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Wonderland Corsets CUSTOM CORSETS & COSTUMES

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table of contents aesthetics

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artistic mediums

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editorials

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masthead creators Christine Lunday Creative Director Christine@devour-magazine.com

Toi Green (Lasha)

Artistic Mediums Director

Toi@devour-magazine.com

Irene Mar

Aesthetics Director

Irene@devour-magazine.com

contributors Jason Nicholls

Video Production

Amanda Rae Brattebo Copy Editor

Levan TK

Concert Photographer

Natasha Vi

Contributing Writer

Nadia Carmon

Contributing Writer

social media Facebook www.facebook.com/devourmagazine Twitter @bedevoured Instagram @devourmagazine Tumblr www.intothedarkuniverse.tumblr.com

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special thanks LEMG LIP SERVICE ELLIE SHOES F40 STUDIOS ALI LEVINE DESIGN SKULL KEY PRODUCTIONS PRIVILEGED BY JC DOSSIER PHILIP FAITH PHOTOGRAPHY MARIANNA HARUTUNIAN ZACK LO SHOES ALISON GOLDFRAPP MELINA DESANTIAGO TWOTWENTYTWO CLOTHING

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“When the fear of things staying the same exceeds the fear of failure.”

~ The Universe

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Photographer: Alanna Yu Model/MUA/Hair: Abigail Mitchell Makeup Asst.: Dominique Lerma

L R V e e i f o u l s e n t 10

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Golden Fawn

Photographer: J. Isobel De Lisle Model: TC MUA/Hair: Julianne Ulrich Headress: Oracles Arise Clothier 16

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W M & A F he re

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N G EL S

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A rt D i re cto r: Ch ri s ti ne Lunday Ph o to grap h e r: Je n n i f er Esteban Mo de l: Kody Klein MUA :Ir ene Mar Hai r: D i na Matson Lo cati o n : F4 0 Studios deVour - Book 2 - January 2014

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DONNA MEE

“I mean tears are rolling down my face. I have told this story so many times. But it’s so incredible and it’s something that so many people don’t experience. We take it for granted that we all just love makeup and that it’s fun. But no, to millions of women it can be life changing. You just have to find a way into their lives.”

~ An conversation with Donna Mee

By Irene Mar & Sarah Anstead

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deVour Magazine: deVour Magazine’s mission is to expose people to different artistic mediums that they wouldn’t normally or otherwise be drawn to. So many of the people that we expose our readers to will be brand new to them.

And with that in mind, who, or what, inspired you to become a make-up artist?

Donna Mee: I started working in retail cosmetics. At one point I worked at Savon as a checker. I heard there was an opening in cosmetics. To me, that was so much more exciting than cashiering or whatever else I was doing. So I got up the balls to ask the manager. He laughed at me, right in my face. I was a kid, just sixteen or seventeen, and he goes ‘you can’t work over there’ and I was like ‘why not’? And he goes ‘because you don’t know anything about cosmetics’ and I said, ‘oh, I don’t’? I was just thinking, I’m a girl and I like makeup! I ended up quitting that job.

Later I got a job at JC Penny’s and I didn’t even apply for cosmetics because in the back of my mind I heard Mr. Mays going ‘you don’t know anything about makeup’. So I was a floater. It means no manager wants you in their department.

You just get put in whatever department they need you in.

So one day someone comes up to me and says I have to go work in cosmetics. You would think I would have been really excited but I just panicked. I said I couldn’t and that I didn’t know anything about cosmetics. And they said they didn’t either. So they threw me in cosmetics and I remember being so afraid. I felt like so lost because I had no idea where anything was. Then this lady started yelling at me from across the counter. She goes ‘don’t you work here?

Can you come help me?’ I just panicked. She wanted me to show her how to put on a brow pencil. I was so nervous because I had big old Brooke Shields eyebrows myself. I didn’t even know what a brow pencil was.

