Anatomy I Preview by Anatomy Magazine

ANATOMY ISSUE I // CONTENTS 035 - MAKESHIFT

Straight outta’ Cali, the mighty Mr. Makeshift not only proves to be a lyrical tour-deforce, but also shows promise as he turns West Coast hip-hop on its ear.

038 - MAYER HAWTHORNE

Music Editor, Nicole Campbell writes about the up and coming old-school singer that will take your moms back to the old days of barbershop quartet.

041 - ME GUSTA

California natives, Me Gusta, are bound for greatness and prove this to the world. One masterful remix at a time.

048 - WWTAWWTALGG..

Whether we like it or not, Lady Gaga is one of the most talked about personalities. Period... Drew Millard tells us what it is we talk about, and why we can’t stop.

053 - THE GREAT BPIII DEBATE

Sure, it has been a while since the Blueprint III dropped, however, it seems to be the topic of massive debate. Is it really that bad? Or is it better than we actually know?

ANATOMY ISSUE I // CONTENTS 060 - A SOULQUARIAN CIRCUS

Over the course of almost a decade, Derrick Bazemore has progressively choked down bits and pieces of Common’s Electric Circus. In the aftermath of it all, he has gained a new appreciation for what is erroneously hailed as Common’s least-impressive album.

062 - PLANET ROCK

Afro Punk is a vibrant subculture of the punk scene with a wide range of motivations, problems, hopes and dreams. Some love being black punks. Some don’t like the label.

066 - V-NECKS, FTW

American Apparel had a noble schtick back in 2003 of trying to transcend branding by promoting label-less clothing. Their consumer base, however, has not let this happen..

070 - LOOK WHAT THE CAT DRAGGED IN...

Reid Peppard is not your everyday jewelry and accessory maker. Unlike those who draw inspiration from string and stone, peppard prefers the everyday pidgeon or rat.

090 - THE SPREADS

Anatomy Magazine is proud to announce its first two editorial spreads shot by John Boujoukos and Chris Florio.

THE FEATURES: 116 - COVER STORY: THE CLIPSE Anatomy Editor-At-Large, Mark Sabb interviews VA’s The Clipse about their clothing line, their new album and their new book?

074 - THE TRY AND THE FAIL Rebel 8’s co-founder and president, Joshy D., did not just wake up one morning and become successful. It took ridiculous drive and hard work.

081 - THE PROCESS OF... Atlanta’s PROCESS, is a project that has the look, smell and taste of streetwear, but don’t ask Larry Luk if it’s a streetwear company.

086 - ONWARD AND UPCYCLING Apliiq’s Ethan Lipsitz was a student at Penn when he started Apliiq as something to do. What became a hobby, has metamorphosed into a label.

124 - RACE, POLITICS AND “US ” Midwest Rapper, Brother Ali, spent much of his childhood experience as the underdog. This experience has positively defined his latest work.

THE FEATURES: 132 - THE LIFE AND TIMES DASH SNOW Though he may have died more than half a year ago, Snow’s memory deserves at least one last hurrah.

138 - THE COONDOCKS No, we aren’t making any kind of racist statement. But Derrick Bazemore is making a commentary on the N-Word and the best show on T.V.

142 - LEGENDS ARE ALWAYS RELEVANT Mark Sabb interviews the legendary daniel johnston on life, music, Kurt Cobain and the devil.

149 - BEHIND THE SPARKLE Editor, Drew Millard, drops his two cents on this whole Twilight hype thingie... Of course, the way Drew does it.

Anatomy

3 Woodine Court Durham, NC 27713 ww.foryourenrichment.com, http://anatomymagazine.blogspot.com Editor-In-Chief/Publisher Clifton Brett Editor Drew Millard Editor-at-Large Mark Sabb Fashion Editor Lola Bajamo

Music Editor Nicole Campbell

Photo Editor Chief Videographer Amanda Michelson Derrick Bazemore

Layout Designer Stylists Writers Kobe Bryan Kent Robertson Jesse Anderson Kristina Walker Dustin McManus Photographers Marlene Alvarez Chris Florio Trey Green Writers John Boujoukos Melvin Backman Johanna Contreras Jonathon Beckles Atembe Fonge Director of Public Relations Shwanda Jones Asst. Director of Public Relations Lilly Zhang Publicists Josh Jenkins Kellie Oviosun Legal: All literary materials showcased in this document are property of and are copywritten by Anatomy Magazine. Any reproduction of articles, or private imagery such as fashion spreads without prior consent is strictly prohibited. By reading this document, you hereby agree to these terms. All materials not owned by this magazine such as press photographs are credited to their legal owners. If your image is in this magazine and are requesting credit, please contact cliftnbrett@gmail.com

