AMPLIFYING THE VOICE AND VISION OF YOUNG PHILLY
ISSUE 4 MARCH 2013
CRED PHILLY IS PART OF THE CREATIVE APPRENTICESHIP PROGRAM AT THE
VILLAGE OF ARTS AND HUMANITIES Thank you to all the young artists, journalists and entrepreneurs who help create this magazine. Keep being creative. Keep making stuff. This magazine is for you. To submit your work to CRED Philly: Issue 5, visit credphilly.com. To subscribe or send a gift subscription email: cred@villagearts.org
CHECK OUT The Village’s Summer 2013 Youth Arts Camp at: villagearts.org
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CREDPHILLY
THE OLD(ER) STAFF
SPECIAL THANKS TO
CRED is a tri-annual arts and culture publication dedicated to amplifying the voice and vision of Philadelphia’s young artists, writers, performers, activists and entrepreneurs. The contents of CRED are created, submitted and curated by individuals ages 25 and under who live in the Philadelphia region.
Chief Editor and Creative Director CRED Executive Director The Village of Arts and Humanities Aviva Kapust
Fresh Artists
THE YOUNG(ER) STAFF Managing Editor Heather Jones Lead Designers Gina Swindler Rebecca Blessing Designers Mason Tuite Camille Ferruzzi
PARTNERING ORGANIZATIONS The Mixtape contains written and photographic contributions from: Junior Music Executives Monologue contributions are curated by Philadelphia Young Playwrights
Mural Arts Kicks USA Tune Up Philly! Resource Exchange Bus Stop Philadelphia Sculpture Gym The Art Blog Philly DoGooder Awards JJ Tiziou Photography Haverford College Silicon Gallery Fine Art Prints J2 Design Partnership Tattooed Mom Philadelphia Young Playwrights
COVER ART Miguel Co, 24 I’m Batman! Graphite and Digital
CREDPHILLY IS FUNDED BY The Village of Arts and Humanities The Knight Foundation Donor-Advised Fund Philadelphia Cultural Fund Youth Arts Enrichment Impact100 Philadelphia
SUBMISSIONS credphilly.com
CONTACT CRED CRED is based at The Village of Arts and Humanities: 2506 N. Alder Street Philadelphia, PA 19133 215.225.7830 x206 cred@villagearts.org
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STREET CRED
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THE MIXTAPE
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THE PORTFOLIO
08 12 14 16 18 20 21
24 26 28 29 30 31
PHILLY PHOTOGS FARM FOOD FRESH START PAINTED LADIES MR. FROSTY CENTER STAGE CRED ED
CODY WISE JUNE DIVIDED TYE JAMES CAZZIE JETSON GIRLS ROCK MAKE MUSIC
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STREET CRED
Street CRED is young Philly’s unique perspective on the people, places and local businesses that nourish our neighborhoods. This issue profiles some of Philly’s most dynamic, up-and-coming artists, athletes, entrepreneurs, activists and performers.
Photos by Paul Overstrom, 24; Breanne Furlong, 23
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BREANNE FURLONG, 23 By Nicole Saltzer, 21 You’ll meet Breanne Furlong’s camera before you meet Breanne; her lens inches away from your brunch order, your bare feet, or the dog-eared book in your back pocket. The shutter-click is her handshake… the beginning of a relationship. And though your eggs are cold, your toe polish is chipped, and you wish you were further into the book, Breanne strives to preserve these bits of life with the sentimentality people reserve for their childhood blanket or Grandmother’s handkerchief.
THE BEGINNING Growing up I would get into an art form—cartooning, jazz dance, cake decorating—and I would do it obsessively to see if I could be good at it. When I was 13, I got my first camera. That was the first obsession that stuck. I was fortunate to have an amazing photography program at my high school, so the possibilities to keep learning and growing were endless.
LIFE SCHOOL The bulk of my photography education came from high school and I’m still in touch with my teacher from there. I went to U. Arts for two years but it wasn’t a good fit for me. The foundations program—a lot of painting and drawing—took up too much of my time and money. Days, even weeks would go by before I would take a photograph. Photography is my escape. It’s therapy for me, and without it I feel kind of lost. I think that formal photography education can be useful, especially when it comes to the technical aspects but I learn mostly from trial and error. It works for me but it’s a lot harder.
WHO MATTERS It means a lot to me when photographers that I respect compliment my work. I feel like they are considering both the aesthetics and the craft. But truly, I care most about what people who don’t necessarily consider themselves artists think. If the average person can connect to my photography, relate to the moment or mood I’m trying to capture, then I feel successful. They are my clients. My subjects are my clients.
50MM OR NOTHING AT ALL I keep my camera on me at all times and photograph my life as it is happening. I only use a 50mm lens because it mimics the human eye allowing me to see things the way they are actually seen—so if the subject looks close in the resulting photo, I was close to it. That creates a natural intimacy that I think can be felt in the photograph itself.
BEER CANS AND CHEESEBURGERS I’m really sentimental. The little things, like my friends’ shoes strewn on a rock while we’re hanging out at the river, beer cans and wine glasses left on the table after a party—even someone holding the door open for a stranger—those little things make my day…my life. I try to capture them and hope that when people see the images, there will be something about the natural light or the moment that will make them reminisce. Maybe it will make their day a little better too. Contact: breannefurlong.com
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RYAN POWELL, 24 With no camera in hand, Ryan Powell is soft spoken and modest. With a camera, any camera, he transforms into a confident young artist whose professionalism and attention to craft is more characteristic of photographers twice his age. CRED caught up with Ryan as he prepared to shoot Philadelphia Fashion Week.
FIRST PHOTOS The summer before my first year of college was the most boring summer of my life. I found myself looking for something— anything to do and found an old camera lying around the house. It happened to be sitting on a gardening magazine that had beautiful closeup photos of flowers in full bloom. I was taken back by the amount of detail in the photos and decided to go out and try to mimic what I saw. From then on I started carrying the camera around with me everywhere and what started as a really boring summer became one of the most important summers of my life.
CONTROL Photography is the one thing in my life I feel like I have total control over. I get to manipulate the scene, the subject—even the light, and tell a story in one shot.
FASHION I gravitated towards fashion because of all of the elements involved. The model, the designer, the garments and the scene. I get to put them all together to create something beautiful and exciting. I like being a part of a team and with fashion, you have stylists, models, and designers all collaborating to make something new happen.
THE RUNWAY Shooting runway shows can be kind of chaotic. There are a lot of people competing for the best shot or best location. But I think that the best shot comes from having a different perspective not being right in front—and it definitely doesn’t come from being competitive. I like to position myself off to the side of the runway so that my shots seem more spontaneous and candid. I put on my headphones, zone out, and just focus on the runway.
THE STREET I feel like street photography helps me find honest ideas and concepts for my staged shoots. I don’t have a studio and, though that does have its downfalls, it forces me to explore settings out in the world. I think that, in Philly, where fashion is truly born from the streets and the culture, it’s important to immerse yourself in what’s going on in the real world. Contact: facebook.com/friedgold9
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ANDRE RUCKER, 24 I met up with Andre Rucker in a dimly lit, chaotic Northern Liberties hotspot—a scene far removed from the bright, hyper-real, theatrical scenes he carefully constructs and photographs. I expected to meet a photographer; I had the great pleasure of meeting a skateboarding, puppeteering, cartoonist, techy-guy whose photography reveals his passion for fantasy worlds that depict the impossible.
FIRST PHOTOGRAPH My parents had a point and shoot. To me, it had the same mystique as all of the things you’re not supposed to touch when you’re six—you can’t help but be curious about them. I snuck it off the table and snapped a photo of my mom standing at the stove. I stood there waiting for her to get mad, she didn’t, so I took off and shot a photo of my bear, “Mr. Bear” slouched over on a white Lazyboy. I blew through the role of film in, like, one minute and begged my mom to take me to Walmart and print. I was totally hooked.
AWESOMELY BAD PHOTOS I love playing with really bad digital cameras like the Game Boy camera from 1998. When it came out, I bought one will all of my birthday money (like 30-some bucks). No matter what you do, the photos look horrible—really pixelated. If it’s too bright or too dark the camera barely works, I love the challenge and the result you get from it is really warped and unexpected.
BEST OF ALL WORLDS When it came time to decide what I wanted to study in college, I knew I would be miserable if I didn’t focus on something creative. When I was little I wanted to be a puppeteer, a clown, a magician and a cartoonist. I feel like as a photographer I get to be all of those things at once. When I’m in the studio, it’s ok for me to toss feathers around and throw water on people. It’s kind of the perfect mash-up of all my immaturity.
