BLEEP Magazine 505

JUNE 2015 Issue • 505

TM

P E BLE

FLULA BORG

The YouTube sensation becomes the breakout star of Pitch Perfect 2

+ NEW YORK BOYLESQUE FESTIVAL STANDOUTS MR. GORGEOUS, BEAU CREEP & MORE

Five Knives

on their new album & bringing pop to Nashville Mad Men actor

Kit Williamson

on the hit AMC series ending & the new season of Eastsiders BLEEP 1

2 BLEEP

what’s

Photo by Robbie Jeffers

Photo by Christopher Boudewyns

n i p e e bl inside: 14

MAD MEN’S KIT WILLIAMSON

18

KATLYN CARLSON

22

GETTING GROOMED BY JASON MITCHELL

24

LINDSAY KATT

32

FIVE KNIVES

36

FLULA!

Kit Williamson played Ed Gifford on the ground breaking show “Mad Men,” but rather than dwelling on the end of the series, he’s looking ahead to his future that includes marriage to his fiancé John Halbach and the next season of his show, “Eastsiders.”

Katlyn Carlson has been creating videos for the web for a while, and she’s recently been seen on a series of videos for Glamour.com, but this summer, she’s jumping back into musical theatre with the new show Be More Chill at Two River Theater in New Jersey.

Jason Mitchell arrived in New York & did, as he says, “the very typical artist opportunity thing” and spent time as a waiter while he wrote his first play He’s now written the book on gay weddings, literally. We catch up with Mitchell about how the book came to be & where he’s headed next.

We talk with the Katt about the current state of the music industry and creating a filmtrack for her new project.

When you hear a band heralds from Nashville, most would assume country or bluegrass music. That’s not the case for Five Knives. Five Knives is bringing their brand of genre-crossing pop music to Nashville and beyond.

We caught up with Anna M’Queen on the eve of the release of their new album, “Savages.”

One of the breakout stars of Pitch Perfect 2 became Flula Borg, the German multi-hyphenate who already has thousands of loyal YouTube followers who love his exuberant and energy-packed videos.

BLEEP 3

TM

BLEEP OUR. TEAM. RYAN BRINSON Editor-in-Chief

SARAH ROTKER Business & Audience Development Manager PABLO SALINAS Social Media Associate COVER PHOTOGRAPHER: Robbie Jeffers FEATURE EDITORS: Nathan Robins

40 54

NEW YORK BOYLESQUE FESTIVAL We were on the scene this year at the 4th annual New York Boylesque Festival at Brooklyn’s The Knitting Factory and at B.B. King’s in Times Square.

The evening was fun, sexy and including world class talent.

JEAN-SEBASTIEN LEGAULT When you can’t find the clothes and accessories you want, why not make them yourself? That’s what Jean-Sebastien Legault thought and a year ago, he began creating his own line.

4 BLEEP

CONTRIBUTORS: Caleb Bollenbacher Rachael Mariboho Hatley Moore Laura Seitter Alex Wright FEATURE CONTRIBUTORS: Florian Hubertus WEB CONTENT: Sheena Wagaman All articles and photos are the property of the writers and artists. All rights reserved.

From the Editor I, like millions of other people, am a huge Pitch Perfect fan. The first movie was hardly on my radar, but on a random Saturday, I happened to be walking next to a movie theater and decided I’d go see it. It won me over. To be honest, it won me over in the first seconds as the acapella voices sang the Universal theme song.

The way the audience of the first film had grown exponentially is the sort of thing Hollywood dreams about, so expectations were high for the sequel. The film grossed more in the opening weekend than the first film made in its entire run. Pitch Perfect 2 is a smash success.

While audiences may have come to see Anna Kendrick and her team of leading ladies sing their way to victory once more, along the way, newcomer Flula Borg stole the show. Well, he’s not really a newcomer - he’s been a star on YouTube for quite some time. But this is his first big budget feature film and as he went toe-to-toe against the Bellas, he commanded our attention.

What I think is so great about Flula is that he is an example of a new type of star. His name recognition was associated with his YouTube videos before this film, and those videos are actually what got him the audition in the first place. Much like the rise of Pentatonix from YouTube favorites to Grammy winners, or the rise of Miranda Sings from parody videos to hanging out with Jimmy Fallon and Jerry Seinfeld - Flula is parlaying the success he’s had at being himself online to being able to tackle roles on both the big and small screen.

New media is tough. It’s a wild and fun place to be, but it’s also incredibly difficult. I’m always in awe of those people who are not only able to conquer it, but make it something that’s exciting. There are numerous people who think they’re funny on YouTube, but Flula actually is. And he crushed “Poison” in Pitch Perfect 2. Crushed it.

Ryan Brinson Editor-in-Chief

BLEEP 5

BLEEPblips Our favorites from Eurovision 2015 In the States, most people don’t have any idea what Eurovision is. But to Europe (and Australia this year), it’s the world’s largest singing competition. Imagine an Olympic-sized X-Factor covered in sequins. One of the greatest things about this competition is that it puts established artists from large countries on the same playing field as emerging artists from smaller countries. It’s a celebration of music and of the human spirit that transcends language barriers. This year, the talent was far from disappointing, but for our readers who might have missed the live streams of the show online, we picked out five contestants you should know about.

Monika Linkytė and Vaidas Baumila

Lithuania kicked off the second semi-final with, perhaps, the happiest song of all of Eurovision.

Their candy-colored presentation rivaled anything Katy Perry does on tour so it was hard not to feel great about this duo. There should be more happy songs in the world, and this one was perfect.

Polina Gagarina

The public opinion of Russia has steadily worked against it at Eurovision, but Gagarina stood tall and absolutely crushed her song, “A Million Voices.” A big voice and an even bigger performance made hers one of the songs to remember.

6 BLEEP

Loïc Nottet

Probably the coolest dude in the room was Loïc Nottet. His voice was crisp, the dancing was sleek and sexy, and his song, “The Rhythm Inside,” pulsed through the room. In his interview with last year’s Eurovision winner Conchita Wurst, Nottet said of his performance, “Everyone has the right to be different and to be special.” We couldn’t agree more. This dude from Belgium is special and we want to hear more.

Måns Zelmerlöw

The eventual winner was a front runner from the moment his performance began. The presentation was awesome, the way he created worlds and characters with the video screens was intelligently plotted, the song is perfect for arena sing-a-longs - Sweden had it in the bag and rightfully won the top honor.

Bojana Stamenov

Serbia’s powerhouse vocalist Stamenov not only commanded the stage with her voice, but brought a full-on disco party with her. Her song, “Beauty Never Lies,” blew the roof off the place and showed that she’s an artist to watch.