I swear I think I blocked it from my memory because I don’t remember what I did. I don’t remember if I put brow pencil on her, or if I ran to the stock room and cried, or what. I completely blocked it out of my memory. I remember going home and crying. That was pretty traumatizing to me.

The next day I had to go back to cosmetics, and there was another lady standing in the same place. I literally avoided her for twenty minutes. So finally the lady goes ‘I know you see me over here...’ And I was like oh no. So I went to help her and she says that she’s a Revlon sales representative and if I could give the Purchase Order to my manager? I was relieved, like oh cool, you’re not a customer, you don’t need anything. Then I just shoved something in her face and asked about it, and she told me it was the egg mask.

After that I asked about how to use it, and she told me.

Then I pulled something else off the shelf and asked about it. Twenty minutes later she’s over the Q & A.

Photographer: Leea Haeger MUA: Donna Mee Hair: Noogie Thai Model: Yeung 30 Mandy deVour - Book 2 - January 2014

I started doing makeovers before there were even makeover chairs. I would make people stand there for like two hours because I was slow and didn’t know what the hell I was doing. But it was fun. I actually did a client and I didn’t

remember her. She sent me a dozen roses. The card said ‘Thank you for changing my life, Florence’. I was eighteen at the time. I didn’t appreciate it. I didn’t get it. I left them sitting on the register. I didn’t even put water in them.

A few days later she walks up and she goes ‘Oh I see you got my flowers, can I tell you why I said what I said in the card?

I was in here on New Year’s Eve to pay my JC Penney’s charge bill. You were so excited and the next thing I knew I’m sitting in your chair. I did not want to sit in your chair. I did not want a makeover. I had not worn makeup in seven years since my husband died. I just sat there until you shut up. I was gripping the chair, just waiting for you and you took forever. When you were done, I just said thanks and I got up and left. You didn’t care that I didn’t buy anything, you were like have a good day, and that was it’.

But she told me she appreciated that I didn’t make her feel bad about not buying any make up. She told me that she was just the ‘kind of lady that couldn’t say no’ so she sat in my chair. She stated that she ‘didn’t even look in the mirror. [she] had paid [her] bill, gone grocery shopping, picked up the dry cleaning and when [she] walked home, carrying all of [her] stuff in the house, [her] neighbor saw [her]’ and was astounded at her appearance. Her neighbor believed she was all dressed up to go to her New Year’s Eve party that she would attend every year with her husband. But since his death she had turned into a recluse who rarely left the house to do anything other than chores. After she had put her dry cleaning down she caught a glimpse of herself in the mirror and thought where the hell had she been all those years.

So, after seven years, depriving herself of human interaction, she was so amazed by how she looked she just felt the need to be seen. So she said she tried on every dress until she could get the zipper up and she went to the party.

And at this point I’m still young and dumb and going ‘okay, good for you. You went to a party..’ l really didn’t understand. dM: Right.

DM: And she goes ‘Donna you don’t understand. I would have never gone to that party, but I went to the party. At that party I met a man. We started dating. We feel in love.

He proposed to me and we’re getting married. I went back to school and got my real estate license and we started a business together. I have a life because of you.’ dM: Oh my god I’m going to cry.

DM: I mean tears are rolling down my face. I have told this story so many times. But it’s so incredible and it’s something that so many people don’t experience. We take it for granted that we all just love makeup and that it’s fun. But no, to millions of women it can be life changing. You just have to find a way into their lives.

I thought I was good at it. I didn’t know what the hell I was doing. I was just putting makeup where I felt makeup

Photographer: Leea Haeger MUA: Donna Mee Hair: Noogie Thai Model: Mandy31 Yeung deVour - Book 2 - January 2014

went. Then you get those features that are really puzzling, like the non-symmetrical face and big crooked noses, the droopy eyes and bags, etc. It was frustrating to me because I thought there had to be a way to make it better but sometimes it would be worse. dM: That’s how you kind of segued into learning about corrective beauty makeup?

