter was like, someday. And two years later I sold it out in twenty-two minutes [making him the youngest performer ever to sell out the venue]. ED So you set that goal and then you hit it, and now you can’t really get any more successful. Under the Mistletoe is about to come out, and let’s say it becomes number one [which it debuted as on the Billboard 200, days after this interview; it’s Bieber’s third number-one record after My World 2.0 and Never Say Never: The Remixes]. And your next record will be coming out soon, and let’s say that’s number one. Is this the new goal? What happens in the next three years? JB There are different goals. Like overseas, in London, I played at the O2 arena. I hope to set the record for the most sold-out performances in a single tour. ED But what does that mean to you? Just a goal to have? JB My goal at the end of the day— right now— I want to be successful and be great at what I do. But eventually, I want to become the best at what I do. I want to be the best. In the world. I want to be better than anybody that’s ever done it. And in order to do that, I need to strive to be the best, be good to people and treat people with respect, and work as hard as I can. Because for me, I work so hard and this consumes my life, and it’s not worth it if I’m not the best. ED So who’s the best now? JB Right now? I mean, I consider Michael Jackson the best. If I could be at his level... But I’ve got a lot of work to do. I’m not saying it’s going to happen within the next three years. But hopefully by the time I’m 30, people will remember me. I think people will remember me at this point, but I don’t want people to just think of me as a teen sensation. Because I could probably just sell out, and then in two years not put out another album, and just become Justin Bieber the teen superstar. But I don’t want to be that. I want to transition, and become the greatest. ED That’s something I want to ask you about: transitions. You’re going to be 18 in March. It’s a big benchmark from childhood to adulthood. Do you feel like you have to play the role of a kid still? JB Here’s the thing: I think that I don’t need to try to do anything. There are people who try to grow up too fast—they’re 18, so they’re like, I’m not a kid anymore. People need to know I’m not a kid anymore. But at the end of the day, I’m not completely grown-up. I’m still learning. I’m going to grow up how I grow up. I’m not going to try to conform to what people want me to be or go out there and start partying, have people see me with alcohol. I want to do it at my own pace. But I’m never going to make myself so the kids and the parents don’t respect me. There’re some artists that [parents won’t] let their kids go and see because they think they’re a bad influence. I want to be able to do what Michael did—he always sang clean lyrics—and it was always that little kids loved Michael and grandparents loved Michael. I don’t want to Sweater Mugler T-shirt (worn underneath) Guess Crown Marianna Harutunian

start singing about things like sex, drugs, and swearing. I’m into love, and maybe I’ll get more into making love when I’m older. But I want to be someone who is respected by everybody. Because right now, the young people are who make society. Young people determine what’s cool. Young people determine what’s going to be in style. So I always stick with the young people, that’s what I say. ED You know, Michael kind of went crazy. A lot of people go crazy. Is that something you think or worry about? JB Michael had a really bad childhood. I was blessed with a great childhood. My mom loved me. My dad loved me. I’m now a teenager and I don’t feel like I’ve missed out on anything in my life. I’ve gotten to experience everything I possibly could. I don’t look back and think, Ugh, I wish I would have been able to do that. Maybe [Michael] missed out on a lot, so he tried to [re-live] his childhood when he was older. But I’ve got such good people around me, I’m not worried. ED You’re talking about keeping clean and making music for everybody, but a lot of the artists you look up to, like Lil Wayne, Kanye—a lot of what those guys rap about is drugs, sex, and money. So what is it that you like so much about them? Is it the music? The rhymes? JB I can’t say I look up to them, but I definitely like what they do. I think that they’re amazing. But are they on Michael’s level? I don’t think they’re on Michael’s level. ED Tell that to Kanye. JB Well, Kanye is on a different level. I mean, Kanye is probably my favorite producer. He’s a musical genius. But, he’s not on Michael’s level. I think that in order to be on Michael’s level you have to reach as many people as Michael reached, and Kanye doesn’t reach as many people. No one really does. ED So right now predominantly girls listen to your music. How are you going to reach out to a wider audience? JB It’s all about making good music, and people hate me before they even listen to my music. I know a lot of people say they hate Justin Bieber who haven’t even listened to any of my music. They just hate me because they hate the idea of me. I’m young, I’m handsome — I don’t mean to sound conceited— but they think that I just got here because [of that], because I’m good-looking and girls like me, but the music isn’t there. Here’s the thing: my first album, I was 13 turning 14 when I recorded it, and I put it out when I was 14 or 15. It was my first time recording, and it turned out really well. We put it out, my fans loved it, but I was still really young. Then the second album came out, and I’d geared it mostly toward the fans. And I feel like the more I put out, people will realize it’s really good music, and they’re going to come. I’m not worried about the guy fans because they’re going to come. If they listen to the music and they like it, it doesn’t matter if they go and act like they don’t like me. They’re going to go home and listen to it. ED Do you want to start rapping? Is that something you want to experiment with in music seriously? JB No, I mean, I do it for fun, man. I do it just because I think it’s fun. ED But why not? JB I don’t think people take me seriously doing it. I’ll just put it out so people will be like “that’s pretty tight.” Like, just something I can do, but I don’t want to make a rap album. But I also want people to know that I write my stuff. No one writes my stuff for me. I write everything on my iPhone. And when people say, “Oh, Justin Bieber, he can spit but he didn’t write his stuff,” they’re wrong. I do. ED You write your own tweets, too. JB That’s about keeping my fans in the loop of what I’m doing all the time. I want them to see that I’m not too good for them, and that I can still tell them what I’m doing all the time and be able to keep them informed of when stuff is coming out. When you follow me on Twitter, you are literally following my life. I think that’s really cool. ED You’re working so hard. As you said, this consumes your life. So what do you look to for strength? I know you are religious, right? JB I don’t think I’m religious. I am spiritual. I believe that Jesus died on the cross for my sins. I believe that he put me in this position, and that I have to always give him the glory he deserves for putting me here. But I