FANTASY For me, the photo studio is a stage where I can create whatever crazy dream or nightmare I want. I start out by making my ideas as ridiculous as I can and then I edit them down based on what I can actually achieve. There are some ideas that I just can’t execute based on access to resources or money… yet. One day I will. I think that creating fantasy can be more genuine than capturing reality. I’m not trying to claim that something is real or that I’m accurately depicting the essence of the scene with my photographs. Contact: andrerucker.com
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Photos by Paul Overstrom, 24 and Kris Pepper, 23
IT’S EASIER TO GET A TOMATO FROM THE OTHER SIDE OF THE WORLD THAN IT IS FROM FIFTY MILES AWAY FROM HERE.
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NEW TRUCK FARM TRUCK PHILLY: LOCALLY SOURCED FOOD, INSPIRING ART, AND A FRESH LUNCH
IN TOWN
By Emily E. Steck, 20 Chris Pepper and Elliot Coven may be the only 23-year-olds excited to hit the supermarket at 7 a.m. They are recent grads from Philadelphia University, where they majored in Industrial Design and bonded over a love of food. Despite their lack of formal food or business training, their next step after graduation was obvious: open a farm-fresh food truck. As self-described ‘food activists,’ their mission is to provide Philly’s inner-city residents with healthy, reasonably priced and locally grown food. They spend most of their time and energy sourcing local food through farmers markets, networking and Common Market, an organization dedicated to helping businesses connect with local farms. “It’s easier to get a tomato from the other side of the world than it is from fifty miles from here,” Coven explains. “It’s a little messed up since we live in a state surrounded by farms. You’d be surprised how hard and how expensive it is just to do that.” As new members of the Philadelphia Mobile Food Association (PMFA), they are able to network with other Philly food truck owners. Even though they compete, PMFA members spread the word about event opportunities, help each other navigate the truck parking laws and even trade food. “If one of us does well, we all benefit” says Pepper. “You’re more likely to eat at a food truck when there are many options parked on the street rather than just one truck.”
When parked next to other trucks, Farm Truck Philly stands out with its energetic blend of art and design. Coven and Pepper acquired a former electric company truck and collaborated with artist Gabe Felice to design the exterior. They built the back lift out of plywood, adding a wooden bumper to the front to complete the look. They’ll use the lift for a farmer’s market during the summer months and for an art show during the winter, when local food is harder to come by. In school, they learned the importance of branding and networking. “I wouldn’t be doing what I’m doing now had I not gone to school,” says Pepper. “The idea is to make an experience, not just a place to eat.” The guys are focused on their mission, even if it means they are involved in the less-appealing side of the business. Some mornings, they wake up at 5:30 a.m. just to get a parking spot and they pack up after 7 p.m. “We’d rather be doing what we love rather than just working a job that pays the bills,” Coven explains. “It’d be nice to make money at some point but, for now, we’re focused on building customer satisfaction,” adds Pepper. “At the end of the day, the work itself is not at all glamorous,” says Coven. “It’s not like what you see on those television shows like Food Truck Racing.” “Someone else does their dishes,” laughs Pepper. Follow the Farm Truck on Facebook and Twitter @farmtruckphilly
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GOOD AT LYFE TOMMY LYON STEPS UP HIS GAME ONE CHALLENGE AT A TIME
Photos by Ashley Smith, 23
By Leon Sanford, 21 and Heather Jones, 22 Tommy Lyon, 23, was never the best player on his high school football team. He never played championship soccer or bench-pressed a halfton. What Tommy has done, most folks would never even consider trying. Tommy dangles without a rope from the sides of cliffs. Scaling his way up the rocky surface. He’s been free climbing for just about a year using a huge reservoir of courage, two sturdy hands and one titanium leg. When Tommy and his Harley Davidson were found on the back roads of Chester County in 2001, his fractured neck, two broken ribs, ruptured organs and barely recognizable lower left leg, stacked the odds against him. “I remember that ‘oh shit’ feeling where I wasn’t in control,” Tommy recalls. “I woke up with my leg pinned between my bike and a tree. The left side of my body was crushed and my bones felt liquefied. I was bleeding out. I should be dead.”
I SHOULD BE
DEAD
Tommy was told repeatedly how lucky he was to be alive. After a month of recovering from the life-threatening injuries, his leg was the doctor’s next major concern. Tommy was worn down and was anxious to leave his hospital bed. He had already made up his mind that the pain he was enduring was enough; he was ready to have his leg amputated. “I was very involved with my healthcare—I took notes and calculated each decision, step by step,” Tommy explains. “I thought what was going on with my body was fascinating. When they told me to consider prosthetics I thought it was a pretty cool option.” In just two weeks, Tommy was up and walking without his lower leg. His positive attitude and loving support system kept him motivated through physical therapy.
“Everything about prosthetics interests me,” Tommy said enthused. “Not only am I working with my hands and figuring out how things work, I represent a tightly knit community. I understand how important an eighth of an inch in a device is to someone who relies on it to walk.” Since his accident, Tommy hasn’t found a challenge he can’t overcome—kicking his pain meds, biking the 65 mile Tour De Shore and doing 180s midair on his snowboard were just the beginning for him. After trying free climbing, Tommy admits he was instantly hooked to keep the challenges coming his way. “The best feeling is when you’re up there and can hear people whisper, ‘that’s awesome,” Tommy confesses. “I almost feel like I’m cheating. I get all this free motivation and love!” Today, Tommy has begun climbing with some of the worlds’ best para-climbers—from athletes with full leg amputations to those who are visually impaired. He’s even been invited to climb with 2011 World Cup Entrant, Ronnie Dixon, in Colorado. “I know it is a little cliché, but I feel like my accident was a blessing in disguise,” he admits. “I’ve rediscovered sports. I have a job I love. And I like to talk and brag but now I have an excuse to do all of that!” Tommy plans to help create adaptive climbing clinics and programs closer to his home in North Philadelphia where he can help others stay active and positive. Tommy offers his best advice: “Find love—love in the sense that the world wants to see you do well. Look at everything as an opportunity and LIVE! It’s gonna be an awesome ride if you do.”
His physical therapist was so inspired by his positivity and forward thinking that she recommended him for a job at Ultraflex, a manufacturer of orthotics and prosthetics.
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Photos courtesy of Marah Carpenter, 23
FINE LINES
Q+A WITH PHILLY FASHION DESIGNER, ARTIST MARAH CARPENTER
By Camille Sassano, 22 While most fashion designers seek runway models whose bodies complement their designs, 23-year-old Marah Carpenter’s Best in Show collection, “LINE, SHAPE, COLOR”, conceals the model’s true shape and superimposes the designer’s interpretation of the human figure. Marah treats the model’s figure as a canvas and the runway as a gallery.
WHEN DID YOU START DESIGNING? Art has always been in my life; my mom is an artist. When I was young, I’d look at magazines and draw what I saw. I wanted a way to get my thoughts out on paper. When I began making my own designs, my mom suggested I take a few summer classes in fine art. I didn’t actually learn how to sew until about 4 years ago.
HOW IMPORTANT IS IT TO STUDY FASHION’S HISTORY? It’s the essence of how you begin designing. A lot of designers cannot understand why their work isn’t being seen—they don’t realize their work is basically a recreation of something someone else has already done, and done better. You have to know your history so that you can manipulate it creatively.
TELL US ABOUT “LINE, SHAPE, COLOR.” I was really inspired by the painter Egon Schiele and the way he elongated and manipulated the female body in his drawings. He put all his focus into illustrating the face and leaving the garments as blocks of color. The essence of “Line, Shape, Color” is transforming my drawing and painting into three-dimensional living, moving
sculptures. The garments were fit in basic geometric shapes so that they hide and manipulate the body. Contrary to instinct, they have to fit like a glove.
WHAT WAS YOUR PROCESS? I constructed all the garments first, knowing that there are always little things you don’t account for in fabric, it wouldn’t be good to paint on it first and then find out that everything shifted. The actual painting happened in the last six weeks. I essentially had to fit the free-flowing nature of the fine art process into fashion design, which is very structured. It was certainly a mind trick. HOW WAS THE RESPONSE? I couldn’t hear much from backstage but I did win Best in Show!