DM: Yeah. There was hardly anything out there on it. Everyone just wants to demo on a beautiful model all the time. No one wanted to see some ugly old lady in the makeup chair. dM: That’s amazing. It’s just amazing the experiences, the memories and things that we take away from life. What did you take away from your experiences working with Kevyn Aucoin?

DM: Oh he was such an amazing soul. It’s hard to say. He’s such an icon. Have you ever met him? dM: No I haven’t, but I have read his books.

DM: A lot of people have his books, but sadly most people have not read his books. He had such an amazing energy.

I’ve only met a handful of people in my life that when they walk in a room or they talk to you it’s almost like they’re godly. They have this light about them. You just can’t ever quite put your finger on it. They just have this different vibrational energy. I don’t know if that makes sense to some people, it sounds all crazy, but he was that person. He was so loving and so sincere, and that’s why people loved him.

He didn’t do makeup for a paycheck. He didn’t do makeup because he likes playing in it. He loved transforming people and making them feel and look more beautiful than they’d ever thought they could.

We were so much on the same page about that. He made it cool to look for beauty in people and make them feel beautiful. Most people don’t really get what he was about necessarily. They just know he was a great talented artist.

He left us far too soon. I mean it. dM: It was amazing what he did with a face. It was great for me to be able to see what he would do with the surface of the face. Just amazing! So when you look at a face for the first time, what are you looking for? What do you see when you look at a face?

DM: Oh lord, that’s a big question. It’s so much different now from what I used to see. I know from just studying faces about the epitome of beauty which is what most of society considers most beautiful. So you have that. You learn to hone your eye to see what people don’t even see about themselves. Most people don’t even know they’re not symmetrical. Unless like their nose is super crooked. But I do because I’ve trained my eye to see it. So therefore part of being a great corrective makeup artist is changing the way I apply foundation and she’ll get an even coat of foundation 32

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everywhere, but I alter the colors and fading and blending and grading the edges. After they look in the mirror and all they have on is foundation, they’re ‘Holy fuck. What did you do? I look totally different’. It’s an art that almost no one posses, but that’s one of the reasons my students are so successful because that, to me, is basics. dM: Speaking of your school, what made you decide to open Empire Academy? I hear that the admission process is not the easiest process in the world to go through. How does an aspiring student impress you enough to get in?

DM: My tag line is “For those serious about makeup.” People just go, “oh yes, I love makeup”. Do you seriously want to do this for a living? Is it a passion, or is it something that sounds better than going to law school or med school?

We’re looking for somebody who is professional and dependable and ideally I don’t want to say passionate about makeup because you can’t really be passionate about something until you’re really great at it I believe. Part of my mission was to improve the quality of makeup artists not just the quantity. dM: Do you think that makeup artistry is an artistic talent that you’re born with, or do you think it’s something that can be taught?

DM: There are very few people, I think, born with just great artist ability, but it’s very few and far between. Just like anything else, the way I teach is that everything I teach is based on science so as long as you get it in your head, you can practice and be good. I was not born with talent.

My brother and sister on the other hand, were artists. I just didn’t get it. And I wasn’t even into art in school to be honest. It wasn’t even my thing. I was into makeup but I didn’t see it as art. dM: You didn’t see that you had that innate ability inside yourself? I mean, your first client, you changed her life.

DM: Well I… I would love to take credit for that. But that was just a woman who had never bothered to put makeup on. I guess it made an amazing difference. My point in that story is that was what motivated me to figure out how I could look at something and know that it looks beautiful and to know why. And it took me decades to grasp it and to fully understand it. Being a teacher has forced me to figure out so much more about my own craft. dM: How do you handle a situation in which a student may not be cut out for makeup artistry. I know you kick them out, but if they’re someone that you think may have some potential, what advice do you give them?

DM: I’ve definitely met students who wanted it so badly.

They were very into it, very passionate, tried very hard, but they just literally don’t have the skill. Not everyone learns it at the same rate. But if you get it into your head I know that you

Photographer: Dan Santoso MUA: Donna Mee Brittany deVour - Book 2 - January 2014Model:33

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Photographer: David Nguyen MUA: Donna Mee Hair: Sienree DuModel Model: Elena

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can get it into their hand. It’s just about practice. dM: On the flip side of that, who’s been the most surprising talent that you’ve had in your classroom?