Custom vest and pants L.A. Roxx Tank Guess

don’t consider myself religious. A lot of people who are religious, I feel like they get lost. They go to church just to go to church. I am not trying to disrespect them at all, you know, whatever works for you; but for me, I focus more on praying and talking to Him. I don’t have to go to church. I haven’t been to church in a long time, but I know I have a relationship with Him. People can be like, “If you don’t go to church, what do you mean, how are you a Christian?” But I am. I talk to Him, and that’s all. ED I read that your mom said she had a personal encounter with God, and she believes you are here to inspire and brighten the world. When you talk to Him, do you feel like you have a personal encounter, or are you just expressing how you feel? JB You know, my ma has always had God around me, has always made it really apparent. She never pushed it on me, but she always brought me to church and she put me in Sunday school. When I was little, I did these things: “prophetic words,” which is sort of like fortune-telling, but from God. They said in one of those tapes— when I was really young—that I was going to be the voice of the new generation. So, I don’t know what that means. It could just mean that I’m here to make music and

inspire people. That’s all I know. I just want to be able to be a good influence on people. I know I’m going to make mistakes, because I’m young and I still love to have fun. I’m not perfect. I think everyone makes mistakes, and that’s what life’s about, you know? ED Why do you think you’re such an easy target? Is it your age? Your demographic? Your level of success? JB Yeah, I mean, when I was coming up, trying to get to where I am now, people were so happy [for me]. They were rooting for me. Now that I’m on top, everyone wants to bring me down. Everyone’s trying to tug at me and take my spot. And that’s how it always is, everyone wants you to be on top, and as soon as you’re there — like Floyd Mayweather, he’s the best boxer in the world. Now he is a champion. Every time he goes to a fight now, people are like, “He’s going to lose this time,” and then he wins. And the next time they say, “He’s going to lose,” again; “he’s undefeated, he’s getting old, he’s going to fight Ortiz, who’s younger, and he’s going to lose.” Every time he wins. And people aren’t ever going to know that he’s a champ. ED So, how are you going to let people know that you’re the

champ? People can dismiss you selling out the Garden as riding that big wave of initial fame. And let’s say you set the O2 arena record... I mean, who are you really setting these goals for? JB I am setting them not only for me but for other people too. I want people to know that this is not just a fluke. It’s not a fluke that I’m here. I’m here for a reason, and I’m here for a lifetime. And no one is going to get rid of me. ED They didn’t call Michael the King of Pop until he was around 30. JB That’s right. It took him a long time. I’m here now, and I’m going to keep proving to people that I’m here for good. ED Isn’t that a lot of pressure to put on yourself? JB No. I’m a competitive person. If I lose at Ping-pong or something, I’m like, “Ahh!” It’s exciting. ED Sure. Except when you’re a competitive person and you’re playing basketball or Ping-pong, or whatever, you have somebody to beat. But what it seems like we’re talking about is you against yourself. JB Now that I’m where I am, I work even harder because there are always people who will try to be where I am. There are

Jacket Bess NYC by Doug Abraham On hair, Bumble and bumble Bb. Texture Hair (Un)Dressing Creme

people in this world who are really talented — super talented — who want their shot to be where I am, and they’re going to work as hard as they can to be where I am, like how I worked. So, in order for me to stay where I am I need to work just as hard as those people, if not harder. Like I said before, Floyd Mayweather trains every day, even when it’s off-season. When everyone else just chills and doesn’t work out because they are not fighting. He’s in there punching the bags because he wants to be the best. He wants to be better than Muhammad Ali, and that’s what he’s striving to be. He’s going to go and fight even when he doesn’t have to. When I have time off I need to, at this point— I’m going to be honest: I’m young and I’m not as disciplined as I need to be in order to be the best. If I have a day off, I need to be at the dance studio, [but instead] I’m hanging out with my friends because I’m young. But when I’m in my 20s and I’m starting to really want to be the best, I need to buckle down and work as hard as these other people. Like Kobe Bryant: he shows up two hours before the game, or two hours before practice, and leaves two hours later because he just wants it way more than everyone else. And that’s what I want.