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I thought it could go either way. There were families with kids and a huge mix of people in the audience and I thought, “Oh god, this could go horribly wrong. I could get booed off stage because they are going to think this is grotesque.” But it went well. I think people responded well to it because it’s something different.
an exact formula. Sometimes you need to get really anxious, stay up until 2 a.m. and throw yourself in 100 directions. Don’t let pride stop you. Don’t be ashamed of where you have to work to support yourself. Get ready to embrace your mistakes because, most times, they will be your most beautiful successes.
HOW ACCESSIBLE IS PHILADELPHIA TO EMERGING FASHION DESIGNERS? If you market yourself the
Contact: cargocollective.com/marahcarpenter
right way and present your design the right way, it doesn’t matter what or where the current scene is. If you really put yourself out there, people pay attention and show up. You just have to get out there and create your own thing.
YOUR ADVICE FOR NEW DESIGNERS? There’s never 17
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SFROSTY PROMOTING PHILLY’S FINEST YOUNG ARTISTS SINCE 2005 By Lissa Alicia, 22 It often takes the talent and hard work of multiple people to successfully host and plan an event—but when you drop Paul “S.Frosty” Jackson a line, you get the whole deal. Paul is his own promoter, planner, producer, host and networking machine all wrapped up into one.
WHAT’S THE STORY BEHIND THE NAME “S.FROSTY?” I came in from recess one day, and I had ice cream on my hand. One of my classmates started calling me “Mr. Frosty.” The name followed me all the way to high school where, in Spanish class, the kids called me “Señor Frosty.” That nickname REALLY stuck. Around that
NEVER EVER PUT YOUR CREATIVITY—YOUR REALNESS, YOUR ARTWORK, YOUR EXPRESSION—BELOW ANYTHING. same time I started doing spoken word, DJing and party hosting. I wanted to sound more ‘smooth and mature’ so I used that name.
WHAT DO YOU CONSIDER YOUR JOB TO BE? I think of myself as a social entrepreneur who’s mainly focused on artistic event creation. I plan, produce, host, promote, and network for a variety of special events and projects. My passion lies in creating events that support youth, community arts and indie entertainment in Philly. I also manage the hip-hop collective called Sela and freelance as an event audio-visual technician.
Photos by Ashley Smith, 23
HOW DID YOU GET YOUR START? After taking part in the Philly Youth Poetry Movement events at The Rotunda, I started vending candy and snacks at their shows. Having become ‘the candy guy,’ I was exposed to more and more creative events. I got the opportunity to host some of the youth poetry shows and started coming up with some of my own ideas. I got really excited about the possibilities of collaborating and sharing resources for the greater good.
WHAT PROCESS DO YOU USE TO PLAN AN EVENT? I always try to find a solid, original concept—a hook. There is a lot of creativity at play, like arranging the atmosphere of an event; the lighting, the soundscape; how people will feel when they walk in. I try to put myself in the position of the attendees and then work to bring that imagined experience to life.
WHAT CHALLENGES DO YOU FACE? Every event comes with its own challenge. I have to balance my priorities and schedule with the priorities and schedules of many other people involved: the venue staff, internal team, artists, promoters and supporters. The summer is always a busy time for events and, honestly, the weather can throw a wrench in even the most perfectly planned event. HOW DO YOU STAY FOCUSED? Besides a genuine love for creativity in people, I believe that the evolution and support of arts and culture is imperative to creating revolution in society. I feel as though my purpose is to keep creatives on stages and to keep their artwork and creativity at the forefront of people’s minds. WHAT’S GOING ON NOW? Right now, I’m cocreating an event series called “The META: Creative Homely Gatherings.” The last Sunday of every month we get folks from all backgrounds to come together for a themed event that includes music, visual art, roundtable discussions and networking. WHAT ADVICE WOULD YOU GIVE TO SOMEONE WHO IS LOOKING TO GET INTO EVENT PLANNING? Rob a bank first and have your money right… [Laughter]. I’d say that no matter what anyone says, never ever put your creativity—your realness, your artwork, your expression—below anything. Have that pull you forward. Organize it and follow it. Don’t chase money or status. Contact: facebook.com/SFrosty
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CENTER STAGE PLAYWRIGHTS IN THE SPOTLIGHT By Heather Jones, 22 “You don’t have to write like Shakespeare to be a playwright. If you write what’s true to you, it will always speak to the people.” Jay Gilman, 25-year old Education and Programs Assistant at Philadelphia Young Playwrights, introduces CRED to three young writers from different backgrounds who share one common goal: to use theatre to reflect on the human condition, challenging audiences to reconsider their perceptions of youth.
on a line than I intended, it turns out better than I imagined.
[LIGHTS UP. ENTER, STAGE LEFT: THIEN TO, 21; JOSH LYNCH, 20; AND CAITLIN CIERI, 22]
JOSH: They feed off each other. When I’m writing, I know what type of lines I like to read and how I like to read them. I love when lines have a rhythm to them.
HOW WERE YOU INTRODUCED INTO THEATRE? THIEN: When I was 11, I read a book about a girl who wanted to be an actress; I fell in love with the idea of theatre. I moved to the US from Vietnam three years ago with my father. At South Philly High, there was tension and fighting between ethnic groups. I was lucky to get involved in a school theatre production that addressed those issues head on. It helped heal us. I’ve been playwriting ever since. JOSH: I knew nothing about theatre until high school, senior year. I took a drama class because I want to be a professional wrestler— WWF style. I thought it would help with my mic skills. I saw my first play with the class: it had rapping, R&B and dancing. That play changed my perception of what theatre could be. CAITLIN: I grew up seeing plays but didn’t know much about playwriting. I wrote my first play, Cool Cats and Chocolate Mice, in middle school. No one in my class could relate to the humor. When PYP picked it for their Saturday Series, the actors were able to make me laugh at my own lines and surprise me with my own plot twists—right then, I fell in love with playwriting.
WHAT’S IT LIKE WHEN OTHER ACTORS AND DIRECTORS INTERPRET YOUR STORIES? CAITLIN: I feel really honored when anyone wants to perform my plays. It amazes me to see the different ways they can be interpreted. Sometimes, when an actor puts more emphasis
THIEN: When I write I picture how people will react. Even if the actor doesn’t perform a line the way I imagined, if they get the reaction I hoped for, I’m really happy. It’s interesting to watch actors in the roles I write because each part has a hint of me or someone close to me.
HOW DOES BEING AN ACTOR INFORM THE WAY YOU WRITE?
HOW DOES PHILLY THEATRE COMPARE TO VIETNAM THEATRE? THIEN: In Vietnam, theatre is about looking good, getting the job done and getting paid. Philly actors are so focused and in love with what they do. Big roles or small, they give everything. Also, the way Vietnamese theatre treats nudity is different: they use it for attention, not art. Here, everything is done for art, not ticket sales or shock value.
WHERE WILL WE FIND YOU IN FIVE YEARS? JOSH: In five years, I see myself acting and also being a professional wrestler. I’d also like to have my own theatre. Right now, I’m finishing a degree in business at Community College so I can work towards financing those dreams. CAITLIN: I’ll be in graduate school for writing while helping other young people experience theatre through playwriting. I’d like to introduce radio theatre to young people and have some of my radio plays performed on air. THIEN: I’m struggling to find what I really want. I love theatre and fashion design, which I currently study in school. But I love math too! Right now, I’m trying to find my path. I think if I just keep writing about my life with honesty, I will find what I truly want to do. Contact: phillyyoungplaywrights.org Photos by Ryan Powell, 24
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WORKSHOPS AND COURSES FOR YOUNG PHILLY
MAKE YOUR MAGAZINE WHAT – A fast paced, action packed one day workshop where young people work together to produce their own magazine. What’s included? 8.5 hours of team work, a lot of fun and a guaranteed great final product that shows what young Philly is made of.
WHEN – ongoing WHO – schools, organizations, after-school/weekend youth programs, home-school programs
CONTACT– cred@villagearts.org
ARTS COLLAB WHAT – Need a little help coordinating an art program for your students? Let us do the leg work and bring art courses to you. CRED, The Village of Arts and Humanities, and PhillyEarth offer ‘traveling’ art courses taught by professional local artists who have perfected their courses at The Village. Chose from photography, fashion design, mixed media arts, African dance, vocal performance, animation, hip-hop dance, clay arts and Philly Earth’s environmental sustainability workshops.