Music

AWAKENING IN THE WEST

The facades behind he-man, gangsta rap has proceeded to lull us to sleep and most of us do not even know it. Makeshift is trying to wake us up. The question is, will we? Written by Kent Robertson Photos by Nick Pinto

“My father says that almost the whole world is asleep…He says that only a few people are awake and they live in a state of constant total amazement…”

his opening quote is the theme of Makeshift’s The No Doze (Don’t Sleep) Mixtape. The San Diego rapper, aka the “West’s Best Kept Secret”, brings a unique rapid-fire style that demands your attention. Your ears can’t just float on the beat because Makeshift is trying to rock the boat. He wants to wake you up from the mainstream coma everybody is in now. “I have the power to awaken people. I feel like now emcees have the ability to say something but they aren’t really saying it. I feel like hip-hop is asleep. I think the game is 270 degrees right now and it’s almost coming back to the foundation of hip-hop real soon.” Makeshift brings a style that may be more critically-acclaimed

culture

Planet Rock RockkcoR tenalP Written by Melvin Backman

ZA once proclaimed “punks in the back.” James Spooner ain’t having that. He strove relentlessly to put black punk rockers front and center through his 2003 documentary Afro-Punk: The Rock ‘n’ Roll Nigger Experience and the annual Afro-Punk Festival in Brooklyn. The punks showcased by Spooner are not of the weak variety implied by GZA’s line, but a vibrant subculture of the punk scene with a wide range of motivations, problems, hopes and dreams. Some love being black punks. Some don’t like the label. Some of them aren’t even punks anymore. All of them in some way or another came together to form the complex and diverse afro-punk scene. James Spooner himself grew up in southern California, getting heavily involved in punk as early as 13. Although some circles of punk are known for their peaceful, accepting ways, Spooner found little such inclusion in the scene of Apple Valley, Calif., which was mostly working-class and white. Openly racist Nazi punks didn’t go out of their way to make him feel welcome when he went out. “A few of the kids called me nigger-lips,” he said. He moved to New York City, where the racism was less overt

but still prevalent. Spooner said that upper-middle class kids in the suburbs of New Jersey and Pennsylvania often betrayed a sense of white privilege whenever the subject of politics came up. “Those kids just didn’t know any experience outside of their upper middle class, rich white world,” he said. He remained heavily involved in the punk scene until he was about 19. After that, he began to take a long, hard look at his life, especially the large portion spent in the scene. A specific part of his introspection focused on his experiences and black punk rocker. He began thinking about the scene and the unique issues he faced as a black member. He also felt the

“We will have succeeded when Afro Punk is no longer relevant.” need to go out and document the experiences of his fellow black punks. That is when the documentary came to fruition. The film took a long, hard look at various punk scenes around the country from New York City to the Bay Area to Little Rock, Ark. With

such an underrepresented subgroup of a culture that is peculiar in and of itself, there was a bevy of topics to be discussed. Such subjects as interracial dating, identity crises in a scene that both accepts and rejects the notion of a unique black experience and the reactions of other, more mainstream blacks to seeing black punks are all broached. The film saw a positive reaction among black punks when it was released. Many of the punks he talked to were eager to have their story told. “It was thought-provoking and interesting,” said Damon Locks, who was in the movie, helped screen the film in Chicago and is featured on the commentary for the film’s DVD. Something that surprised Spooner was the way it was received among more mainstream black audiences at the American Black Film Festival in Miami. In an age before CNN was in the business of telling the stories of minorities for ratings, Spooner said that many of those people related to being the only black person in their respective circles. Whether they were the only black brother in their fraternity or the only black person at their job, they related to story of black kids feeling lost in a predominantly white scene. “That was really inspiring and made me feel even more so that I wasn’t alone,” he said. After more than 100 screenings and presenting the film at