ED But, you can’t expect to do that now. You can’t spend all of your teen years just working and working and working. JB And that’s what I mean, I can only do so much and pick what’s most important, because I need to make sure I have fun doing this but I also need to work really hard. ED And you perform, what, 120 shows in a tour sometimes? Toward the end, how do you keep going? JB You’ve got to. By the end of the tour you’re so tired of doing the same show every night, but you’re getting better every night and you’re realizing what the fans love when you do it. So if I do one move and I hear that same reaction every night I am going to keep doing it and trying to do it better. So by the end of the tour, everything is so tight. I feel like my fans are what get me through. Just seeing the smiles and people crying in the audience—it’s crazy. ED So, let’s say that Mayweather wants to be better than Ali, right? JB Yeah. ED You can’t ever really compare someone to Ali, because he’s an icon. Michael’s an icon. So no matter what Mayweather does, no matter how many people he beats, or how long he

stays a champ, or if he retires or is defeated, do you think that people can ever really compare or ever say Mayweather was better than Ali? JB It’s different. First of all, Ali was in a different weight class, so it’s completely different. But I think it’s about making himself just as big. I mean, Michael Jackson looked up to James Brown. James Brown was an icon. And I would consider Michael Jackson bigger than James Brown. If Mayweather goes another three, four fights, and wins? Muhammad Ali lost. Mayweather has never lost in his whole career. He is like 35 years old. He hasn’t lost and people don’t give him that respect. ED Do you box? JB Yeah, I box. Me and my friends box all the time. My dad is a fighter so he taught me some stuff growing up, and he’s a great fighter, so I’m a pretty good boxer. Here, I want to show you something.

Justin pulls up the video on his phone. He and his friend circle each other in the ring, while “Eye of the Tiger” plays in the background, Jaden Smith playing referee. The bell goes off. And Bieber starts swinging.

“A lot of people say they hate Justin Bieber who haven’t even listened to my music. They just hate the idea of me.” –Justin Bieber

Grooming Vanessa Price using MAKE UP FOR EVER (The Rex Agency) Lighting technician Jodokus Driessen Digital capture Brian Anderson Photo assistant Barton Jahncke Stylist assistants Brandon Maxwell, Sophia Phonsavahn, Sandra Amador Studio manager Marc Kroop On-set production Gabe Hill (GE Projects) Production assistant Andrew Belvedere Retouching STELLA DIGITAL Location Milk Studios, Los Angeles Special thanks Aly Cayer, Danielle Rafanan, Ryan Good

et your backstage pass to the music issue by downloadin the V 75 iPad app today!

go on set with mario testino and sky ferreira behind-the-scenes at drew barrymore’s house party plus other bonus tracks!

welcome to preview


PoP’s new material girl heavy metal gods hiP-hoP’s haute stylist viral vixen lana del rey mick rock’s hot shots shirley manson: Phoenix rising the unseen world of hyPe williams and the bright sounds of sPring fashion

Cap David Samuel Menkes Black rubber bangles Lynn Ban Cross necklace (worn as bracelet) Robert Lee Morris Beaded bracelet on black cord Shamballa Jewels On eyes, Elizabeth Arden Smoky Eyes Powder Pencil in smoky black

Bodysuit Dolce & Gabbana Cap David Samuel Menkes Shoes Christian Louboutin Tights Wolford



Jacket Ralph Lauren Collection Bodysuit The Blonds Black rubber bangles (her left) Lynn Ban Cross necklace (worn as bracelet, her left) Robert Lee Morris Beaded bracelet on black cord Shamballa Jewels Studded cuff (her right) Gregg Wolf Headband Ellen Christine Millinery Ring Ferreira’s own Boots Christian Louboutin

Earring Lynn Ban

“I’m not 15 years old anymore. People wanted me to be something I wasn’t and it didn’t work.”–Sky Ferreira

Dress with black belt Dior Rosary necklaces and crystal bracelets Lynn Ban Large cruciďŹ x necklace Gregg Wolf Multicross necklace Robert Lee Morris Gloves Carolina Amato Head scarf and belt stylist’s own On eyes, NARS Cosmetics Cream Eyeshadow in paper tiger

Headband Ellen Christine Millinery Earring Lynn Ban On lips, M.A.C Cosmetics Lip Pencil in brick

Sweater Stefanel Shorts Proenza Schouler Suspenders David Samuel Menkes Rosary necklaces and black rubber bangles Lynn Ban Cross necklace (worn as bracelet, her left) Robert Lee Morris Large crucifix necklace, bracelet (her right), ring (her right) Gregg Wolf Ring (her left) Ferreira’s own Head scarf stylist’s own

Top vintage Stephen Sprouse Leather briefs David Samuel Menkes Gloves LaCrasia Rosary necklace (worn as bracelet) Lynn Ban Head scarf stylist’s own

“Madonna inspires me to be strong, fearless, and smart. She’s more than just sexy, or someone with good songs, she’s the type of woman I want to be. I want to inspire people the way she has.” –Sky Ferreira

Headband stylist’s own On eyes, Dior Diorshow Blackout Mascara in kohl black

Jacket stylist’s own On skin, Chanel Vitalumière Aqua Skin Perfecting Makeup

Makeup Charlotte Tilbury (Art Partner) Hair Oribe for Oribe Salon, Miami Beach Manicure Deborah Lippmann for Deborah Lippmann Set design Rafael Olarra Digital capture Christian Hogstedt (R&D) Photo assistants Benjamin Tietge and Jai Odell Stylist assistants Connie Berg and Georgia Cruz Makeup assistant Ninni Nummela Hair assistants Judy Erickson, Kevin Apple, Duber Osorio Colorist Anthony Palermo for Anthony Leonard Salon Manicurist assistant Lena Naomi Production Jemima Hobson and Michelle Lu Video Look Films Location Jack Studios, NYC Retouching R&D Special thanks Ron Fillman