WHEN – ongoing WHO – schools, organizations, after-school/weekend youth programs, home-school programs
CONTACT – aviva@villagearts.org
WRITING FOR ENTERTAINMENT WHAT – So you want to be a writer, a journalist… maybe a blogger? Let CRED and Junior Music Executives help give your career a jump start. This free, 3-part workshop series will show you how the pros do it and help you put together a few professional pieces of your own. Part I: The Live Interview Watch a professional writer interview an emerging hiphop artist. Learn how to turn a conversation or interview into a compelling story. Get one-on-one mentoring on your own story idea.
WHEN – April 6, 13, and 20 WHERE – info at: credmagazine-philly.com WHO – Philly residents, 25 + under COST – Free REGISTER – credmagazine-philly.com
Part II: Album Review Artfully analyze anything, including an album you don’t like. Being colorful and critical are essential to writing a great album review. You’ll receive an advance copy of a new album and bring your 250-word or less review for constructive feedback from the best in the biz. Part III: Covering The Show Just attended the best show ever. How do you convey the energy and experience with words? Check out a private, live mini concert by (well, it’s a secret... you’ll have to sign up to find out.) Then write about it.
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THE MIXTAPE
Philly’s got no shortage of young and talented musicians. And with the help of Philly’s Junior Music Executives, CRED created a spot just for them. So read on, listen up and keep it loud—it’s time to show Philly’s young musicians some love.
Photo courtesy of D. McDowell
SEVEN TEEN YEARS WISE By Hassan Johnson, 18 Cody Wise—singer, writer, performer, dancer and actor—has the triple-threat formula perfected. The 17-year-old Philly native has been at it since he was still in diapers.
WHAT IS YOUR EARLIEST MEMORY OF PERFORMING? My parents tell me that I have always been singing and dancing. I started taking dance lessons when I was about 3 years old. I remember singing “America the Beautiful” at the Kimmel Center when I was in kindergarten.
DO YOU HAVE A MUSICAL FAMILY? My Mother is a singer. My parents exposed me to all types of music at home. At the Philadelphia Performing Arts Charter School, I started playing violin and studying music theory in kindergarten. So by the time I was in 4th grade, I was able to read music and sight sing. There were different instruments around our house. Now, I play bass and piano.
WHAT ARE YOUR MUSICAL INFLUENCES? I listen to everything. From classical to electronic dance music; I love jazz and old school R & B. Artists like Ella Fitzgerald, Luther Vandross and The Flamingos were amazing performers. As a dancer, the Nicholas Brothers, Bob Fosse and Michael Jackson are extremely important influences. I watch a lot of YouTube.
DO YOU WRITE YOUR OWN MUSIC? I didn’t really start writing until I was in 6th grade. I usually write about things that have affected me. It starts with the melody and then everything else
falls into place. I’ve learned that for every note or melody, there is a perfect word or phrase.
HAS YOUR VOICE CHANGED AS YOU HAVE GROWN? Yes, my voice changed. Going through the process was very scary. Even though everyone tells you that you’ll be fine, you have to learn what you can do with your “new voice.”. Fortunately, for me, I never stopped singing… and I have a great vocal teacher.
WHAT WERE SOME CHALLENGES IN BALANCING SCHOOL WITH A CAREER? Lack of sleep! The biggest challenge that I had was keeping my grades up no matter what I was doing in my career. And yes, you still have to go to school on Broadway; and you still have to rehearse and perform. I finished high school at 16 in order to focus more completely on my career, but I still plan to go to college.
HOW DID GROWING UP IN PHILLY INFLUENCE YOUR DEVELOPMENT AS AN ARTIST? I don’t think you can grow up in Philly and not be influenced by all of the great musical talents that are Philly born and raised – maybe it’s in the water.
FOR EVERY NOTE OR MELODY, THERE IS A PERFECT WORD OR PHRASE
THEMIXTAPE
Photos courtesy of D. McDowell
WHAT ARE HIGHLIGHTS OF YOUR CAREER? Getting the role of “Young Simba” in The Lion King; being an original cast member of “The Scottsboro Boys” and of course, signing a record deal with Will.i.am/Interscope Records. WHAT IS IT LIKE TO PERFORM ON A THEATRICAL STAGE VERSUS A CONCERT STAGE; AS PART OF AN ENSEMBLE VERSUS SOLO? The main difference is that on a theatrical stage, there is usually a “fourth wall” which is means you can’t break character or interact with the audience – unless you’re supposed to. A concert stage gives you the chance to connect with your audience on a much more personal level. Performing in an ensemble can be really exciting because you can play off the energy of other performers. As a solo performer you have a lot more freedom to go where you like to go. But, there’s a lot more pressure on you.
WHAT DOES THE REST OF THIS YEAR LOOK LIKE FOR YOU? Right now we’re in the process of mixing my new album. I’m not exactly sure what’s coming after that, but that’s part of the fun and the challenge of it all.
WHERE WOULD YOU LIKE YOUR CAREER TO BE FIVE YEARS FROM NOW? I would love to be doing what I’m doing now and to still have as much passion for it as I do now. And it would be nice to have a Grammy… or Tony… or Oscar! Contact: codywise.com
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Photos courtesy of June Divided
THEMIXTAPE
Philly-bred pop-rock band June Divided is making a come-up. Like every band with a dream, they started out playing shows to small audiences of friends. But for JD, the crowds are getting bigger by the millisecond. Just over two years since their first rehearsal, the group has crisscrossed through the country playing SXSW and the 2011 Warped Tour, recorded a full-length album, shot a music video and made their way onto radio waves across the nation. But they’re not stopping there. As of late, JD has opened up for bands like Tegan and Sara and Matt and Kim at 104.5’s Philly Winter Jam. Individually, band members Melissa, Chris, Keith, and Lenny are charming, funny and insanely talented musicians. Together, they are rising rock stars and a force to be reckoned with.
TELL US ABOUT THE FIRST TIME YOU PICKED UP AN INSTRUMENT TO PLAY. Lenny: I started playing bass by playing along with CDs and records. In high school I joined every band, I even played in church. I just wanted to play music. Melissa: I started playing classical piano when I was ten. I taught myself with hand-me-down books until my parents signed me up for lessons. My teacher knew I liked to sing so she urged me to start writing. I think my first song was about a street I used to play on as a kid. Chris: It seemed like my dad played every instrument. He taught me that if I wanted to play, it was important to learn how to do it correctly. Formal training has really helped me break the rules more creatively.
JUNE DIVIDED Q+A WITH PHILLY’S HOTTEST POP ROCK BAND By CRED Editorial Team
Keith: My neighbor played the drums. I would sit out front of his window and listen. After a while, he gave me my first lesson and I started banging on trash cans outside to practice.
AS A LOCAL, UNSIGNED BAND, HOW DO YOU MANAGE TO GET ON BIG SHOWS AND TOURS—WHAT HAS IT TAUGHT YOU? Melissa: Sometimes shows find us; sometimes we find the shows and ask if we can perform. It’s important to keep our relationships with big companies and other bands that we’ve played with before. Keith: When you’re playing live, especially at big shows, it’s important to have CDs with you. People that really enjoy your music want physical CDs to remember you by. Sometimes selling CDs is what gets you your next meal,
your next hotel room or gas money to get to the next city.
WHAT’S IT LIKE TO PERFORM IN FRONT OF HUNDREDS OF PEOPLE? Lenny: I love everything about it. I love the energy and seeing the audience having fun. I’m always impressed with the lights and love to jump off anything that’s near me. Chris: I hated it at first. On stage you have to look like you’re having a great time running around and still have to be able to play guitar. I looked miserable because I was really focused on playing the right chords. Now that I’m practiced I really enjoy it. Melissa: When you’re inexperienced on stage it’s written all over your face. You can’t help it. I really started to enjoy it when I started seeing people I didn’t know singing along with me. Keith: I love performing, but I really like the feeling of being on the road, fending for myself. It’s a challenge. I’m spontaneous and random, so it really works for me.
WHAT ADVICE DO YOU HAVE FOR OTHER LOCAL BANDS THAT ARE JUST STARTING OUT? Chris: Don’t cut corners. Everything has to be professional. It might cost a little extra money, but get a professional photographer and work with a producer. Don’t go to your friend’s house and record on a microphone in his living room. Melissa: If you’re self-funded, you have to be willing to take a side job. If you have a full time job you have to dedicate your free time to practicing with the band. It’s hard but if you don’t support yourself and the band financially, you won’t make it. Keith: Don’t play in your hometown forever. Some bands get the idea that if you play shows every week that it’s a good thing…but it’s just the same crowd over and over. Get out and travel. Go to Pittsburgh and play for five people. Go back in a month and play for ten more. Lenny: Conduct yourself as if you were a professional touring band, regardless of your following or if you’ve only played three shows. If you make it a habit to carry yourself professionally, people will want to work with you and things will start moving forward and falling into place. Contact: junedivided.com
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JAMES
TYE By Reggie Myers, 22
Photo by Andrew Reiner, 25
Singer-songwriter Tye James, 25-year old South Jersey native Tyler James Bellinger, has a do-ityourself attitude that took him from his school choir to the NBC10! Show. CRED caught up with Tye James to talk about his journey and his ambitions.