Photo by Evan Cohen

culture

V-Necks, FTW! It’s not a tyrade about half-naked ingenues, sexual harassment, or socially conscious labour. Fact is, we’ve beaten a dead horse. Meanwhile, amid jabber about “everything that is wrong” with American Apparel, we have failed to acknowledge the one thing that matters: It has not succeeded in transcending what it is to be a brand. Oddly enough though, its due to the customer base. us of label whoredom. Written by Clifton Brett I could spout off at the mouth with the litany of things naysayers, critics, and even admirers have said about American Apparel and be completely on point. I could say that the company is economically aware with its vertically-integrated production mechanism firmly rooted in the United States. Hell, I could even discuss its conversation-starting ad campaigns rife with raw imagery of doe faced ingénues (give or take a couple of chicks who get fucked for a living) and criticize them for being nothing more than soft core porn. Factoring all of these commentaries in—which have mind you, been propelled by way of jaded commentators on blogs, newspapers and magazines—allows me to no longer care about them anymore. Sometimes it even allows me to scoff at yet another opinion piece on the same shit I read two to three years ago because at this point we are beating a dead horse. Meanwhile, we’ve completely ignored the one thing that people, most particularly, the Hipster set, would actually care about: That American Apparel is the new nex-

Post-boarding school days of Polo, Brooks Brothers, and Lily Pulitzer were never characterized by preppiness and in hindsight, I’d be lying if I said that my life as a prep school kid never effectively passed over in my transition to college. Sure, I ran with the frat crowd and witnessed many parties with myriad keg stands, miniature Barbies and backwards baseball caps all augmented by the atypical country band. After a short year of running town, however, hanging out with friends while simultaneously trying (and succeeding) to navigate the Chapel Hill house party circuit I found myself in the midst of my sophomore year wearing skinny jeans and v-necks. Granted, if you take anything from this, don’t think that I’m a poser or sell out, whatever the fuck those definitions mean these days. After all, once upon a time in a land far far away, I was actually an “individual” who wore what he liked… And then the prim and proper southern prep school thing set in. That, however, is another story. But before I digress into a tangent about what life was like pre-

v-neck, one of the great things about venturing away from the “traditional” collegiate party scene consisting of night clubs and frattastic exploits was that I met interesting people. By interesting, I mean musicians, artists, writers and photographers with gloriously casual outfits and perfectly coiffed hair. These people are what some may call, ahem, Hipsters. Hipster parties in Chapel Hill are very much like what your parents thought of Studio-54: Lots of great music, fabulous homosexuals, beautiful women, promiscuity, substances and fashion clusterfucked into what many can call with pride, a great time. Granted, I can say this because my parents actually had thoughts about it. Navigating further into this scene to where I now find myself with a great group of people I am proud to call friends, I noticed my taste in music falling deeper and deeper into the abyss of obscurity. I noticed my choice in women metamorphosing from sun-dressed belles to soft-faced beauties pleasantly dipped in heroin chic. I noticed conversations became progressively seasoned with more cheap beers, expensive cigarettes and a degree of ennui towards everything. Finally of course, my personal style had seamlessly made the move from crew-neck to v-neck.

So what is my point? Before I go off into yet another tangent, I am trying to say that in gatherings with Hipsters, when they like your label-less shit, the first question typically is something to the effect of “is this American Apparel?” This action is quickly followed by them placing their hands on your garment, feeling how soft the material is, and tugging it very lightly while talking briefly about how brilliant your piece is. Granted, the first couple (okay, 20) instances of this happening reeked of a level of cool that were quickly washed away by blithe overlap. The same stupid kids were asking who made the same lime green v-neck I had worn many times before which, unbeknownst to me, would actually prompt the same question from the same people. No, literally, the same people. In hindsight, I look at it all and I have come to a conclusion: Despite American Apparel’s label-devoid garments that they peddle to budding and veteran Hipsterati alike, there is a nauseating degree of label-whoredom that cannot be denied anymore. Let’s leave CEO Dov Charney’s sexual harassment suits out of it. Let’s leave the suppression of unionized labor at the wayside, half-naked chicks on ads, Sasha Grey and Faye Reagan (whose looks have given hope to all redheads globally) or hell, even the fact that I actually like the company’s clothes. Let’s talk about the bullshit: There is a lot to be found in the singular, oft-ignored fact that American Apparel’s customer base seem to be a striking

The Try an

A Tale of Ridiculous Drive and H

By Mar

nd The Fail:

Hard Work... as Told by JoshyD.