All of the songs from Eurovision are on Spotify to check out, and the full album is on iTunes. Support global music and check it out.

BLEEP 7

REEL LIFE

by Alex Wright

It’s a Gift I haven’t felt much like an actor the past few months. Two seasons that I had lined up for the summer were canceled due to Equity, and I have been working a crazy number of hours: retail, teaching acting at three schools, assisting for a social media company, nannying in the mornings, coaching on the side, and acting and writing in numerous projects left me burnt out and cranky. My acting and my writing, while it was there, was always the last to get my attention; and, when I would focus on these aspects of my creative life, it was done out of obligation, not joy. What should have been a source of pleasure and an outlet for inspiration became an afterthought. I was also becoming resentful—I was surrounded by actor friends who were supported by their parents; these friends could write all day and take numerous acting classes without having to bat an eye at their bank accounts or their work schedules. My millions of jobs allowed me financially to take a class, but left me no time to do so.

Taken away from my outlet of expression, I was left with a mess of pent up frustration and resentment. I was literally working from six AM to ten PM. I was not having fun. I was not a fun person.

At one point I thought, wow, I’m no longer an actor. I’m teaching acting, and I’m directing, but I’m not working on anything for my acting. I also realized that I was living a life out of fear—fear of being “poor,” fear of being unsuccessful, fear of 8 BLEEP

finding myself having a moment’s peace because that meant that I wasn’t working, wasn’t furthering my career. But all of these jobs that I was juggling weren’t furthering my career in the first place—they weren’t making me a better actor…they were just taking me away from acting.

So, I quit two of my jobs. Immediately, I was given an acting job. Immediately, I felt lighter. Immediately, my heart grew two sizes. I realized that a life lived in fear isn’t a life lived in faith. I was doubting my potential. I was doubting God’s plan. I realized that I needed to have more faith in myself and more faith in the talent that God instilled in my heart. I firmly believe that when we are given a gift, that when we are instilled with a plan and a dream, that we are also given everything we need to fulfill that dream. Yes, we need to train and continue to learn and grow, but the essential basics are there. We have the dream in our soul because it is obtainable.

I also realized that nothing can take away your art; it can diminish, it can soften, and it can peak, but it can never disappear completely. It’s a gift, something that is ingrained deeply inside of you, and to deny that side of yourself is denying who you are—it’s denying a fundamental element of yourself and your purpose in life. So many people and pressures in life will try to weaken your gift…don’t let yourself weaken it as well.

BLEEP 9

one to watch

Rebecca Perl grew up playing instruments, watching family members play guitar and listening to music.

When she started writing her own music on the guitar at age 13, she began singing along to it. Now, she’s performing all over the country.

She is certainly one to watch.

10 BLEEP

Photos by Graphics Metropolis

You’ve toured with many great artists such as Vertical Horizon, Gavin DeGraw and Olivia Newton John. What have you learned from those experiences?

I’ve had the time of my life touring with such great artists. I watch and I learn from them!

Performing is something I’m always trying to improve on and watching and chatting with them has been a real treat for me. Let alone traveling to new places and playing for new people being such an inspiration.

Nashville sparked a creativity that I may have not had doing the entire thing in New York where I was living at the time.

How do you further your craft? What do you do to get better?

I’m always looking to get better. More than just practicing, I find listening to new kinds of music is always helpful in bettering my guitar skills and vocal abilities. My strengths lie in listening and being able to play it by ear rather than reading music off a sheet of paper. Trying new things and jumping right in.

That’s how I improve.

What do you want to accomplish as an artist?

What do you want to say or talk about that isn’t being said?

Oh man, there is so much more to do, to accomplish, to share, to learn. My life revolves around creating music. I ultimately want to make people feel good. - the way that I feel when I listen to my favorite musicians. I want to write music that becomes the soundtrack to people’s lives and create those moments that they won’t forget.

What sets “Point of No Return” apart from your previous records?

This record is definitely different than the others. I found myself writing in a more pop direction while maintaining my folky and jazzy influences. I had an amazing time diving into these recordings and getting creative with them with my producers. Traveling to

What excites you as an artist?

So many things, but at this point in my life I get extremely inspired by exploring new places and meeting new people. That’s why I picked up and moved to Austin, Texas (where I’m currently living). It’s brought back an excitement that I needed.

What’s next for you?

I’m just finishing up a Southeastern tour! I have lots of shows coming up in Austin that I’m excited for. I’ll just be sharing my new record in all the ways that I can!

For more, head to www.rebeccaperl.com

BLEEP 11

The fascinating pop culture experiment of Finding Neverland

by Ryan Brinson, Editor Something interesting is happening on Broadway.

At the 2014 Tony Awards, Jennifer Hudson took the stage to perform a song from Finding Neverland, the soon-to-be Broadway show that she was not a cast member of. The show was currently led by Tony nominee Jeremy Jordan - so why didn’t he perform on the Tonys to promote the upcoming show? The song, performed out of context and with a pop star, rather than a Broadway star, left the audience scratching their heads, wondering what exactly was the ploy behind such a nontraditional (and expensive) marketing decision.

That performance set in motion a series of fascinating marketing decisions made by lead producer (and film mega-producer) Harvey Weinstein and his team of co-producers.

Rumors began circulating that an album of pop stars singing the musical’s tracks was happening, and this spring, after the show opened, the tracklist of said album was released, including the names of some of music’s biggest and least-Broadway-associated performers.

12 BLEEP

Christina Aguilera, Kiesza, Ellie Goulding, Goo Goo Dolls, Jennifer Lopez, Pentatonix and John Legend were all listed on tracks.

Broadway purists scoffed at the album, declaring it a desecration of the traditional cast album and a slight to the performers who are on stage 8 times a week. Even knowing the traditional cast album was also on the way for fans who want to hear the cast sing those songs again, why release an album of pop interpretations of songs from a show that had been on Broadway for only a handful of months?

Well it isn’t exactly unprecedented. This isn’t the first time an album has been produced in this manner. Elton John and Tim Rice produced an Aida album in 1999, which was also released ahead of the Original Cast Recording, and featured tracks from the musical sung by stars like Janet Jackson, Spice Girls, Boyz II Men, Tina Turner and John’s hit duet “Written In The Stars” with LeAnn Rimes. Aida went on to run for 1,852 performances and won 4 Tony Awards.

Finding Neverland, was completely shut out

of the Tony nominations this year, however, it has consistently grossed over a million dollars a week, putting it alongside mega-hits like The Lion King, Wicked and The Book of Mormon.

It seems the draw of post-”Glee” Matthew Morrison is a safe bet for families, school groups and tourists looking for a musical this spring.