THE BEGINNING I had to take music in middle school. My teacher insisted that I sing Happy Birthday to her; then she put me in the choir. After getting a solo in my school play, I told my parents that I wanted to sing for the rest of my life. They’re really supportive of what I do, but they made it clear to me in the beginning that if I wanted this, I’d have to make it happen by myself. I think that’s helped me push harder—wanting to prove that I am truly committed to my dream and that I’m taking responsibility for whatever comes with it.
MUSICAL INFLUENCES My parents aren’t singers but they played a lot of music for me growing up— David Bowie, Billy Idol, Queen, Freddie Mercury, Annie Lennox and Sade. Toni Braxton was my favorite singer and I’ve always been a big fan of TLC’s CrazySexyCool album. COLLEGE LESSONS I didn’t want to go to college. My parents convinced me to go to U. Arts for Jazz Vocal Performance. I paid for my own education with three jobs while interning at The Recording Academy. At first, I struggled; though I had raw talent, I did not have the theory to back it up. I had tutors for every class. One day I went to the vocal department director and told him it wasn’t working for me. He told me there were two types of kids in the program: some that will be vocal coaches and some that can perform their asses off. He said he wanted to see me do the latter so I stuck with it. DILEMMA I was introduced to amazing Philly-based music producer Dilemma, Dan Thomas, through Carol Riddick. I told him I really wanted to work with him and that I wrote my own stuff. When he sent me a track, I was so excited that I wrote and recorded to it on Garage Band in an hour. That’s when we began to work with each other. I think he appreciated the fact I was so gung-ho about things. NAIVEP The NaivEP developed over the year 2011 while I was working with Dilemma and performing with hip hop artist, Khemist. I thought it would be cool to do a concept EP, because I always loved albums that had a theme from start to finish. I am inspired by my relationships. The NaivEP is loosely based around one girl. HONESTY I think the most important thing to focus on as a songwriter is honesty. On the next project my songs are going to be about family and the recording business. Music is kind of like my therapy. Sometimes the truth through music, can be pretty brutal. But I believe that you don’t gain anything from being dishonest with the people in your life or hiding your feelings. You have to put all of it in your music, public or not. THE FUTURE I have worked hard on my live performance vocals. I want to have a great touring career, singing my songs. I know I’ll be able to get everything I want out of life – eventually.
TYE’S TWO CENTS My best advice is: If you really want something, work your butt off to get it; don’t get tired, don’t give up. Look at the people who are always left standing at the end. They are the ones who have been persistent in the face of whatever comes their way.
WHAT IS PURPVARSITY? purpVarsity is a music collective that my cousin John and I created. We run sub-groups like The Dope Standard, THEBLKHNDS, The AstroNOTS, League of Gentlemen and Lucid Gang. The original lineup was me, John, Gic, Leaf Madtic, and Breed. We started recording back in 2009 and now have ten members in our group. DO YOU MENTOR ANY YOUNGER ARTISTS? Ronald Raygun and Dank Aaron, also known as The Dope Standard (TDS). They are just starting to get big—they have all their lyrics down but need help with songwriting and production. I also teach them how to promote a song and how to get it out on music blogs. WHAT WAS IT LIKE WHEN YOU GOT YOUR START AS AN ARTIST? I didn’t even have a steady Internet connection back then. Today, getting your work on to the Internet is huge. We used to record songs on a Rock Band mic and a Playstation 2. A lot of it was trial and error. Over time we kept learning—we’re still learning.
HOW WOULD YOU DESCRIBE YOUR LYRICAL STYLE? I like throwing bits of my nerdy side into my lyrics, a wrestling or comic book reference, and see who picks up on it. I grew up around battle rap and gangster rap. I was a nerd though—I wasn’t about that life. Kanye came out, I heard his music, and, it was like “OK. I can actually be different now”. I want to be that person to someone else.
WHAT INSPIRES YOU? The people who listen to my music inspire me. As a kid, I wanted to be a rapper because I thought it would make me cool. When I realized people were actually listening to my words, I got serious about it. I want to change people’s lives. I want to be that voice that tells them they’re not alone—that’s what a lot of artists were to me as a kid. WHAT WOULD YOU SAY ARE THE BEST AND WORST THINGS ABOUT HIP-HOP TODAY? Lyrical content is making a comeback and I’m really happy to see that. What’s difficult now is how easy it is to blow up fast. Artists who work hard on the artistry of hip-hop don’t seem to get as much recognition. The one-hit-wonder goes straight to the top but they don’t put much effort into their lyrics or musicality.
CAZZIE JETSON
WHAT DO YOU LIKE ABOUT THE PHILADELPHIA MUSIC SCENE? Philly is full of artists who each do
THEMIXTAPE
Cazzie Jetson, born Jay LaRue, got his start small—spittin’ lyrics on old-school gaming gear. The 23-year-old Philly artist co-leads the group purpVarsity. Cazzie keeps it honest with CRED as he divulges his inspirations and views on Philly’s current hip hop culture.
something a little different—it’s putting Philly on the map of artistry and originality. There’s a whole new movement of being different from the person next to you. PurpVarsity is trying to mold that.
DO YOU FEEL YOU ARE FULLY ESTABLISHED HERE IN PHILADELPHIA? Surprisingly our fan base is primarily in New York, but it’s happening here in Philly. I’m always excited when I see bigger Philly artists who know about purpVaristy.
WHAT’S NEXT FOR CAZZIE JETSON? Our album will be out soon. We have a show at SXSW coming up. We’ll be dropping new songs this year. WHAT IS ONE OF YOUR FAVORITE SONGS? “Baby Boy” from my last album, the Mighty. I have mixed feelings towards it. It’s a very emotional song for me. It’s my favorite because it’s the first song where I learned how to turn my everyday situations into lyrics. WHAT ADVICE WOULD YOU GIVE TO A YOUNG PERSON WHO IS TRYING TO COME UP IN THE PHILLY MUSIC SCENE AND BLOGOSPHERE? Never, ever compromise your integrity. In the long run it doesn’t pay off. Keep your eyes open, too. You never know who you’ll meet.
By Lissa Alicia, 22 Photos courtesy of Cazzie Jetson, 23
NEVER, EVER COMPROMISE YOUR
INTEGRITY
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ROCKERCHICKS
GIRLS CAN DO ANYTHING YOU CAN DO, BETTER By Camille Ferruzzi, 20
Photo by Camille Ferruzzi, 20
At Girls Rock Philly, five young rockers, Shilo (11), Brianna (9), Kayla (11), Siona (12), and Keyonna (9) remind us that the old stereotypes of chick-bands are just that—old. CRED dropped in on a session at GRP to meet these incredible, young, rocker chicks. We saw that it’s not about gender, what you wear or where you’re from; it’s all about the music. Simply put by The Iron Angels member, Keyonna, “I just love playing music and being loud.”
ON JOINING THE BAND: Shilo: I was nervous about being new and not knowing anyone. But I saw we had one thing in common—we all love listening to and playing music. From there, it’s pretty easy to get along. Kayla: My mom is always looking for things for me to do after school—sometimes they’re cool sometimes they’re not really. But when we got a flyer about Girls Rock Philly I said, I really, really want to do this.
ON PERFORMING: Siona: Sometimes it’s hard to tell if I’m really excited or really nervous. But when I get on stage, the audience melts away. It’s just me and my keyboard. Brianna: Well, we know music isn’t about being perfect. We just really like playing and we’re still learning. But I still get really nervous because there are a lot of people watching us.
Siona: We really understand each other and know how to communicate. So when we play together it’s easy. And I know that we’re all in it together.
WHAT DO BOYS THINK ABOUT ALL-GIRL ROCK BANDS? Kayla: Some may like it, some may not—but, it doesn’t matter cause we’re gonna do it anyway. Everyone deserves to be heard. Shilo: I guess it might be a little weird to some of them. But I would tell them, I can do anything you can do…maybe even better. Siona: Never really thought of that… never really asked them. Maybe that’s because it doesn’t matter. We’ll keep playing no matter what anyone thinks.