rk Sabb

he phone rings once. “Josh,” answers Joshy D. in a confident voice. “Hey Josh, This is [a reporter] from Anatomy” said the timid reporter. “Hey what up man? How are you?” responds Joshy in a familiar tone. Still nervous, the reporter swallows his spit. “I’m doing alright man, how are you doing?” “Cool, hold on one second; let me get ready for all of this.” Joshy D. puts his phone on hold and a punk rock song plays over the speaker. The reporter needs the quick break more than Joshy D. He comes back. “Hey what’s up man? Sorry to keep you holding.” What was planned to be an average Q&A commences. Quickly, the interview derails from the typical reporter and subject format to become a personal account of failures, stick-to-itiveness, and a lesson on how to work ridiculously hard. It’s the late 1990s. The world outside is beginning to fill with paranoia as Y2K Bug and all of the superstitious catastrophes that come along with it slowly approaches. Inside, sitting in a small school desk within a San Francisco high school computer room is Joshy D. Joshy, a naturally rebellious teenager, stares at a computer screen as the demon that is boredom has finally possessed his body. Josh stretches his pale hand to the computer mouse as he gently presses against the power button. Once powered the computer makes a bass filled grumbling

fashion noise that alarms Joshy to look at the detention proctor - she doesn’t care. Thank God for neglectful instructors because this noise wasn’t simply random commotion, it was the beginning of new life, a new legacy. Joshy’s existence up until this point consisted of several different rebellious ventures like skate boarding and graffiti, but on a grand scale had no direction. In a school where he is one of few Caucasian students Joshy finds it hard to fit in with his peers, thus leading to his detention. “If you go to public school in San Francisco you will be one of the only white kids. That is just the way it fucking goes,” said Joshy, now seated comfortably at his Rebel8 office. Joshy Continued, “I wasn’t happy about it, but it wasn’t necessarily because I was the only white kid that I dwelled on it, it was the fact that the school fucking sucked.” Growing up in a predominately ethnic neighborhood and attending mostly black schools Joshy was used to the banter by that point. “It’s funny because I never was a wigger, I never said ‘nigga’ and all that kind of shit.” In the halls Joshy is made even more aware of his physical differences as his peers refer to him as ‘White Boy’. It makes no difference to how he runs his course, he keeps on. He has bigger things to think about. A couple of weeks pass. Ennui no longer bothers Josh as much. He spends his time in detention hunching over the computer, discovering the internet. Joshy spends days cultivating his skills with html. The proverbial think

bulb glows, powered by an idea. With involvement in the San Francisco graffiti movement Joshy decides to start a website dedicated to the subject. Joshy’s stepfather acknowledges his son’s hard work and purchases a $25 scanner, and six months later HiFiArt is born. “Within 6-7 months HiFiArt was already launching and it was all done by myself sitting in this class room because I got in trouble,” said Joshy in the interview. Taggers around the city were spraying their way onto HiFiArt. HiFiArt would lay the ground work for the rest of Joshy’s professional life, but for now it is an online gallery featuring San Francisco graffiti. Within the minuscule graffiti community Joshy D.’s name spreads like swine flu in Mexico as he builds a rep, and gains the respect of the city’s best artists. Never one to settle, Joshy uses his eminence with the website to launch a clothing line titled TeamWolf. While running the operation Joshy gets his first taste of the clothing industry. After two short years at the helm of TeamWolf Josh gets the wakeup call he needs. One night while talking to his girlfriend she gives him the honest truth about the brand. “The only people who like TeamWolf are you and your friends” says Joshy’s companion. Joshy takes a long pause and looks at his girlfriend with a feeling that was a familiar amalgam of pain and anger, but mostly anger. “Fuck you bitch.” He replies. For weeks the animadversion sinks into his head and lounges at the back of his mind. The thought torments him. He realizes that her

fashion

ONWARD AND UPCYCLING.