Morrison has even taken to social media to post videos of entire choir groups singing songs from “Glee” to him at the stage door. And even though he is actually featured on the “concept album” for Finding Neverland alongside the pop stars, one of my Facebook friends noted, “goneare-the-days when cuts from Broadway cast albums end up on the pop charts without being sampled by Gwen Stefani.”

The question I have is: How are these covers of songs any different than Louis Armstrong’s version of “Hello Dolly” or The 5th Dimension’s “Aquarius?” Both of those were number one Billboard hits. For that matter, Barbara Streisand’s cover of “Memory” from Cats is almost more synonymous with the musical than the actual cast recordings of the songs. While it hasn’t been done in a long time, is Weinstein just using a tried and true tactic to get the music from his show in as many people’s ears as he can? After all, Jennifer Lopez superfans might not be the same people who scour Playbill.com looking for the latest info on the newest shows. But now, Finding Neverland is on their radar.

I believe there is such a resistance to the pop culture infiltration of Broadway because the larger conglomerates that have the mega-money to produce huge shows are muscling out the upand-coming playwrights, lyricists and composers. Weinstein himself is said to have told the cast of Neverland that the Tony snubs were not a slight against them, but a slight against him as a mega-producer. Maybe that’s the case, maybe it’s not - but the fact of the matter is, he’s not marketing his show in the way other Broadway shows have been. It’s fair to reason that someone who doesn’t live in New York City would be more likely to know about Finding Neverland than some/most of this season’s Tony nominees, something not lost on Weinstein as the National Tour of Neverland was quickly announced after the show’s opening on Broadway.

The larger question is, what’s most important?

I’d argue that the future of Broadway rests, uncomfortably, in what audiences outside of New York are aware of when they plan their trips to The Big Apple. Why do shows like The Lion King, Wicked and The Book of Mormon consistently perform to capacity crowds? A combination of recognizable characters from stories people know and marketing that extends beyond the five boroughs. Finding Neverland is doing exactly the same thing, except it has even more money backing the show and an army of artists at Weinstein’s beckoned call to record tracks.

I’d argue that while I hope this isn’t setting a precedent that other shows feel they have to finance and mimic, getting the name of a Broadway show in the minds of a younger generation who isn’t watching the Tony Awards and is more infatuated with a Kardashian’s plumped lips or Beiber’s latest dumb move is a good thing. It could be planting a seed that will spur them to see a show they never would have seen otherwise. Ask any Broadway performer and they will be able to tell you what show they saw that changed their life and made them want to pursue the stage as a career. Perhaps, in a very high-financed and nontraditional way, Weinstein is going to do the same thing for the next Chenoweth, Menzel, McDonald or Lupone.

BLEEP 13

Kit Williamson five

questions with

14 BLEEP

Kit Williamson played Ed Gifford on the ground breaking show “Mad Men,” but rather than dwelling on the end of the series, he’s looking ahead to his future that includes marriage to his fiancé John Halbach and the next season of his show, “Eastsiders.”

You’ve worked on stage and on screen. When were you bit by the performing bug?

I started performing early on in my life doing Shakespeare workshops in Mississippi at the New Stage Theater. I knew I wanted to make a life out of it, I just didn’t know what kind of life. I kinda pictured myself doing a little bit of everything. I am fortunate to say, 20 years later, that I have done a little bit of everything.

You’ve had the privilege of being a part of “Mad Men,” a show that will go down as one of television’s best.

It’s been incredible to be a part of a show about history that is now, itself, a part of history. I think people will look back on “Mad Men” as groundbreaking in every way a TV series could be groundbreaking. I’m so proud to be a part of Matt Weiner’s vision and to have had a character that’s seen several years on the show. The part grew from two lines to 10 episodes and has been an incredible gift. When I first was cast in the role, I didn’t know it would recur, but the writers kept bringing me back and I’m grateful for that.

Your show, “Eastsiders” is coming back for a second season.

It’s a dark comedy about a gay couple trying to stay together through infidelity in Silver Lake, Calif. I created it and I write and direct all the episodes. The first two episodes were on YouTube and the response was incredible. We were able to reach our crowdfunding goal in four days for that first season. After the campaign, we were approached by LOGO to air the remainder of the episodes on their digital platform.

Since then, the show has been broadcast on cable channels, the DVDs are out and the first season is coming to Amazon Prime. This last year, we raised $153,000 to shoot a second season which is much more ambitions, produced completely independently, and I’m so excited for people to see it.

You’re engaged - why was it important to you to be so public about it?

Yes I’m engaged to my fiancé John Halbach. I grew up in Mississippi, a state which still has a ban on gay marriage on the books and a state that I don’t believe will ever see gay marriage as being fully legal unless it’s a federal mandate. The homophobia is too deep-seeded in the culture, much like racism is so deep seeded. But beyond the political issue, it felt like the right time in our lives to take that next step and the next chapter in our lives. At a certain point, it felt inaccurate to call the person I’m going to spend the rest of my life with, my boyfriend.

What’s next?

I’m very much looking forward to season two of “Eastsiders.” We are in postproduction and a release date announcement is coming soon. Also, I’m moving into pre-production on my first feature film. It’s about a doctor in the free HIV clinic. A couple comes in and one has stopped his meds and doesn’t have access to drug assistance programs in his state. His HIV has become life threatening because of that.

This is near and dear to my heart and I’m excited to announce as my next project.

People want to put HIV in the past tense and act like there aren’t modern struggles. It’s not as simple as popping a pill - it’s a lifelong struggle.

For more, head over to www.kitwilliamson.com

BLEEP 15

16 BLEEP

TM

BLEEP CREATIVITY. UNCENSORED.

BLEEP 17

Katlyn Carlson has been creating videos for the web for a while, and she’s recently been seen on a series of videos for Glamour.com, but this summer, she’s jumping back into musical theatre with the new show Be More Chill at Two River Theater in New Jersey.

We catch up with the comedienne and talk about the new show and the joy of creating your own content for the web.

How did your web series for Glamour come about?

My involvement with “Why Do Guys...?” was a pretty random leap of faith by the producers.

I didn’t even audition for it. They were putting the show together and needed two outgoing, personable hosts who were comfortable improvising and could be funny and make the material their own. I think they thought I was a stand-up comedian, which I’ve never done, and I’d never hosted anything before either. I have a strong improv background (I trained at the Peoples Improv Theatre, aka The PIT, in NYC & was on a musical improv house team there), and my acting reel is mostly comedic, so I guess they felt comfortable offering me the hosting gig. Fortunately I took to the material easily- it’s fun to spend hours just asking people about their lives and riffing on their responses. And it led to more personality-based comedic work, like the TruTV series “World’s Dumbest.”