ADVICE TO OTHER YOUNG ROCKERS: Shilo: Whatever you do, just keep going. Even if you miss a beat or two. You’ll make it. Brianna: A lot of artists, like Rihanna, make music for everyone…like she wants to please everybody. Music isn’t about being perfect or looking perfect. It’s about playing what you have fun playing. Keyonna: Practice–I don’t have drums at home, but a shoebox works just as well. Contact: girlsrockphilly.org
THEMIXTAPE
MAKE MUSIC By Zoe Hillengas, 23
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Place: Boyer’s Center for Gifted Young Musicians Strings Program
Place: Philadelphia Clef Club of Jazz & Performing Arts
Place: Musictopia
Location: Temple Music Preparatory 1515 Market Street, 5th Floor
Location: 738 South Broad St.
Details: Students can audition for Youth Chamber Orchestra, Chamber Players Orchestra, Baroque Players, Classic Strings, and Young Artists Harp Ensemble. More Info: temple.edu/boyer/musicprep
Details: Offers a variety of programs in woodwinds, brass, strings, vocals and percussive instruments. Students can choose private lessons, ensembles, workshops or concerts with lessons ranging from “regular” to “master.”
Location: 2001 Market St., Suite 3100 Details: Offers assemblies, residencies and workshops that explore cultural traditions and musical ensembles ranging from Bach to bucket drumming to folklore. More Info: www.musicopia.net
More Info: clefclubofjazz.org
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Place: The Settlement School
Place: School of Rock
Place: Rock to the Future
Location: 6 Branches: Mary Louise Curtis, Germantown, Kardon-Northeast, Willow Grove, Wynnefield, Camden School of Musical Arts
Location: 421 N 7th St (Electric Factory)
Location: 2139 E Cumberland Ave, 2nd Floor
Details: Offers one-on-one and group classes on the fundamentals of playing instruments and a chance for the more advanced to rock out on stage.
Details: Offers after school and summer programs for kids ages 9-17 allowing them to learn how to play a variety of instruments, record their own music, start bands with fellow students, and play live performances.
Details: Enroll in music and dance classes, ensemble programs, and individual or group lessons. There’s something for everyone from strings to vocals to rock and roll starting at age 3. More Info: smsmusic.org
More Info: philadelphia.schoolofrock.com
More Info: rocktothefuturephilly.org
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THE PORTFOLIO
Young artists and writers spanning the Philadelphia region submitted more than 1,000 works to this issue of CRED. In an online poll, they voted for their favorite pieces. Here are their top picks.
THEPORTFOLIO Previous page: Adam Mazur, 23 / Purgatory / acrylic / Pagdon, 25 / The Good Woman of Setzuan / digital rendering Sarah Damiano, 23 / Portrait of Perception / charcoal
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THEPORTFOLIO Lauren Miller, 20 / Cracking / ceramic / Rosemary Carlson, 22 / Actually I was Sorta Thrilled By It / oil, charcoal
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ORANGE PAPER BY BRANDEN HALL, 15 The orange paper stapled on my door shocked me. I looked at the orange paper and read it five times. Then, to make sure, I read it five more times. We were getting evicted and there was nothing to do about it. I live with my mom and my brother and sister. We have very little money since I only work part time because of school and my mom is too lazy to work. She says she’ll look for a job soon or the job market is hard but I know the reason. And she knows the reason. My brother and sister know the reason. And my neighbors know the reason. She’s given up. She doesn’t care if she lives or dies she doesn’t care if her kids starve to death. My mom has lost her mind. It’s been like this since my dad died but that doesn’t matter because that was then and this is now. We are being evicted and there is nothing I can do. “Felix, Felix!” my sister yells. She doesn’t need to know any of this so I rip the paper off quickly and stuff it in my pocket. I need to keep what’s going on with the house to myself. My little sister has her hair braided with colorful berets clipped on to them. They are not perfect since I did them myself but she doesn’t seem to care. She is only eight so I don’t want her to be sucked into the world that I’m in. The world where all you think about is where the next meal is going to come from or if you’ll have to give your meal to your siblings. I wish my mom had done that for me. No. I was basically born into this world that few people know about. I have to go to work for four hours then I bring home dinner, four double cheeseburgers and four fries. My mom doesn’t eat she just stares at the ceiling or her wedding photo. How can she be so docile? Doesn’t she know we are in trouble? She must’ve seen the notice so why isn’t she freaking out like I am? Why isn’t she showing any emotion? Why is she just staring at her wedding photo? I start getting angry so I walk out the door with my fries. The salt somehow soothes me and
keeps me from making any crazy decisions. I also think of my dad when I eat fries since it was him that got me hooked. It reminds me of a time where I didn’t have to worry about food and my dad took care of everything. I remember a time when my parents and I were all happy, but that was then and this is now. I walk back in a take a big breath (breath). My brother is in his room but my sister is in the living room playing with her dolls. I hear glass break and I look over at my sister. I see my parents’ wedding photos on the floor. My mom finally does something. She yells at my sister. My anger reappears and I’m out of fries. Nothing is controlling my anger and her yelling was getting louder. How dare she yell at my sister! She hasn’t spoken to my sister in years, now she thinks she can yell at her! My fists are clenching and I feel like I’m going to throw up. I step in between my mom and sister. I tell my sister to go into her room but she is still in shock from the yelling. My mom is yelling at me now asking who am I to tell my sister what to do. My mom is now targeting me but this is more physical. She’s push and slapping and calling me all kinds of names until I snap. I push her on the couch and tell her to stop; I tell her that I’m the one taking care of this family. “Did you even notice we are being evicted!!! We could be out on the streets in days and it’s your fault!!! Do you even care about us?” but I know the answer. I know what she is going to say but instead of words she hits me. Maybe it was all the stress from the eviction or maybe it was the built up anger but before I knew it I hit her back. She’s shocked and I’m shocked but I’m surprised by what she does next. She leaves, she gets up and leaves. As the door slams I turn around to see my brother and sister looking at me in fear. Why? I’m the one who has been taking care of them. Me, not my mother. Now that she has left, nothing has changed. I am still the one who has to get up at 5:30 a.m. so and iron my siblings’ clothes. I am still the one who has to go to work for hours after school. I am still the one paying the bills. I look at their faces and I know that they have just been brought into the world that I’ve lived in for years. The world of fear.
THEPORTFOLIO Zach Welch, 19 / Adventure owl / ink, watercolor, Sharpie, pencil, digital rendering
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THEPORTFOLIO Caitlin Peck, 24 / Being with the Capabilities for Perfect Memory (series) / ink on paper Laura Weiszer, 22 / Dinner / acrylic / Deja Logan, Grade 8 / Fresh Artists / Untitled / oil pastel and crayon
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THEPORTFOLIO
BY HOLIDAY CAMPANELLA, 24 I don’t get hit on walking to school in December, unlike the warmer months when Broad Street might as well be a batting cage, patroned by over zealous young black guys, smoothly inept and trying to land a swing. Woolen layers of clothing deter potential suitors from sizing up my heaving ass as I hustle to get it to class, only ten minutes late. Because let’s face it, your “Let me get your number” after that introductory “You are so…” 1. beautiful 2. gorgeous 3. attractive or any other generic aesthetic description has nothing to do with getting me to talk, but working toward hearing me scream 1. Oh my god! 2. Fuck, yes 3. your name, before you even care to ask me my own. Now, my mornings are only filled with slush, keeping my gloved hands warm in ripped pockets, and homeless men, who aren’t exactly spitting out compliments, but are spitting out…something… who prefer instant gratification of rolled papers over sprawled digits, and I find myself preferring, yes, the thoughtless, but the said.
Ally Brosnan, 20 / Mortuary Portrait / collage, pen and ink, baby’s breath, stink bug / Luis C., 9 / Untitled / tempera and Letraset
BROAD AND CHERRY
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THEPORTFOLIO
Madeline Smith, 23 / Arthropod / flameworked glass, paint / Rosemary Valetin, 9 / Untitled / digital photo, mixed media
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THEPORTFOLIO Hayley Tomlinson, 24 / Take Me to a Strange Place / pencil / Miguel Co, 24 / Kait / graphite, digital rendering George Wylesol, 23 / Untitled / digital rendering
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PRETENTION DETENTION ERIN ORTH, 18 (Setting: A high school English classroom. A girl is sitting at a lone desk, center of the stage. There is nothing but a novel sitting on the desk.)