See a film of this shoot on vmagazine.com

On lips, Tom Ford Lip Color in scarlet rouge

“Sex is one of God’s gifts, just use it right.” –Sky Ferreira

Lars Ulrich and James HetďŹ eld


Mario Sorrenti went onStage with horSeMen of the apocalypSe Metallica at their yankee StadiuM concert laSt SepteMber. the Show waS part of the act’S headlining big 4 tour, which included Slayer, anthrax, and Megadeth. it waS a Seven-hour Satanic ritual of thraShing bliSS. and we lived to tell the tale photography Mario Sorrenti

Photo assistant Johnny Vicari Printing by Arc Lab

Lars Ulrich

James HetďŹ eld Lars Ulrich

James HetďŹ eld

Robert Trujillo

Kirk Hammett

the queen of


From left: Anais wears Jacket Diesel Black Gold Bra and shorts Patricia Field Necklaces and cuffs (her left) Tom Binns Design Earrings, bracelets (her right), rings (her left) Alexis Bittar Chainmail glove (her right) Chanel Belt with pouch Blumarine Shoes Manolo Blahnik Travone wears Tracksuit Adidas Necklace, watch, bracelet, rings Jacob & Co. Underwear Diesel Shoes Adidas Originals by Jeremy Scott

From left: Travone wears Hoodie, vest, pants Y-3 Glove LaCrasia Hat, sunglasses, necklace CCD’$H$T Anais wears Top Y-3 Pants and hat CCD’$H$T Earrings Patricia Field Rob wears Jeans Guess Tank Patricia Field Hat, belt, sweatband CCD’$H$T

From left: Travone wears Jacket, shirt, pants Rocawear Sneakers Adidas Sunglasses Alexander McQueen Headphones Beats by Dre Cora wears Top, skirt, shoes Kanye West Watch and bangle Jacob & Co. Rob wears Vest, hoodie, shorts Rocawear Boots Timberland Hat New Era Anthony wears Jacket, hoodie, jeans Rocawear Glasses Dsquared Boots Timberland Hat CCD’$H$T

Anais wears Jacket and shorts G-Star Bodysuit David Dalrymple for Patricia Field Hat Chanel Necklace, watch, bangles Jacob & Co. Belt CCD’$H$T Earrings Seville Michelle Anastos Bag Tom Binns Design Gloves LaCrasia Boots Manolo Blahnik On lips, NARS Cosmetics Pure Matte Lipstick in valparaiso

From left: Rob wears Tracksuit Adidas Originals Shoes Adidas Originals by Jeremy Scott Sunglasses Patricia Field Do-rag and earrings CCD’$H$T Travone wears Tracksuit Adidas Originals by Jeremy Scott Shoes Adidas Sunglasses Mykita Watch G-Shock Do-rag, bracelet, earrings CCD’$H$T

Anais wears Jacket and shorts Blumarine Boots Manolo Blahnik Melodie wears Jacket and skirt Blumarine Boots Manolo Blahnik

From left: Travone wears Jeans G-Star Sneakers Y-3 Vest vintage Versace Necklaces, glove, belt vintage Chanel Do-rag, earring, watch, bracelet CCD’$H$T

Melodie wears Jacket Gucci Hotpants American Apparel Choker, necklace, earrings, cuffs Kenneth Jay Lane Boots Manolo Blahnik On skin, NARS Cosmetics Body Glow

Anais wears Vest, bra, skirt Jeremy Scott Earrings and ring Patricia Field Cuffs Alexis Bittar Shoes Manolo Blahnik On lips, NARS Cosmetics Semi Matte Lipstick in heatwave

Crishell wears Bodysuit Dolce & Gabbana Jacket Adidas Originals by Jeremy Scott Bangles Alexis Bittar Earrings Seville Michelle Anastos Boots Manolo Blahnik On eyes, NARS Cosmetics Eyeliner Pencil in black moon

From left: Polo P wears All clothing and sunglasses Vinnie’s Styles Watch Jacob & Co. Sneakers Adidas Travone wears Jacket Billionaire Boys Club Tank Calvin Klein Underwear Jeans Hudson Sunglasses Louis Vuitton Sneakers Y-3 Cora wears Top Reed Krakoff Leggings Armani Exchange Sequin tube miniskirt Patricia Field Earrings Vinnie’s Styles Shoes Manolo Blahnik Necklaces, bracelets, anklet Kenneth Jay Lane Chainmail glove (her left) Chanel Belt buckle and dollar pendant CCD’$H$T Headphones Beats by Dre Damel (foreground) All clothing Vinnie’s Styles Watch Jacob & Co. Rob (background) Pants Rocawear Boots Timberland

Anais wears Jacket Versace Hotpants American Apparel Necklace vintage Chanel PavÊ diamond watch Rolex Bracelet Pomellato Ring CCD’$H$T On skin, NARS Cosmetics Pure Radiant Tinted Moisturizer in polynesia and Illuminator in orgasm