You’re very connected to new media, including the “Damn Family” webseries. In your opinion, how has new media opened doors for artists?

Damn Family is my sketch team. My husband and I formed it as a way to write for ourselves and work with people with whom we enjoy collaborating. Initially we mostly did live shows, but lately we’ve been focusing more on video content. We all love performing in front of people but even one sketch video will reach a wider audience than a month of live performances. New media is a great way for

18 BLEEP

artists to experiment with finding their voice and aesthetic, and potentially reach tons of people. Sometimes you make something that can take off in a huge way and turn into something massive. Just look at “Broad City” and the upcoming series “Teachers,” to name a couple. Not every web series or one-off video is going to generate thousands and thousands of views or lead to a successful TV show, but that shouldn’t necessarily be the point. It’s so simple make something and put it out into the world, and that creates a great impetus for artists to write for themselves, make work for themselves, write for their friends, and make work for their friends. As actors, it’s very easy to feel that getting work is out of your hands, and to just sit back and wait for your agent to call. But when there are so many accessible platforms for creating something yourself, there’s no reason not to! I always think it’s a great thing to retain self-actualization as an artist. Work isn’t always going to just land in your lap - go out and make it! Damn Family was recently commissioned by College Humor’s new site CH2 to make a video.

We had a solid body of work and they liked the idea we pitched to them. It was pretty cool to have some money thrown our way to make something, when we’d been producing our own content all along.

How has Be More Chill stretched you as an actress?

Be More Chill is my return to musical theatre after a several year hiatus. I’ve been doing primarily on-camera work for years now, but I always hoped to get back on stage, and I couldn’t have asked for a better way to jump back into it. Working on a new musical is an incredible, challenging, and rewarding process, and it stretches me daily. There are new cuts and new additions to the book almost every day. You really have to do your homework to stay on top of all the (literal and figurative) moving parts. A little thing like taking extra care of my voice is something I haven’t had to think about for a while, so I had to re-learn some of those “musical theatre actor habits” (bring on the Throat Coat!). Also, I’m one of those “actors who can move well,” certainly not a dancer, so the choreography (by the brilliant Chase Brock) is a huge challenge! I think everyone involved in the show was a little intimidated by the choreo, in that it’s more extensive than any of us realized going in, but it’s going to be so fun to watch- and finally nailing a tricky number feels amazing after struggling with it at first! This is an ensemble show, I am a supporting character, and it has been a good exercise in reminding myself that the best choices I can make as an actor are the ones that best serve the story.

What sets this experience apart from other stage pieces you’ve been a part of?

The creative team on this show (in particular, music/lyrics writer Joe Iconis, book writer Joe Trasz, director Stephen Brackett, and the aforementioned choreographer Chase Brock) are so smart, open, generous and patient. They work together and communicate in a really wonderful way, and create such a positive and safe work environment. Stephen said on day one, “The best idea in the room wins.” That’s a super cool and remarkable attitude. It feels like a very special show and very special group of people to be doing it. I consider myself incredibly fortunate to be a part of it. So many times during this process, I haven’t been able to sleep because I’m so excited to get up and go to work the next day! I described it to Stephen as being like weird Christmas, and it’s awesome.

The ensemble for this production is an incredibly stellar lineup. What do you learn from your castmates?

These are some of the funniest, smartest performers I’ve ever worked with. I can see why they all have such amazing credits and careers!

Every single person has had so many moments that have made the entire room convulse with laughter, be it a genius ad lib or brilliant physical choice. Working with people who bring such positive energy and generosity of presence has made this such a uniquely wonderful process.

Everyone is extremely supportive and goes out of their way to tell each other that they’re doing good work. That doesn’t always happen in casts, and it feels pretty great. It’s a contagious energy and it makes long, hard days feel like accomplished days. I hope to bring that positive spirit into every work environment into which I enter.

What’s coming up next for you?

My husband and I are writing partners (he’s an actor as well with a great and growing body of work; I’m so proud of him) and we’re developing a few original comedy series. We’re already in the process of pitching some of them, and it would be a real dream come true to make a living off of something we made ourselves. And if it wasn’t obvious, I’ve definitely been bitten by the theatre bug again, so I hope I have some more stage work in my near future, in addition to the TV/film stuff that I also love.

Be More Chill is running until June 21 so get your tickets at www.tworivertheater.org

BLEEP 19

EMAIL US FOR DETAILS RYAN@BLEEPMAG.COM

20 BLEEP

BLEEP 21

JASON MITCHELL

22 BLEEP

What was the experience of seeing The Red Box produced like?

I had it produced here in New York at 25, and it was lovely workshop production. I’m still very proud of it and it holds a special place in my heart.

I didn’t move here knowing I was going to pursue a career as a playwright, but that experience solidified for me that I loved the experience of creating theatre and then getting to collaborate with directors and actors and give it to an audience.

You continued to write, but you also went from being a waiter to managing restaurants, which then transitioned into event management.

For so long, I used to not honor what I was doing in that part of my life, I felt like it was just means to an end until I was a fulltime writer. Around the time I had my second play produced in New York, The Boys Upstairs in the Fringe festival in 2009, I was running all of the events at the SoHo House in New York. I was learning all sorts of things but I also got to travel and go places I wouldn’t have been able to go otherwise. I began to feel the connectivity between events and theater and why events were the part of hospitality I liked so much.

It’s like you’re putting on productions.

While you were working at SoHo House, you got to facilitate weddings among all of the events that happened, which led to what you do now.

I started doing a little freelance wedding planning on the side and then I, myself, got engaged. It happened around the same time same-sex marriage was legalized in New York.

Being in the events business, everyone was talking about how much money same-sex weddings were going to start bringing in. When I got engaged, I told my fiancé we weren’t going to hire someone to do the wedding since that’s what I was already doing, but I was going to get one of the calendars to help us stay on track. In searching for one, I got really frustrated because everything was for

brides. At the same time, people in events were talking about gay weddings and my fiancé said to me, “Well why don’t you write the book for gay grooms?” That’s where the idea came from.

Timing was on your side. You quickly landed, not only an agent, but a book deal for your wedding guide.

I named it “Getting Groomed” and that process from idea to it hitting the shelves was two years long. I did a lot of surveying of gay men who were engaged or thought they might be one day to find out what their questions and concerns were – what they wanted to know from a book like this – as opposed to one for brides.

Shortly after the book came out, the company I am currently working for came to me and asked me to start their wedding division, so I feel very fortunate. I work on weddings all the time now and I also still get to be a writer. Just this past year, my play The Boys Upstairs opened in London and I got to go and be a playwright once again and realize that it never goes away. I don’t have to just do one thing.