(exhales) (pauses, as if listening to what another classmate is saying) (looks around the room, confused)
Girl: (to self, praying) Don’t call on me. Don’t call on me. Please, please, please, please don’t call on me.
(to self) When did everyone else in this class become T.S. Elliot?
(to audience) Look, I swear I read the book. All of it. Cover to cover. I get the plot. I know who the characters are. I get it. I get it. On the surface, it all makes sense. It’s actually an enjoyable book. So why the hell do we have to dig so much deeper into this? All of a sudden everything is a metaphor. Every sentence has a double meaning. Suddenly, books aren’t meant to just be enjoyed, but to be analyzed to death. I can’t do that. I don’t want to do that. I don’t need to do that. I know I signed up for an AP English class, but I thought AP stood for advance placement, not analytical professionals or absolutely pretentious. (pauses, as if listening to teacher) (leaning, as if asking a classmate) What did he just say? Syndoche? (to self) What the hell does that even mean? (To the audience) That’s the other part of the problem. Half the time, I don’t even understand what he’s saying. But I can’t let anyone else know that. Everyone’s nodding and murmuring, like “Yeah, I was totally thinking the same thing.” Well, maybe I’m thinking the same damn thing too, but I don’t have a thesaurus on me, so I’ll never know.
(to audience) They don’t even know what they’re saying. Like the other day- Chelsea’s going on and on about what the God damn colors symbolize in The Great Gatsby, when earlier in the day, I heard her seriously discussing the literary value of an article in Cosmo. I’m sorry, but I just don’t have deep thoughts. And I can’t fake them, either. (exhales) I know, I should just raise my hand and say, “Excuse me, sir–but I have no clue what you just said. Could you dumb it down a bit so I stand a chance at comprehending what the hell is going on here?” But then I would be letting him and everyone else know that I am an absolute literary idiot. But there are some days, when I think I have something good to say. Something really good. Something insightful and intellectual. (pause) Then I open my mouth. And completely lose the ability to form an intelligible sentence. It’s like everything I’ve been thinking about the book tries to spill out at once, and none of it makes sense. (pause) So, I just shut my mouth and let the smart kids do the talking.
(to self, praying) Don’t call on me. Don’t call on me. Please. Don’t do it. (GIRL looks off into distance, as though listening to class. She is startled by something not seen or heard) (pointing to chest) Me? (stands up next to desk,) (nervously) I think that the author did an excellent job of, uh, capturing the subtleties of the moment. The, uh, juxtaposition of the characters really enhanced the author’s periodic structure. And the, uh, anthropomorphism really exemplified the digression of the, uh, malapropism in the novel, which was all just(pauses, shaking her head) (More confident) You know what? Honestly, I thought that this section of the book was pretty contrived and unoriginal. I simply found it to be an unnecessary event. It just didn’t seem realistic and the actions were very out of character. It’s just not an example of his best work, and isn’t really deserving of such in depth discussion. (sits down) (to audience) I don’t think I was supposed to say that?
THEPORTFOLIO Megan McIntyre, 21 / you wouldn’t understand / serigraphy
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THEPORTFOLIO
Laura Weiszer, 22 / Royal Tenenbaums / Life Aquatic / Fantastic Mr. Fox / acrylic / Nate Harris, 21 / Falafel / pen and ink
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THEPORTFOLIO
MOISES JAQUEZ, 10 I am the moon, because when I’m alone, Full of sadness, I got nothing to do. I put my hand in my pocket and roll myself into a ball And do nothing at all. I turn into the sun when I am mad, I get heated up, I turn bright, I take my hand out of my pocket, And I call my troops.
Monica Morris, 20 / Phobia / microcrystalline wax, rubber mold
UNTITLED
They say to stop, But I can’t hear nothing at all. They try to hold me back, But I burn their hands off. I try to stay as cool as ice, But somebody just said something not nice.
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THEPORTFOLIO Mekki Strong, 9 / Janet / pencil, colored pencil / Nicole Saltzer, 21 / Disappointment / charcoal
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THEPORTFOLIO Jamie Howell, 21 / mom and dad <3 / etching / Alicia Bonilla-Puig, 23 / Perspective / oil on canvas
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THEPORTFOLIO Bryan Funk, 22 / Consider This / oil on canvas / Rita Carroll, 23 / Sound and Fury / acrylic paint on wood Samantha McGeehan, 18 / Old Teeth / ink
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THEPORTFOLIO
SHANISE REDMON, 23 It ain’t my business what you do I found my peace in a bottle Let the congregation say, ain’t that the truth You cut your eyes at me, Judging me and my paper bag That bag has been more of a friend to me than you’ve ever been I used to be working class lady who came home and drank her gin Those days are long gone and so is the person I used to be I am not a victim of circumstance. The circumstances are victim of me. Mama says I’m playing with the devil’s juice. Let the congregation say, ain’t that the truth.
Tom McQuaid, 22 / American Serial Killers / digital rendering
DEVIL’S JUICE
But mama this ain’t no game Me and that juice have become a serious thang I perpetuate every stereotype. Babies on my back no daddy in sight And you wonder why I sip the devil’s juice til’ the morning light Call me what you please Don’t bother me none I know who I be I have just one request Leave me be to drank my juice. You can keep your sweet tea.
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THEPORTFOLIO / mixed media etching
Jamie Howell, 21 / tipi / lithogoraphy / Teresa Rivera, 20 / Untitled / oil on canvas Lauren Klick, 21 / I do it so it feels like hell
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2K12 DIANNA DRAGONETTI, 17 I’ve got dead eyes. I am standing in the bathroom, wearing the same shirt I have been wearing for days since Obama won the election this past Tuesday, and I put it on, figured I ought to be patriotic. It is wrinkled, navy, outdated, its condition somewhat lessening its impact-a newly wavering voice that only ever shouts: ‘CHANGE WE CAN BELIEVE IN’ from my shallow breast And my shallow breath sadly harmonizes with the dripping faucet and the faint hum of fluorescent lighting. ‘CHANGE WE CAN BELIEVE IN’ I think to myself as I stare at my washed-out reflection in the bathroom mirror. I am standing in the bathroom, wearing the same shirt I have been wearing for years since Obama won the election in 2008, and I wanted to believe in something, I wanted to change. I am ashen, vacant, outdated, my condition somewhat lessening my impact-a trembling, bleary wreck that never leaves the house; ‘CHANGE WE CAN BELIEVE IN’ scored into my pale flesh I’ve got dead eyes.
THEPORTFOLIO Anil Sooknanan, 22 / Ice Cream / digital rendering
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THEPORTFOLIO Kyle Deal, 22 / corpse man / pen, ink, digital rendering / Bethany Barton, 22 / 4/10 / photography
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THEPORTFOLIO Jordan Whitney, 21 / Untitled / collage / Alexander Mansour, 22 / Mercy / charcoal and ink on paper
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THEPORTFOLIO
GIONNI PONCE, 21 What if I told you that I have conversations with myself in my head? As I walk down the street, I declare passionate love. I argue. I confess. I scream. I flirt. I question…. All alone. I need no one to talk and talk and talk for hours. All I need is me. Is it weird to daydream about death and suicides? I imagine murders and accidents and mistakes and sickness and terrible endings for people I know… and people I don’t— people I pass in a store and people that don’t even exist. I see beauty in pain and to tell you the truth, I, too, like a look of Agony. What do you think of being obsessed with remembering? I stare too long because I want to burn you in my memory. I want to etch this moment—every last detail, your frown, the light on your hair, the glance, what I feel— into my mind. I don’t want to forget anything. While I experience, I scramble to describe, solidify, extrapolate, and conceptualize so I can recall on the spot. I fictionalize my feelings
Will you accept that I want to be everyone? I want to be the brilliant student and the fuckoff rebel in a leather jacket. I want to be the best friend and the lover. When people look at me, I want them to see a shy, willowy beauty and an in-your-face diva. I want to be coy, blunt, sex-crazed, morally sound, quick-witted, ditsy, genuine, plastic, lazy, motivated, passive, aggressive, quiet, rambunctious, and sultry. I want to be all in one. What would you say if I prefer to live in a different world than my own? While my life unfolds around me, I dream up alternate realities. I rearrange the events. I strike out boring moments. I relive and transform conversations with friends. I create whole new worlds. My spaces are dangerous, wild, romantic, fragile, glamorous, tragic, fake, and exciting. THEY are better and more real than you and me and them and “real” life at all.