Rob wears Shirt vintage Versace Pants Adidas Necklaces vintage Chanel Sunglasses Mykita Watch Rolex

Chrishell wears Tank Calvin Klein Underwear Skirt House of Dereon Earrings Seville Michelle Anastos Rings and gloves Patricia Field Chain necklaces and bracelets Kenneth Jay Lane Dollar choker, gun and cross pendants CCD’$H$T Bag vintage Louis Vuitton Belt vintage Chanel

I AM THE M U SI C From left: Travone wears Jacket G-Star Pants and sneakers Adidas Originals by Jeremy Scott T-shirt vintage Stephen Sprouse for Louis Vuitton Underwear Diesel Earrings, bracelet, rings Jacob & Co. Necklace vintage Chanel Watch G-Shock Melodie wears Fringed dress Dsquared Shorts American Apparel Flower jewelry Blumarine Shoes Manolo Blahnik

From left Rob wears Pants Keith Haring by Patricia Field Hat Ed Hardy Underwear Calvin Klein Underwear Jewelry and belt buckle Jacob & Co. Sneakers Adidas Originals by Jeremy Scott Anais wears Dress Jovani Ring Jacob & Co. Earrings Alexis Bittar Shoes Manolo Blahnik Travone wears Tracksuit Adidas Sweater Lucien Pellat-Finet Hat Y-3 Necklace, watch, ring Jacob & Co. Sneakers Adidas Originals by Jeremy Scott Headphones Beats by Dre

Makeup Lena Koro for NARS Cosmetics (Tracey Mattingly) Hair Oribe for Oribe Salon, Miami Beach Models Anais Mali, Cora Emmanuel (Ford Women), Chrishell Stubbs (Supreme), Melodie Monrose (Silent Models),Travone Hill (Click Model Management), Anthony White (Ford Men Direct), Rob Evans (Major) Manicure Honey (Exposure, NY) Set design Anthony Asaro (11th Street Workshop) Wigs designed by Judy Erickson Digital capture Luke Lanter (Capture This) Light design Erik Lee Snyder and PJ Spaniol III Stylist assistants Kate Grella, Katelyn Gray, Maddie Raedts Makeup assistants Aya Komatsu and Maiko Kitamura Hair assistant Kevin Apple Colorist Anthony Palermo Set design assistants Mark Lockard and Kristina Vazquez Production Helena Martel Production assistants Spencer Morgan Taylor, Gonzalo Romero, Jean-Charles Schildknecht Casting Natalie Joos Casting assistant Andrea Nina Retouching Picturehouse Catering Better Being and Nuela Location Fast Ashleys Studio, Brooklyn Special thanks Polo P and Damel (Vinnie’s Styles, Brooklyn)

the ballad of

lana del rey


Bodysuit and earrings Prada Bra del Rey’s own

Opposite page: Blouse Louis Vuitton On eyes, Chanel Inimitable Intense Mascara in noir


Makeup Pamela Cochrane using Chanel (OBrepresents) Hair Anna Cofone using Shu Uemura Art of Hair (Emma Davies) Manicure Mike Pockock using Nail Rock (Streeters) Digital capture Edouard Malfettes (Digit Art, Paris) Photo assistants Antoni Ciufo and Antoine Breant Stylist assistants Olivia Kozlowski, Mara Palena, Vera Calcagno, Maria Sbiti Colorist Marc Ramos Makeup assistant Katie Nixon Retouching Imagin’ Location Spring Studios, London Creative consultant Johnny Blue Eyes (OBrepresents) Special thanks Andy Silva, Kimberley Brown (Purple PR), Town Hall Hotel and Apartments

Pants Jil Sander Bra and earrings del Rey’s own On skin, Chanel Perfection Lumière Long-Wear Flawless Fluid Makeup

he first time I met Lana del Rey was in the U.K., during the dismal summer of 2011. I parted company with her at a bus stop outside of the Topshop flagship on Oxford Street in London. The rain was beating down, bouncing from the lacquer of her exceptionally coiffed shoulderlength ’50s blowout. Her enormous, ghetto hoop earrings were crashing against her face in the wind. She was wearing a white miniskirt, heels, and a silk Formula One racing jacket. Palpably, everyone noticed her. Outside of the obvious physical evidence, she’d said several things in the preceding interview that convinced me of her specialness. There was a throwaway observation in the midst of her musings on fame about Simon Cowell being “the cross between the American Dream and American Psycho,” and then there was the fact that she wore a wedding ring on public transit to divert attention from men. She looked, felt, and sounded like a star. The last time I spoke to Lana del Rey, backstage in Cologne on her debut European tour, she was one. The first flushes of fame can throw its denizens into a tailspin. Weirdly, they seemed to have calmed Lana. “Oh my God,” she said in Cologne, “so much has happened in that short time. I didn’t even have a record deal then. In the space of four weeks everything just...happened.” By the time her first tour bus revved its engine at the start of autumn, she had become a glossy cover star, a viral marketer’s fantasy totem, an award winner, and a number-one recording artist on iTunes in Holland, France, the U.K., and Germany—courtesy of her exqui-