Apart from planning weddings, what’s next on your plate?

I’m working on my next project right now, developing a TV show about a gay wedding planner, because you write about what you know.

After the book came out, I was approached by different reality shows about doing a show about gay weddings. There are so many wedding shows out there, and it’s inevitable that there will be one about gay weddings. But in talking with them about what they are looking for, it’s not really my thing. So I’m working on a scripted series that’s funny but asks important questions to these couples about marriage.

Head to Amazon to pick up your copy of “Getting Groomed.”

BLEEP 23

When Lindsay Katt was 20 years old, she made a conscious choice to pursue music as more than a hobby. After working 3 jobs to put herself through school, she realized she was working hard for something that wasn’t, as she put it, her “heart calling.” We talk with the Katt about the current state of the music industry and creating a filmtrack for her new project.

24 BLEEP

Photography by Christopher Boudewyns BLEEP 25

26 BLEEP

When did you figure out that music was going to be what you would do vocationally?

I began educating myself on the business history of music, and tried to get as much information as possible about the rapidly changing climate. It was not an easy decision for me. Like many young artists, I really felt the pressure to “get a real job” and enjoy the arts as a side hobby. This idea/cliché of the failing “starving artist” is unfortunately one that many of us have burned into our consciousness from a very young age, and is hurting the arts. I really feel we need to give our young artists a supportive and fertile landscape to grow, and develop.

What was the most challenging aspect of being in the music industry at this point in time?

Visibility and exposure. Many artists are stuck in a “chicken/egg” type of situation with their work. They can’t monetize what they are doing until people have exposure to them, and they can’t get exposure to the audience, unless they are already successful. It can be incredibly frustrating. Sometimes it feels like we are all whispering in a very loud room, trying to be heard.

The internet has really made it possible for artist (especially indie artists) to access the market in a way never before possible. It allows us to build these fantastic connections with our audiences, and empowers us to cut out a lot of the middle men who would have previously taken much of our income away.

Unfortunately, the phenomenon of “fan fatigue” can be a very real issue as well. Fans are exhausted from being solicited by artists to hear their work and even committed loyal fans can get worn down by the current crowd sourcing model.

I think our biggest challenges are two simple things: How do we get heard? How do we let people pay for our work?

How has technology directly influenced what you do as a musician?

The internet has really changed the way we operate now as indie musicians. I love how it has bridged the gap between “artist” and “audience.” The “exclusive, untouchable pedestal” attitude for artists, isn’t our only option anymore. We have access to our fans, and they have access to us in a way that wasn’t possible before.

Talking one to one with people on Twitter, Facebook, and other social media outlets really creates a level of intimacy, an exchange that both inspires new art, and helps keep my motivation in focus. It also helps me to keep the perspective that they are people, and not some endless demographic of sales numbers. Connecting to others, and exchanging beauty and ideas is one of the things that drew me

BLEEP 27

28 BLEEP

to the arts in the first place. Technology has made it possible for the audience to participate more in the art. This is an incredible gift.

What do you want to say with your songs?

Each song has its own personality. I really try to speak my truth, and observations, and promote positive ideas. At the end of the day however, I just want each song to be exactly what it should be. If there is an ongoing theme or messaging in my work, it is this. “Be your authentic self.”

What inspires you as an artist?

Everything. Seriously. Dot collecting before dot connecting!

Everything that I am exposed to, or comes into my brain space, gets thrown into the art ingredients pot!

What practical advice do you have for someone wanting to make music in today’s technological/cultural climate?

Step one: Don’t worry about what happens to your work after you do it. “The doing of the thing, IS the thing.” Enjoy it, get lit up by it, chase it, and tackle it to the ground! Care about what you are doing, but do not worry about it. The first half of your job is to make the best work you have in you.

Step two: Try things and fail fast. Figure out what works for you and what doesn’t. People hate talking about this, but figuring out how to make money from the work we do, IS the second half of our job!

Different techniques work for different artists, for different reasons (especially if you are a content creator) and it’s very important to explore the possibilities and stay open. There is no right or wrong way to be in this business. If you are stuck, see what other artists are doing to monetize their work. “Modeling” your attempts on what someone else is doing can be very effective, but it’s also import to move on when something isn’t working for you. This is a morphing and ever changing climate, and we have to learn how to adapt, and change, as our tools and resources do.

What’s next for you?

Right now I am elbow deep in creating a filmtrack for the new unreleased record “The Avant-Gardener” (The concept is a filmtrack for the record, instead of a soundtrack to a movie) It is comprised of 10 Music videos that interlock into a short narrative film. Each video is shot or created in a different style of filmmaking (drawn animation, black and white, cinematic, split screen, etc.) and each video can also stand alone as a watchable “music video.” We have an incredible cast and crew of seasoned professionals, and rouge artists working with us, and their expertise has really taken this project to the next level. I could not be happier, or more excited to share this project with the world.

For more, head over to www.lindsaykattmusic.com

BLEEP 29

30 BLEEP

BLEEP 31

Five 32 BLEEP

eKnives BLEEP 33

34 BLEEP

When you hear a band heralds from Nashville, most would assume country or bluegrass music. That’s not the case for Five Knives. Made up of Anna M’Queen, Nathan Barlowe, Zach Hall & Shane Wise, Five Knives is bringing their brand of genrecrossing pop music to Nashville and beyond. We caught up with Anna M’Queen on the eve of the release of their new album, “Savages.”

To someone who has never heard your music before, how would you describe it?

We are definitely pop and electro mixed with dance music. And we have a punk spirit during our live shows.

Where did “Savages” come from?

Nathan and Zach are the primary song writers, I’ll give ideas from time to time. More than 60 songs were written and we chose the songs that were the most emotional and raw that our audience could connect with.

There are elements of pop, hip-hop, and rock and roll. There’s really something for everyone on it. It’s diverse enough that most people can

find a song they’ll like.

I’m proud of it. The whole album is unapologetic. We are who we are, we’re out of Nashville, we aren’t country, this is who we are.

Speaking of being from Nashville but not being a country band - how has it been trying find footing in that town?

We have all lived in Nashville for a long time.

You know, 5 years ago, there was news of the Nashville rock scene. Before that, it was something else. Now, Nashville is just 100% Music City. Every type of music has a place there from rap to the DJ scene to Americana.

You can find it all.

We are kinda bridging the gap between the rock scene and the DJ scene. It’s exciting to be apart of another genre. We haven’t had trouble selling out our shows in Nashville so the audience is definitely there.

After the album releases, what’s next?

We are performing at a couple summer festivals and doing heavy radio promotion to support the release of the record. This fall we will get busy touring.