APLIIQ’S ETHAN LIPSITZ IS DOING THE SAME AS YOUR GRANDMA, MOTHER AND LOCAL SOCCER DAD, BY USING APPLIQUE TO COME UP WITH INCREASINGLY INNOVATIVE DESIGNS FOR HIS HOODIES, TEE SHIRTS, CARDIGANS AND EVEN SHOES. WELL, SORT OF. HIS VERSION OF APPLIQUE IS BETTER KNOWN AS APLIIQ. music, including remix artist Girl BY MELVIN BACKMAN Talk. Trips are made daily to the he term applique applies American Apparel factory, where to the craft a technique Apliiq sources its garments, and where one applies a bit of LA’s fabric district via skateboard fabric to another surface. and bicycle. The brand does it to Grandmas do applique. Soccer keep in touch with the city it works moms do applique. Ethan Lipsitz, in and the people that live there. however, does not do applique. He Such a concern for people is apdoes Apliiq. He runs it, rather. parent through Apliiq’s partnerIn the historic core of Los Ange- ships with both American Apparel les’s Fashion District, he works in a and shoe company The People’s big, grey shop making clothes that Shoe, both of which use fair labor are anything but. His brand, Apliiq, policies and contribute to LA noncombines colorful fabrics with ori- profits. gins the world over and patterns Here, Ethan Lipsitz discusses that span the color spectrum to his brand, its processes and its make an assortment of clothes future. and accessories to make on-off pieces. Anatomy: It seems like it’s a pretty Cheesy blankets and boring de- inspired brand. You’re putting the signs get put to the left. Through individual fabrics on stuff and you a process he calls upcycling, Apliiq have to go out and find it. What’s combines vibrant fabrics with ba- your general inspiration for Apliiq? sics like hoodies and tshirts to create pieces that match simplicity Ethan Lipsitz: To be honest, I was with understated flair. really inspired by a lot of products The shop opens at noon. Fab- like furniture and architecture. rics hang from the wall as custom- When I was in school, I was studyers stream in an out to get their ing that type of stuff. I was studyclothes upcycled. Perhaps in a nod ing design on kind of an architecto the nature of its products, the tural level. Starting a company Apliiq shop plays a wide range of was a way to think about clothing

as a product and we use fabric as a means to celebrate that type of expression on clothing. A: You went to Upenn, right? E: Yeah, I did. A: You studied urban design or something like that? E: I did. Wow, how did you know that (laughs)? A: I did my research. E: Nice. Yeah, I studied urban design and I was at Penn doing that and I was into it. But I wanted to be producing. I wanted to have something that I could show beyond an essay or a presentation. So, I decided to just make clothes and stuff for myself and for friends. It was all hoodies and it was all just off-the-cuff stuff. I was just getting fabric and just messing with it. I started out doing really simple designs for people. I’d have all these fabrics that I’d find or they’d come to the fabric district with me in Philadelphia and we would go out and buy stuff together. They would design it and I would make it for them. A: When did you get the idea to start selling stuff?

fashion

Shirt By: Two In The Shirt Hat By: New Era

ANAT001: The Ampitheater Shot By: John Boujoukos Models: Eric Hall & Simone Suber Stylist: Kristina Walker

Him: Sunglasses By: Ray Ban Shirt By: Vintage Denim By:Uniqlo Shoes By: Jordan Her: Shirt & Hat: Vintage

Music

“T

hird time’s the charm right?” Pusha T joked as we all were drawn in by DJ Khalil and Chin Injeti’s guitar riffed intro. “Kinda Like A Big Deal”, The Clipse’s first street single off their third studio album ‘Till The Casket Drops featuring Kanye West, dropped this past April and the urban blogsphere erupted with excitement. The song reeked of pure cockiness as the three seasoned rappers one after another attempted to eclipse each other for who could come across the most narcissistic. The fans loved it. Adding the cherry to the whipped cream, the duo extended their hands to the legendary street artist Kaws who illustrated the single’s cover art. Was it the Martin Louis the King Junior guest appearance, the Kaws art, or the fact that only The Clipse could bring this much energy to drug dealing, drug dealing, and more drug dealing that caused so much excitement? Probably none of the reasons mentioned. The Clipse are now a force on their own after severing ways with Star Trak, the label they came into the game with. Pusha T and Malice have grown more and more into their own style which mixes hustling, the ‘fresher-than-thou’ attitude of the street wear movement, and a few small traces of early nineteenninety’s Mafioso Rap. It is a new day in hip hop. Artists are not judged by their lyrical adroitness but by how willing they are to gamble with their career. Adjectives like ‘ground breaking’ and ‘innovative’ are replacing ‘lyrical’ and ‘introspective’. The Clipse, which consists of brothers Gene (Malice) and Terrence (Pusha T)