site noir ballad “Video Games”. It was a song she had crafted as the opening part of a breathy trilogy devoted to the broken heart, a subject she’d clearly learned much about in her twentyfive years of youth. The track placed her directly in the lineage of Nancy Sinatra and Marianne Faithfull, and at absolute odds with tabloid sirens Rihanna and Katy Perry. It seemed to understand the intersection of glamour and danger in love as if by instinct. The trilogy expanded to include the song’s counterpoint, “Blue Jeans,” and the title track of her sublime opening suite, Born to Die. The title harkens back to Notorious B.I.G. “Quite accidentally, I might add,” she demurred, when asked. A beautiful young woman with a transcendent talent, a distinct look, and a stage name—one that seemed hotwired to the finely tuned smoke and mirrors of arcane pop theatricality—Lana (née Lizzie Grant) inevitably caused online contention. She was subject to the slings and arrows of outrageous Web-speak. Again, the dolorous texture of rumour around her seemed to have informed a new serenity in the singer. Hey, we all have a past. I suggested that the Oscar Wilde quote “the only thing better than being talked about is not being talked about,” might be playing into her hands. “Oh no, honey,” she rebuked gently, “I have had an entire life of not being talked about. That’s fine.” She seemed to mean it, too. “You talk about all these things that have happened to me in this short space of time, but the one thing that has really changed is that I now have an audience. I turn up in Glasgow or Manchester or Amsterdam and there are good people waving

at me from the crowd. That’s amazing. There are people outside the venue at sound check that want to chat and take a photo.” She has found peace in this response. “Someone showed me their ticket stub and asked me to sign it. You know how much it costs to come and see a show?” She paused. “These people really wanted to see me.” She sounded quietly flabbergasted. “I’m not competing with those girls,” she said of her MTV-flooding generational contemporaries. “I’m not competing with anybody.” Prior to meeting her, Lana’s management had sent me a link to some twenty-odd songs she had in a locked file, accessible only by password on the Internet. It has since been deleted. I liked the way she sounded bred on witty hip-hop rhyme schemes and subjected them to the confines of classic songwriting, like Carly Simon incubated in the early ’80s Bronx. I loved her simultaneous reading of high and low culture. When we had said farewell at that bus stop in London, she told me she was flying to L.A. in two days to meet a heavyweight hip-hop producer that wanted to work with her. “I decided not to,” she said in Cologne. “I’ve kept it family. The beats are being looked after by my beat man. The arrangements are being done by my string man.” There will be no industry grooming for the current and future pop star Lana del Rey. Mostly, she came to the conclusion of this at the record’s playback. You really want to know why Lana del Rey suddenly found Zen? “I made a really good record. That’s my defense,” she said. That is all. Paul Flynn Born to Die is available in January from Interscope

Bodysuit Dolce & Gabbana Earrings del Rey’s own On hair, Shu Uemura Art of Hair Sheer Lacquer Finishing Spray


Some went glam and Some went punk. Some were SirenS. Some were diamondS. Some were roxy. one waS nina. mudd Club. le palaCe. the ballroomS of marS. Suffragette CitieS. in every dream home a heartaChe, on every Stage StarduSt. we had five yearS Nyasha wears Dress Comme des Garçons Gloves LaCrasia Plastic bonnet and collar stylist’s own 126


PhotograPhy KacPer KasPrzyK fashion editor Jay Massacret Anais wears Trench, sheer dress, bra Calvin Klein Collection Briefs Calvin Klein Underwear Garter belt Wolford Stockings Falke Sunglasses Proenza Schouler Collar stylist’s own

On lips, Chanel Rouge Allure Luminous Satin Lip Colour in délicieuse

Kelly wears Jacket and shirt Ralph Lauren Black Label Gloves LaCrasia On lips, Tom Ford Lip Color in scarlet rouge On hair, Redken Vinyl Glam 02 Mega Shine Spray

Daga wears Jacket and shorts Balenciaga by Nicolas Ghesquière Black bodysuit Falke Net top Tripp NYC Sunglasses Linda Farrow Vintage Stockings stylist’s own On hair, Redken Forceful 23 Super Strength Finishing Spray

Anais wears Dress Miu Miu Net top Tripp NYC On lips, YSL Beauty Rouge Pur Couture Golden Lustre Lipstick in violet singulier On hair, Redken Workforce 09 Flexible Volumizing Spray

Daga wears Skirt Dior T-Shirt American Apparel Bra What Katie Did Latex stockings stylist’s own

Nyasha wears Dress Jil Sander Bra Only Hearts Briefs Calvin Klein Underwear Garter belt Wolford Stockings Falke Gloves Carolina Amato On eyes, YSL Beauty Pure Chromatics Metal-Eyes Collection No1

Kelly wears Jacket Giorgio Armani Net top (worn underneath) Tripp NYC Shorts Proenza Schouler Stockings Falke

Makeup Alice Lane (Jed Root) Hair Holli Smith for Wella Professionals (community.nyc) Models Anais Poulot (Trump), Nyasha Matonhodze, Kelly Mittendorf, Daga Ziober (Marilyn NY) Manicure Alicia Torello (The Wall Group) Prop stylist Kate McCollough Hair colorist Victoria Hunter (Whittemore House Salon) Photo assistants Eva Tuerbl and Rocky Luten Digital technician Brian DePinto (Milk Digital) Stylist assistant Olivia Kozlowski Hair assistants Peter Matteliano and Shintaro Teraoka Prop stylist assistant Danny Luna Production Totalworld.com Catering Rice Location ROOT [EQ, Capture + Studios]