For someone who hasn’t heard your music yet, describe who Five Knives is as a band.

An unapologetic and edgy band that’s going to give you your money’s worth every show. We are a pop band with punk elements. That’s who we are inside and out.

For more on Five Knives, head over to www.fiveknivesmusic.com

BLEEP 35

36 BLEEP

Photo by Robbie Jeffers

FLULA BORG TAKES OVER THE BIG SCREEN IN PITCH PERFECT 2

BLEEP 37

Pitch Perfect 2 was one of the most anticipated movies of the summer and it kicked off the summer in grand fashion - making more money in its opening weekend than the first film made in its entire run.

One of the breakout stars of the film became Flula Borg, the German multi-hyphenate who already has thousands of loyal YouTube followers who love his exuberant and energy-packed videos. His role as a leader of Das Sound Machine, the arrogant rival of the Bellas, made him the film’s resident scene stealer (and he got to sing “Poison” which is awesome).

that’s so colossal?

It’s been like going to a restaurant, ordering a hotdog, and being given 5000 hotdogs, a pumpkin pie and a steak. My voice is on the soundtrack and my body is in the movie. I’m pumped.

Had you done much acapella before?

I’d done a lot of beat-boxing in university.

The real training for the movie though was the dancing. The movement had to be like shiny Swiss watches.

As someone who is actively creating new media, what have you found to be a challenge in this new time of digital entertainment?

We are living in a new time. It’s all about content. It’s a buffet now, and people want more, more, more. To stay relevant, you have to always be making new content. Now, I make a new video every week.

You’re a DJ, you’re a musician, you’re an actor - what made you want to add YouTube personality to the list?

It was an accident. A long time ago, I was deported from the US back to Germany, which made me sad. So I wrote a techno song to feel more better. I had many many views and decided I should make more.

As a part of that process, you have been able to collaborate with other YouTube stars like one of our favorites, Miranda Sings. What has that done in terms of helping you create new content?

It’s nice to have someone you can relate to. It’s a strange world when you’re making things like this and it’s nice to have someone you can toss ideas around with and try new things out with for videos.

You start off all of your interviews with a shout of “Boom!” It’s really fun, but why start that way?

I have a problem storing energy in my body, it has to release somehow, so that’s how I start off interviews.

Are you based in L.A. now?

I am back and forth between the States and Germany. I still live in Germany too. I just go where the work is, but I’m a strange person who is weird, so I find more work in the States than other places. I’m more unique, like a flower.

How did you become a part of “Pitch Perfect 2?”

I thought it was a hoax. I got an email through my website asking me to audition for this movie.

I didn’t believe it was real but I went. It was me and a bunch of ladies auditioning and I thought this can’t be real. But they cast me two months later. Actually, they had written the part for a large German woman but after I auditioned, they switched it to a tall German man.

Now that the movie is out, what’s coming up next for you?

I have an album coming out in a few weeks and a bunch of smaller roles in feature films releasing this year. I’m also producing an independent film of my own. I do whatever strange and dope things my brain will allow.

This movie was huge even before it hit the theaters. Then it blew the box office away.

What has it been like to be a part of a film

38 BLEEP

Anything else you’d like to add?

Sometimes is nice to drink sparkling water rather than tap because of the bubbles.

We agree.

BLEEP 39

We were on the scene this year at the 4th annual New York Boylesque Festival, produced by Daniel Nardicio and Jen Gapay. The festival kicked off at Brooklyn’s The Knitting Factory with more than a dozen performers from New York, San Francisco, and Chicago. Then, on Saturday night at B.B. King’s performers from around the world took the stage. The evening was fun, sexy and including world class talent. We caught up with a handful of them after the show.

boyle 40 BLEEP

Photos by Ves Pitts

esque BLEEP 41

What made you initially want to be a part of the burlesque community?

I’ve always sought creative outlet for all my ideas and my personality. I used to just design outfits, show up at parties and steal the spotlight, but there was never really much pay off to that. I had fun and I made some really exciting costumes but they were disposable and I didn’t actually feel like I had the opportunity to express myself in all the ways I wanted. I got involved with the local Edmonton fetish community first and started performing more fetish oriented acts and through that started to meet people in the burlesque community and it all made so much more sense!

What sort of training do you have that prepared you for the spotlight?

I took drama and starred in a few musicals in high school when I was younger but I never really had the urge to act so I never pursued it. Admittedly, I don’t have much formal training but I have a very “DIY” approach to my life and that mirrors in my burlesque career. Anything I want to do, I try to find the resources to teach myself. If I can’t do that, I look for classes or workshops on an as-needed basis. I always try to learn from people who inspire me, not just anyone who knows how to do what I want to be able to do. That applies to costuming as well as the performance side of my burlesque.

50% of my costumes are made by me specifically and the other 50% I have an active role in their design and fabrication. I don’t think it’s necessarily important for everyone to have that approach, but it is a very important aspect for me when I first start realizing new ideas.

When you first started, how long did it take you to put together your act?

It was actually quite easy to start the process as I had all of these ideas and now I finally had an outlet! My first act had a fairly simple costume and I worked with one of my friends to figure out choreography. I was liberated! I performed a couple times as the character I was performing as (the lion tamer, the clown, etc) but while that was happening, I was hard at work researching a name. I wanted something that was true to me only MORE! I wanted something that had a light side and a dark side, something that was short and memorable but also very distinct when you hear it and so Beau Creep was born. I loved that I was able to create a name that parodied a female character (Little Bo Peep) because a significant part of Beau’s persona is very much genderfuck. I’ll never shave, smooth or tuck, but I just can’t stay away from heels, corsets or lingerie and paired with 2 piece suits or traditional male garments... I’m even more likely to rock it! But Beau still remains very much me just a much more dramatic characterization.

How long does that process take now?

Significantly longer. So much more thought goes into the costume and how it will be removed, what

42 BLEEP

innovation I can bring to the act itself, the song choice or creation in some instances, and then the whole start to finish choreographed routine. I still took it seriously when I first started, but now I have the experience and the tools to keep pushing it to that next level. Every time I create a new act, I want it to be more thought out than the last and I want it to reflect my growth.

Give me two examples of two of your very different routines and how they came about.

I love dichotomy! As I said above, Beau is very much a balance of light and dark, hard and soft, funny and serious. The first 2 acts I ever created are still my favorite to perform to this day. They have evolved with me. The songs I’ve used have changed, the choreo, the costumes, the mood but they still remain very true to their original ideas.