Thornton, jeopardize themselves as much, if not more, than anyone else in the rap game by not taking many risks at all. As most rappers try to detach themselves from hip hop clichés, Pusha T and Malice embrace them. They have extensive production by The Neptunes, started a clothing company, customarily rap about drugs, until they get bored and rap about having sex with women and write books; at first glance they seem like a late 1990s hip hop act. The Clipse, like many of their rapping peers who broke out during the beginning of the decade, have been through their share of record label bedlam. By the time Lord Willin’ was released, The Clipse had already faced their debut album, Exclusive Audio Footage, being shelved by Elektra Records. More label problems would ensue towards the middle of the decade when Arista dissolved into Jive pushing the Virginia Duo’s album Hell Hath No Fury back for two years before it was released on November 28, 2006. The Clipse did not waste time feeling sorry for themselves; instead the duo channeled their label problems into bona fide hip hop. Now sitting comfortably at Columbia records, one would expect the group to grow content; however, singles “Popular Demand” and “Kinda Like a Big Deal” show that The Clipse do not need record label turmoil to create the authentic music they are appreciated for. The group’s existence reveals an intriguing motif in our own society; if everyone is striving to be individualistic then we are all in due time going to fall into a mob mentality. The new breed of rappers are so

wrapped up in separating themselves from hip hop traditions that they sacrifice true individuality because they are constantly rejecting their own inhibitions to seem more occult. The Clipse overlook what everyone else is doing and stick to their guns. They call to mind the way we appreciated rap before our moral compass kicked in; the stream of conscious, street documentary, morally deprived, cocksure, Tony Montana meets Don Corleone style that has worked for decades. There is a twisted chastity of gangster rap in which rappers act and rap off of impulse that everyone in the hip hop community has abandoned, everyone except for Pusha T and Malice. Anatomy: How are you guys feeling about the project right now and what you guys have going on? Malice: You know, we are happy about it, we are always happy about the music, working and the quality of the body of work that we put out. We are always satisfied with it. We always put our best foot forward, it’s good to be with Sony and the ball is definitely rolling so that also feels good. We just look forward to seeing how everything pans out but we are definitely satisfied with the work. A: Now when we started talking you spoke of working with Sony, what was the main push that bought The Clipse over to a new label? PT: Actually it was Hip Hop and Rick Rubin. It pretty much was an easy sale, Hip Hop Said he had al

Music

culture

The Life and times of dashiell "dash" Snow

(

The summer of 2009 will go down in personal history as a time of many things: a time of political scandal, a time of great album releases, pop culture controversy, health bills and above all else, death. The public watched on as greats such as Michael Jackson and DJ AM were laid to rest. Amongst other individuals to pass, we note the death of Dashiell “Dash” Snow, an artists who’s work was polarizing in the least and the first to stir up controversy. Though opinions of the aritst range greatly from absolute fixation with the artist to unequivocal disgust, Snow still deserves a nod for his passing as well as his body of work which ranges from Photography to Graffiti. The following piece, written by Anatomy’s Atembe Fonge, is not a critique of Snow’s work, his lifestyle or transgressions. It just covers things, the way they happened, from start... to finish.

)

Written by Atembe Fonge Photos by Mario Sorrenti

e was a drug addict who finally yearned to turn his life around and quit his drug-abusing ways, and he did. He had a young daughter and a wife. His unique photography was recognized internationally and he had a rapidly growing fan base. Then he died. He was found naked, submerged in the bathtub of an upscale Manhattan hotel, the Lafayette House, found in East Village borough of New York. Strewn around his hotel room were empty cans of beer, an empty bottle of Bacardi rum, three used syringes and 13 empty en-

velopes that were once filled with heroin. He belonged to American art royalty, yet he lived the life of a reckless, impecunious junkie. Still, somewhere in the midst of this heroin-injecting, promiscuous, rebellious 27-year-old man was one of the most controversial and enthralling artists of the new millennium. His name was Dash Snow. Dashiell A. Snow was born into a family descended from rich French aristocrats on July 27, 1981. This meant his family had some serious money, which later became evident in the way he recklessly went through hundreds of dollars a week on drugs and alcohol

for years, and still had money to burn at the end of the day. His paternal great-grandfather was a French baron and banker and his grandmother came from an affluent French family. Both were heirs to large fortunes and collectors of rare, fine art and were regularly featured in Forbes’ magazine as one of the 400 richest people in America. His maternal grandmother was a costume and movie set designer and his aunt is the actress Uma Thurman. Artistic talents and appreciation obviously run in the family, and Snow certainly got the bulk of those genes. The high life may seem like a

LEGENDS ARE ALWAYS RELEVANT The Beatles, Captain America, The Hulk, and of course, Lucifer. Daniel Johnston, who defines himself as a musician first and a visual artist second, has battled bipolar disorder and demons throughout most of his adult life. Anatomyâ&#x20AC;&#x2122;s Mark Sabb sits down with Johnston in an interview about Music, Design and everything in between.

By Mark Sabb