Dress with attached mask Alexander McQueen On hair, John Frieda Luxurious Volume Thickening Blowdry Lotion

shirley, madly, deeply The posTer girl for ’90s AlTernATive rock is reAdy To reclAim her reign—And The rAdio—wiTh A new record from her iconic bAnd, gArbAge. don’T cAll iT A comebAck, shirley mAnson is A clAssic phoTogrAphy dAniele & iAngo fAshion ediTor pATTi wilson 134

Dress Givenchy by Riccardo Tisci Tank with garter clips (worn underneath) La Perla Necklace Lazaro Cuffs Ohne Titel Latex stockings Bondinage On eyes, Estée Lauder Pure Color Gelée Powder EyeShadow in cyber black

Dress Dolce & Gabbana On eyes, Estée Lauder Double Wear Zero-Smudge Lengthening Mascara in black

T. COLE RACHEL Garbage will be hitting the road again in 2012. What have you missed the most after being away for a few years? SHIRLEY MANSON I’ve missed doing the one thing that I know I’m really good at. There’s something remarkable about that feeling, when you know you’re good at something and you’re able to go out and do it. Being on top of something is a great feeling. It’s taken me a long time to feel that way. I miss singing, too. I’m a very noisy person— in general—and the past five years or so I’ve been pretty quiet. TCR You’ve been playing in bands since you were a teenager, but when Garbage became a big success you suddenly became the focus of a huge amount of attention. Was that a shocking thing to get used to? SM It was shocking. I don’t quite know how it happened. It took me a long time to actually accept it. It wasn’t until we did our second world tour that I really accepted that I was actually the lead singer in a really successful band. I lived in this constant fear

that I’d be found out—that people would realize that I didn’t know what I was doing. I never felt as good as anybody else. I mean, I was crazy! I was really young and insecure. It took me a long time to settle in to that position. I think that’s fair enough. You have to play a million shitty clubs before you really learn how to stand onstage and own your role as the master of ceremonies. TCR Do you think of yourself as a fashionable person? SM It’s funny, I never thought of myself as particularly fashionable. I always looked at what everybody else was doing and wanted to do the opposite. I always wanted to stand apart from everybody. I think that has defined pretty much every choice I’ve made. I was a middle child, you know? I had two other sisters, so I was always afraid of never being seen or heard— of having my identity swallowed up by something else—so I never wanted clothes that spoke for me. I wanted to be the one who spoke. TCR That’s interesting. Were you a wild child as a teenager? SM Yeah, around the age of 17 I was definitely a wild child. I remember that I’d been caught smoking, so I didn’t get an allowance—or what we called “pocket money” in Scotland—so I never had money for clothes. Luckily I had a very stylish mom, so I’d go rifling through her closet when I needed something to wear. She had lots of stuff from the ’60s, so I was rocking a pretty cool wardrobe, but only by default. I’d find an orange crew neck cashmere sweater in my mom’s trunk and wear that with my sister’s kilt and a pair of my mom’s suede boots and my dad’s old funeral coat. I wore that look for nearly a year straight. I remember playing the wicked witch in The Wizard of Oz when I was in school— my hair was straightened and I had black eye makeup on—and I remember that it was the first time I ever looked in the mirror and felt beautiful. The black eye makeup has stayed with me ever since! TCR So what does “style” mean to you? SM Style is what you have to say and what you think. Anyone

can wear an amazing designer’s outfit, but it doesn’t make you stylish. As an artist and as a woman, I feel duty-bound to say that. Style is about who you are and how you live your life. TCR So many young women in bands that I’ve interviewed over the past couple of years have cited you as an inspiration. Who were the women who inspired you to play music? SM First of all, to hear you say that, you just have no idea how much it means to me to hear that there are people who have watched the way I’ve conducted myself and have taken some kind of inspiration from that. The women that played that sort of role for me in my life still remain touchstones for how I want to live, especially at a time when the culture is still so tricky for women to navigate. For example, I grew up madly in love with Chrissie Hynde and Patti Smith and Siouxsie Sioux. Those women spoke to me then and continue to speak to me now. If someone asked me who of all the women in the world I most admire, I would say Patti Smith. What an uncompromising, elegant, graceful career she continues to have. When I look at magazines aimed at women, so much of it is still all about getting Botox and plastic surgery. Women are still just constantly bombarded with those ideas. Then you read Just Kids by Patti Smith and all of a sudden you feel like you’re not the only person in the world who feels like what you have to say and what you do in life—and who you are as a person—is way more important than how you look. She’s blazed a trail, and women like her are really the compass by which people like me can navigate the world, which, particularly at my age— 45 years old— can be perplexing. You know, it doesn’t matter how beautiful you are, if you don’t have anything interesting to say then you’re still boring.