The first routine is the one I performed at the NY boylesque festival. For the sake of a title, I have called it ‘clowning around’ but I don’t really like titling my acts. It is very much the light side, it’s not too invasive, it’s quite comical and the way it progresses makes it very relatable. The other act is a genderfuck act (the title is usually whatever song I do the act to as it has changed a couple times) but it is definitely the dark side. It is very in your face and very taboo, it makes you uncomfortable (or more comfortable if that’s your thing) but it is very much meant to trigger a response that my clown act doesn’t. I want it to stir up unfamiliar feelings and make people question their own sexuality. It has a couple light moments so that people can still engage but the overall emotion is sex.

What makes the scene where you perform different from another city?

Edmonton is quite conservative. We have very archaic liquor laws that really regulate what we are able to show in what kinds of places. As a male performer, I face less scrutiny than my female counterparts, but it still makes booking a show quite difficult. I produce a monthly show called “All Tease All Shade: A Queer Cabaret” which showcases burlesque, boylesque and drag and I definitely have to consider the types of performers I book and what they can do, which really sucks sometimes. But we make it work.

What’s next for you?

I’ve recently started the Edmonton branch of Dr. Sketchy and I will continue hosting my monthly event. I will be performing in the first Seattle boylesque festival and I don’t plan on slowing down! I have 3 new act ideas I’m in the process of starting and I have been developing a boylesque workshop curriculum to teach at the Edmonton Burlesque Center. Who knows what other opportunities will come my way! I never want to stop!

BLEEP 43

eau creep

44 BLEEP

mr. gorgeous What made you initially drew you to the burlesque community?

I began performing circus and while working in the circus world, I became involved with burlesque.

Meeting the many personalities of the burlesque world was an exciting bonus. After becoming involved with burlesque, I became aware of the community of artists who make the form what it is today.

What do you do to continue training?

I still perform circus in addition to burlesque. I have a few acrobatic acts with my best girl, Trixie Little. We train as often as possible to keep building our acrobatic vocabulary. Beyond the circus training, I like to stay active but have a hard time spending time in the gym.

Where did your name, Mr. Gorgeous, come from?

My name was given to me by a first grade student.

I was a teacher for a short time, teaching Pre-K through 5th grade art. My last name is Gorsuch and when one of my students called me “Mr. Gorgeous” instead of “Mr. Gorsuch,” the name stuck. So I kept the name and built an enhanced version of myself.

I love comedy and making people laugh so the character is more of a clown inspired character.

Personally, I have a hard time saying an act is complete. So it’s hard to say how long it takes to put an act together. My first few acts were fairly easy to costume but a struggle to create as I was not familiar with my character and how he would react and perform.

How long does that process take now?

The act creation process now takes just as long if not longer. I know who Mr. Gorgeous is now, but creating the props and costuming necessary to pull

off the concepts take many many hours. Some of my more elaborate acts have been built over years of brainstorming, prop fabrication, costuming, music editing, then working and re-working the way the acts reads the way I want it.

What are your biggest challenges as a performer?

The biggest challenge I have had to overcome as a performer is realizing that not everyone will laugh or love what I’m presenting. When I first started performing burlesque, I would look into the audience and check for approval on the faces of everyone watching. While I want them to be excited about what I’m doing, if not, that’s ok! My act will be over in four minutes.

Why do you do what you do?

The community that comes with being a burlesque performer is wonderful, but to be honest, it is not why I became active in the burlesque scene. I perform to entertain. I don’t perform to make myself feel good or to express personal challenges I have in my everyday life. It’s as a privilege to share my comedy with all types of audience members; it’s a show for them, not for me.

My goal as a performer is to invite men and women, gay and straight people, to enjoy my light hearted approach to burlesque. I love seeing all types of audience members laughing and enjoying my antics regardless of age or sexual preference.

What’s next for you?

I plan to continue to expose myself to audiences of all types while developing a body of work that is strip free! I will never stop taking my clothes off but am now planning a body of work that includes more comedy and dialogue. A one man stripping, comedy, circus show!

BLEEP 45

46 BLEEP

BLEEP 47

kirby lebrea What sort of training prepared you for the boylesque spotlight?

[I have] several years of training in dance and theater arts starting from my preteens. I attended the Debbie Allen Dance Academy and have performed in numerous productions, projects and events with the academy throughout and after my attendance.

When you first started, how long did it take you to put together your act?

My first solo act was probably in the works for about two months with the intention of making it a jazzy, group Sailor number. Then, the opportunity came for me to perform a solo Boylesque number in the Burlesque Follies at Skinny’s Lounge in North Hollywood, and in about a week, I re-worked it to be a solo.

How long does that process take now?

Usually the choreography takes me a few hours or at most two days, but sometimes it takes a little longer to figure out my costuming and get it to be character appropriate and performance-ready.

That sometimes can make the process take up to a couple months.

What do you do when you have an audience that isn’t as responsive to what you’re doing?

I have performed in a couple shows where neither I nor the people who hired me knew how the audience would respond to a male burlesque performer. One of the shows was a more urban environment that was moreso there for the female burlesque and pole dancers. When I took the stage, there was dead silence and slack jaw glared staring

48 BLEEP

me down, but that didn’t keep me from dancing and performing full out as I always do!

What is it about the burlesque community that keeps you interested and wanting to be a part?

The community is always so encouraging to all artists who are passionate about their craft. I’m so happy that I was welcomed into the community on such swift wings, to be performing all over Hollywood and to have my passion, craft and professionalism taken seriously in every space I enter to go to work.

What is the burlesque community like in Los Angeles?

The burlesque community in LA, like I said, is extremely welcoming and encouraging to all artists who come in and are serious and passionate about their work. And it’s always inspiring to watch other performers and get a feel for other peoples burlesque personas and their interpretation of certain characters. I would have to say la burlesque shows are always extremely thrilling both for audience members and performers.

What’s next for you?

I am frequently performing boylesque all over the Hollywood and Los Angeles area as well as choreographing group numbers and for other burlesque artists in several shows including Monday Night Tease, The Hollywood Jane Revue and Brolesque Bingo. I hope to continue performing consistently and to really make a big splash in the burlesque world…a splash so big that every single person will have to see it to believe it.

BLEEP 49

50 BLEEP

What initially drew you to the burlesque community?

I stumbled across a pop-up burlesque show during an art-walk in Seattle in the winter of 2008. I was completely struck by an art-form that seemed to be a perfectly proportioned concoction of physical theater, comedy, and the celebration of the body. I had never seen eroticism presented in such an entertaining and non-taboo way. I decide that it absolutely had to be part of my life somehow.

When you first started, how long did it take you to put together your act? Where did your name and persona come from?

I created my first act in about six weeks, but the pieces had been germinating in my head for a while.