Kyle Kogut, 22 / Burrowers / gouache, acrylic, watercolor, graphite, colored pencil, serigraphy on paper
WOULD YOU KNOW?
71
THEPORTFOLIO Hayley Owens, 19 / Emu Tribute / acrylic / Sarah Boland, 21 / Untitled / etching
73
THEPORTFOLIO Nicole Saltzer, 21 / Queen of Hearts / Queen of Clubs / collage, digital rendering
75
THEPORTFOLIO Miguel Co, 24 / Lifestraw / graphite, digital rendering / Genesis Vargas, 7 / Porcupine / watercolor
77
THEPORTFOLIO
DERRICK TOLER, 24 at this current time I feel as if I am Atlas cursed to bare the world on my back and I can’t afford to collapse I have been chosen to be the mouth piece of those who are often not heard the poverty stricken the ones who constantly scream but no one listens these silent screams turn our American Dreams to nightmares imagine being transparent to the world as if you don’t exist and your opinion don’t mean shit when they notice you’re there you’re just another statistic
Mya Kerner, 23 / India’s net / fiberglass drywall mesh, steel, and wire
ATLAS
young north Philadelphian male only thing you’re promised is a cell these stereotypical thoughts will no longer mute my voice I am to be heard no longer to be ignored me nor my peers you will hear every thought and concern I dwell on contrary to your belief I am not a hoodlum i am a good father and a great son with real concerns now it’s your turn to listen and learn
79
THEPORTFOLIO
Emily Briggs, 20 / Rapture / oil paint / Jessi Melcer, 23 / Alan in our Attic / photography / Gianna Vadino, 22 / Untitled / 120 mm film
81
THEPORTFOLIO
THIS IS JUST TO SAY
SOPHIA KELSALL, GRADE 8
JAIYE OMOWAMIDE, GRADE 8
I have taken
I really liked the food you made for dinner mom
the green
And which it was so delicious and filled me up instantly
shirt you
Forgive me
never wear
It could’ve used a little more salt
But you were probably saving for a special occasion—or not Forgive me Everyone liked the costume I made with it
THIS IS JUST TO SAY JOSEPH EAPEN, GRADE 8 I have taken the toy In the cereal box Which you called dibs on Last night And even though Mom said
LETTER OF APOLOGY
You can have it
ADAM ALEXANDER, GRADE 8
I don’t care
I am sorry
Forgive me
For your wind chimes
For it is a wonder
Of which you were so proud
How cool it is
That disappeared overnight
If only you could see
January Waters, 21 / Buffalo 01 / pencil / Daniel Dzierzynski, 21 / small town / digital rendering
THIS IS JUST TO SAY
Although it was never in tune with the birds And interrupted our conversation And was rusty I wonder where they went
83
THEPORTFOLIO Terrill Warrenburg, 19 / Depression / oil paint on canvas / Matthew Duffy, 20 / Untitled / photograph
85
THEPORTFOLIO
Samantha Leonetti, 21 / grip / photography / Corey Brickley, 25 / American Metropolis / digital / Daniel Dzierzynski, 21 / Blue / digital rendering
87
THEPORTFOLIO Robert Mazzoni, 23 / SP-03 / oil paint and acrylic / Sam Cardelfe, 19 / Deer / ink wash
89
PHONETIC ETIQUETTE CAMILLE SASSANO, 22 I’ll begin my foreword as I move forward, fix my bow and take a bow, as I can recall a time before I knew the word “word” or a difference between “then” and “now.” I can re-collect recreations of recollected recreationa time before my imagination could label “differentiation.” So excuse me for a minute while I make minute excuses about why I choose my words wisely to describe their many uses. For a word is worth a thousand words- with them I realize how I finally have grown out of my groans and can realize I realize now. How can language be so useful when it’s so often misread and misused? Has its misinterpretation or our interpretation been abused? For if we could mean what we say by saying what we mean, would it be read the same way as we meant it to read? And is the meaning always right if I write the words correctly or would their meanings skip a beat if I wrote out “beet” imperfectly? And if one word alone could loan to other meanings, would those meanings loan meaning to the meaning of “meaning?” We can be ignorant of our ignorance about how to make use of our instruments, learning-by-ear without instructions to use words as implements. Though we can’t all pair a perfect pitch or pitch a perfect strike, and can’t all strike a perfect match or match a perfect pair alike We can compliment words’ complements to access excess preconceptions, except to expect to accept they affect words’ effects and their varying deceptions.
THEPORTFOLIO Katie Blatcher, 22 / Untitled / lithograph / Lauren Klick, 21 / Untitled / etching
91
THEPORTFOLIO
Huewayne Watson, 25 / An elegy for slavery #8 / mixed media on paper / Kelsey Niziolek, 22 / Yunessun / pen, pencil, coffee, digital
93
THEPORTFOLIO Hannah Agosta, 21 / Owlman / oil on panel / Bari Sowa, 24 / place your swollen lips on mine / photography Mya Kerner, 23 / Untitled / cast bronze and wood
95
THEPORTFOLIO
Andy Hood, 23 / Turn On The News / digital rendering / Sarah Damiano, 23 / Family Owned and Operated / ink on duralar
97
INDEX Adam Alexander: 83 Adam Mazur: 32-33 Alexander Mansour: 69 Alicia Bonilla-Puig: 57 Ally Brosnan: 42 Andre Rucker: 8, 11 Andrew Reiner: 28 Andy Hood: 96 Anil Sooknanan: 65 Ashley Smith: 14-15, 18-19 Bari Sowa: 95 Bethany Barton: 67 Branden Hall: 38 Breanne Furlong: 06-09 Brianna, GRP: 30 Bryan Funk: 58 Caitlin Cieri: 20 Caitlin Peck: 40 Camille Ferruzzi: 30 Camille Sassano: 16-17, 90 Cazzie Jetson: 29 Chris Kissel: 26-27 Chris Pepper: 12-13 Cody Wise: 24-25 Corey Brickley, 86 Daniel Dzierzynski, 82, 87 Deja Logan: 41 Derrick Toler: 79 Dianna Dragonetti: 64 Elliot Coven: 12-13 Emily Briggs: 80 Emily E. Steck: 12-13 Erin Orth: 48 Genesis Vargas: 77 George Wylesol: 47 Gianna Vadino: 81 Gionni Ponce: 71 Hannah Agosta: 94 Hassan Johnson: 24-25 Hayley Owens: 72 Hayley Tomlinson: 46 Heather Jones: 14-15, 20 Holiday Campanella: 43
Huewayne Watson: 92 Jamie Howell: 56, 62 January Waters: 82 Jay Gilman : 20 Jaye Omowamide: 83 Jessi Melcer: 81 Jordan Whitney: 68 Joseph Eapen: 83 Joshua Lynch: 20 Katie Blatcher,:91 Kayla, GRP: 30 Keith Gill: 26-27 Kelsey Niziolek: 93 Keyonna, GRP: 30 Kyle Deal: 66 Kyle Kogut: 70 Laura Klick: 63, 91 Laura Weiszer: 41, 50 Lauren Miller: 36 Lenny Sasso: 26-27 Leon Sanford: 14-15 Lissa Alicia: 18-19, 29 Luis C.: 42 Madeline Smith: 44 Marah Carpenter: 16-17 Matthew Duffy: 85 Megan McIntyre: 49 Mekki Strong: 54 Melissa Menago: 26-27 Miguel Co: Cover, 46, 76 Moises Jaquez: 53 Monica Morris: 52 Mya Kerner: 68, 78, 95 Nate Harris: 51 Nicole Saltzer: 08-11, 55, 74-75 Pagdon: 34 Paul â&#x20AC;&#x153;S.Frostyâ&#x20AC;? Jackson: 18-19 Paul Overstrom: 12-13 Reggie Myers: 28 Rita Carroll: 59 Robert Mazzoni: 88 Rosemary Carlson: 37 Rosemary Valentine: 45
Ryan Powell: 8, 10, 20 Sam Cardelfe: 89 Samantha Leonetti: 86 Samantha McGeehan: 58 Sarah Boland: 73 Sarah Damiano: 35, 97 Shanise Redmon: 61 Shilo, GRP: 30 Siona: GRP: 30 Sophia Kelsall: 83 Teresa Rivera: 62 Terrill Warrenburg: 84 Thien To: 20 Tom McQuaid: 60 Tommy Lyon: 14-15 Tye James: 28 Zack Welch: 39 Zoe Hillengas: 31
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