Shirley Manson in New York, November 2011 Garbage’s fifth studio album is available in Spring 2012

Manicure Bernadette Thompson for the Bernadette Thompson Nail Collection Photo assistants Jason Geering and Dean Dotos Stylist assistants Taylor Kim and Eyob Yohannes Makeup assistant Junko Kioka Hair assistants Gonn Kinoshita and Mari Watase Location Canoe Studios, New York Retouching Didier Luk for +852 Special thanks the Seabrooke family

With nostalgia for the ’90s currently running at an all-time high, it would only make sense that one of that decade’s most quintessential bands— Scottish alt-pop darlings Garbage—would be primed for a comeback. Led by flame-haired front woman Shirley Manson, Garbage has sold over 17 million albums since releasing its self-titled debut back in 1995. Aside from possessing an uncanny ability to craft airtight rock songs, much of Garbage’s success is due to Manson’s undeniable charisma. Equal parts smart and chic, she remains the perfect antidote to the aggressive brainlessness of so much contemporary pop music. With Garbage set to release its first new studio album in six years this spring, there couldn’t be a better time for an intelligent, outspoken redhead to reclaim the spotlight. The world needs more Shirley Manson. T. Cole Rachel

“It doesn’t matter how beautiful you are, if you don’t have anything interesting to say then you’re still boring.” –Shirley Manson Dress and blouse John Galliano Harness Zana Bayne Gloves Tableaux Vivants Latex stockings Bondinage On hair, John Frieda Luxurious Volume Thickening Mousse and Frizz-Ease Moisture Barrier Hairspray

Makeup Tom Pecheux for Estée Lauder Hair Luigi Murenu for John Frieda

“At the time, Missy was one of the first new artists to completely trust my vision. She really allowed me to get creative and explore a different side to sensuality in visual music. Missy was to me what Grace Jones was to Jean-Paul Goude.” Missy Elliott, New York, July 2000

the history of

Hype Williams is responsible not merely for some of tHe most epic music videos in tHe History of tHe art form, but tHe existence of tHe medium itself. Hype made Hip-Hop culture everybody’s culture. in a v exclusive, He sHares WitH us tHese never-before-seen pHotos of His most iconic collaborators pHotograpHy and quotes Hype Williams 139

“Kelis was amazing to work with on that photo shoot, a complete risk taker. She dyed all the hair on her body green just to stay in character! �

Kelis, New York, July 2000

Lil Bow Wow, New York, 2001

“Left Eye was a creative genius and a true friend. To me, she represented the backbone of TLC. She was the one who would show up at the meetings with all her storyboards planned out, the costumes designed and drawn up, colors picked. She doesn’t get the credit she deserves for the success that happened.”–Hype Williams

Lisa “Left Eye” Lopes, La Ceiba, Honduras, April 2001

“For many years Aaliyah and I shot stills together, either fashion spreads or at spur of the moment events, like random private parties. Her face and her eyes captivate you instantly, that’s her power. She knew how to draw you in.”–Hype Williams

Aaliyah, Culver City, California, June 2000

Kanye West, Prague, May 2005

Jay-Z, Burbank, California, July 2000

“Kanye is an anomaly. He’s more filmmaker to me than musician. We’ve worked together for so long, I’ve watched him develop his own true mastery over all things visual. I really feel his true gift isn’t his talent in making music, but his ability to learn. He’s like a sponge.”

“Jay is one of the premiere artists of our time. A purist, with no regret in his approach to his craft. His words have helped to shape a generation.”


1. Photography Nick Knight from Visionaire 38, Summer 2002

2. Photography Inez & Vinoodh, 2001

my many looks

BjÖrK has worKed with the most celeBrated artists, designers, and photographers of our time. here, she personally selects her favorite images and ensemBles from over the years


3. Photography Mert Alas and Marcus Piggott from V7, Fall 2000

4. April 2008

5. September 2004

6. October 2004

7. March 2004

(1-3) Courtesy of the artists; (4) Jim Dyson/Getty Images; (5)Patrick McMullan; (6) Kevin Mazur/WireImage/Getty Images; (7) Vallenilla/WENN.com

1. It’s almost impossible for me to choose from the photos I did with Nick Knight and Lee [McQueen]. Here is one with a music box Matthew Barney made for me for the Vespertine project. 2. So hard to pick from the stuff I’ve done with both Inez & Vinoodh and Marjan Pejoski (the designer who made those swan shorts), but this is a great one. 3. I wear a lot of second-hand stuff. Here’s a great shot by Mert and Marcus. 4. From the Volta tour, a pom-pom hat by Søren Bach and Bernhard Willhelm trouser dress. 5. I went to a fancy party with Jeremy Scott. I wore his overalls and a Comme des Garçons fur, if I remember correctly. 6. Here’s a [McQueen] dress from the Vespertine tour, made out of red glass from microscopes and ostrich feathers. That’s an Inuit choir in the background. 7. I got so mushy when I saw this photo — it includes three of my favorite things that I wore to death! The orange T-shirt by Drew Daniel from Matmos, Bernhard Willhelm’s Michael Jackson dress (also worn to the Golden Globes which was appropriate since it was held in Jackson’s Hollywood neighborhood), and shoes by my friend Sigrún from (the performance group) ILC who sewed the pom-poms on. We were tipsy one night and swapped shoes. She got mine, which were wrapped in packing tape.


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