I chose the “Pariah” portion of my name because until becoming part of the burlesque and cabaret community, I had never felt like I belonged to any social group, click, or faction.

As I introduced myself to people as just “Pariah,” no one thought the name fit at all.

This is when I added the “Luminous” portion.

Effervescent, emitting light, and enlightened seem to be much better descriptors for me. I kept the two names together as a reminder that just because someone is outcast from a certain social group doesn’t mean that this individual isn’t the one that’s doing things right.

How long does that process take now?

My process for creating an act takes anywhere from a few weeks to six months. It’s difficult to tell; inspiration, story lines, costume creation, and choreography all happen at different times.

For instance, I might have a song that I’d love to dance to in mind for years but no story. Or I might have an extremely vivid costume concept with no movement quality or choreography in mind. The magic happens when all of those sources merge together. When inspiration strikes like that I cancel all of my social engagements for a month and stay up day and night working like a madman.

What have you had to overcome as a performer? Have you faced adversity?

As a performer I’ve had to overcome some

body image issues. There seems to be a popular opinion that says “unless someone is morbidly obese, they are not allowed to have body image issues.” This completely neglects the fact that body dysmorphia is a very real thing, and more people than we know experience it.

I’ve faced some adversity in the gay community because I’m more of a gender-bent performer rather than a macho go-go boy or a drag queen, but rather something in the middle.

Most of the adversity I have experienced comes from wearing my face outside of the theater or club. Ignorant people on the street (or sometimes in the venue) who cannot fathom why I look the way I do.

What is it about the burlesque community that keeps you interested and wanting to be a part?

I love being part of the burlesque community because it’s such a progressive one. We’re supportive of everyone everywhere on the gender spectrum, sexuality continuum, socioeconomic “status,” and ethnic and racial heritage.

What we do is about lightening people’s hearts with entertainment, celebrating our bodies, and making statements. We have the opportunity to make art accessible, interesting, and engaging through entertainment. I love knowing that with each performance I’m paving the way a little more for folks who don’t want to be stuck with binary labels or be put into boxes.

What is the burlesque community like? How was your welcome into it?

I was welcomed to the burlesque community with suspiciously open arms. I couldn’t believe that everyone I met was so nice and willing to share their knowledge and help me along. But they were/are! I was coached through learning how to perform, build a small business as a performer and producer. This community is the most supportive one I’ve met. I’ve crashed on would-be-strangers’ couches all over the world and met such kind people. A few folks have actually given me their own bed so that I could be rested for shows. Not only is it a professional community, but it’s a community of friends as well. When my best friend died at a young age a few years ago, the burlesque community helped me through it.

luminous pariah

What’s next for you?

I’m creating a line of avantgarde costumes for a solo music video shoot with Witty Pixel. I’ll be part of the Boylesque Festival in Seattle this spring. Then I’ll head to Alaska for my troupe’s, Mod Carousel, tour to Alaska. In the fall, I’ll head to Iceland and the mainland of Europe for more performances.

BLEEP 51

52 BLEEP

BLEEP 53

54 BLEEP

eat eat my my believe believe Photos by Steeve Leblanc & Michel Jutras

When you can’t find the clothes and accessories you want, why not make them yourself? That’s what Jean-Sebastien Legault thought and a year ago, he began creating his own line. We caught up with the Canadian designer about jewelry, the Montreal fashion scene and the struggle of being an emerging designer.

When did you see clothing as something someone designed, rather than just what you wear?

In my childhood, I saw what was on runways and TV shows and started making my own clothing with old fabric or t-shirts from my parents. The first time I made any jewelry was when I was 15 years old and discovered the rave universe. It had a lot of colors and textures - everybody expressed themselves with strange and colorful necklaces, bracelets and eccentric clothing. I started to make necklaces at home with Lego blocks, Hot Wheels cars, plush toys and neon colored beads.

When did you begin making jewelry and what spurred you to start your own company?

The idea to create my own brand came after so much time spent looking for something and never finding it.

“So why don’t I make what I looking for, and share it?”

If I’m looking for something, I’m sure somebody else is looking for it to. But the thing that made me really want to start my business was when I was in India in the spring of 2014. After a long trip of two and a half years around the world, I was at a point of “what I’m gonna

BLEEP 55

do with my life?” So I looked back in my past and realized I hadn’t been in the arts for a long time. My idea of create my own style of clothing came to me, I started drawing and a lot of ideas, logos and jewelry designs. When I got back to Montreal, I started to create.

You use a lot of strong imagery in your designs: aliens, dinosaurs, Egyptian art. What draws you to this type of imagery?

I take all my designs and use ancient symbols from a mix of my childhood and things I’ve seen during my trip around the world (but more From Asia, India and Egypt) as well as my interest of the paranormal and the unexplainable.

What inspires you when you’re working on your clothing/jewelry?

What inspires me is in the street. I like to analyze the style of people. I use a mix of the street wear around the world: punk style, gothic style, skate style, sportswear, hip hop and classic wears.

What is the fashion scene in Montreal like?

What excites you about it?

In the fashion industry in Montreal, it is becoming more and more difficult to make money from [designing] because a lot of designers are here and a many are very good.

The industry is very hard to break into and become famous, but this is not my goal. My goal is to offer something a bit different from the rest, offer good quality and offer custom pieces to people who like to be different. That is what

56 BLEEP

excites me more.

As someone who is an emerging designer in fashion, what obstacles have you faced? How have you carved a path for yourself in the industry?

I started this project a year ago without any idea of what going to happen. I started this alone and the most difficult part was to find all the things I need to create my designs without having studied this. [I did] a lot of research, worked hard to finance my line. I’m really happy with what I’ve done up to now. I have 2 employees, a production in progress and in June will be the real launch of my brand, E.M.B. I’m very excited to show my vision of style - all made in Montreal.

What’s next for you?

Little by little, people are starting to know my name, but this is just the beginning of a long [journey] for me. My online shop will be upgraded soon for a better customer experience and the E.M.B. project will be worldwide. Next year, I will be in Melbourne to make known Quebec designs in Australia and after that, a trip in Europe to do the same.

Where can we find out more?

You can see and buy my work at www.eatmybelieve.com and on Instagram at @EAT_MY_BELIEVE. Soon, the boutiques who sell E.M.B. jewelry and clothing will be shown on the website or you can come to the Black Eagle in Montreal where I work the weekend.

BLEEP 57

58 BLEEP

BLEEP 59

60 BLEEP

BLEEP 61

62 BLEEP

TM

BLEEP CREATIVITY. UNCENSORED.

BLEEP 63

TM

P E E L B

CREATIVITY. UNCENSORED.

WWW.BLEEPMAG.COM

64 BLEEP