DM: That’s hard to say. I have tons of grads that are wildly successful. You know I have had some that walked in with talent, like you asked earlier. Jeffrey Star walked in first day with the most amazing makeup on, I couldn’t stop staring at him. Also Lauren, “Queen of Blending”. She was already a big YouTube sensation. She walked in my classroom, and I’m like wow. I didn’t know who the hell she was. They walked in with talent. What I can do for them is what they couldn’t always explain. They don’t know why they are able do what they do to themselves, but if they had to do another face now that’s another story.

They’re hands on other people weren’t so great. So what they get from me is understanding bone structure in general, color, placement, so they can rock any face not just their own. dM: Let’s switch gears and talk about the difference between your standard makeup artist and a print makeup artist? And are there any other variations to that?

DM: In my opinion, it’s knowing how to do it where you don’t have to Photoshop. I teach my students to do work as if the Photoshop didn’t exist.

Because when I started, it didn’t exist. So we had to master it. I think Photoshop has just made people so lazy. I’m so tired of being on set and hearing somebody go ‘Oh we can fix that in Photoshop’. They don’t know how to fix it or they would have done it right the first time.

And people are not using photo friendly products. They don’t even know what that means. It’s so sad that people are so not into what they do.

But when you’re new and you’re working for people who don’t notice, they are going to publish that shit anyways. Or famous last words, they’ll go ‘Don’t worry we’ll fix it later’ and then they don’t. That’s our career and our reputation. I teach my students to utilize the right products for your job and when a photographer does work with you they go holy shit, I usually spend two hours on an image for my regular makeup artist, but you come in and all I had to do was get rid of her facial hair, one zit, and we’re done. I mean that’s what makeup artists should do.

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dM: Yes, also being able to read people when they don’t even know what they want and then being able to give them that is a plus.

For those of us that aren’t makeup artists, like myself, but regularly go out and have a good time and end up taking pictures with people and not getting the look that they want, what types of makeup should we be looking for if we’re going to be in front of a camera a lot? Photo friendly products.

DM: There are three things. Your moisturizer, your foundation and your face powder. In those three things there’s ingredients you have to avoid. You’ve got to avoid Zinc Oxide, which is the biggest culprit in just about every product in retail. Mica, Zinc, Paba,. It’s just cheap filler ingredients so they make more profit. They don’t give a shit. dM: What do you think of magazines, like ours, that try to push the boundaries with unconventional and perhaps dark beauty?

DM: I think it’s cool. I think there’s definitely a market for it. Obviously you guys know.

I think it’s good to mix it up.

Open people’s minds to see beauty and art and other things. I can look at it and respect it and be in awe, even if it’s not my thing, you know? dM:Yes. I’ve read that you keep a beauty bag that would rival most women’s purses. If we were to dump yours out right now what would we find?

What’s in it?

DM: Let me think. I think every single thing in it are my favorite products of course, and I won’t say every single thing in it.

There is stuff I sell at my own little store boutique, but I only sell things I really love, like Makeup Forever. The only thing I think in my purse that I don’t sell in my store would be Kevyn Aucoin blush. But my favorite things like the Senna cream contour kit, they developed a few years ago, I die, die, die for. Cannot leave the house with it.

Makeup Forever shadows of course. Foundations and powders are to die for. What else is in there. Of course all my own brush lines that I developed so I love my own brushes.

That surprises people.

Photographer: Gary Lyons MUA: Donna Mee Hair: Michelle Kalaj Model: Kat Nelson

Photographer: Dan Santoso MUA: Donna Mee Models: Stephani Downey & Heather

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dM: What’s the point of selling it if you’re not going to use it yourself? They’re amazing, especially the lip brush. The lip brush is my absolute favorite.

DM: My brush line literally took six years to develop. Right now I’m out of two brushes because they don’t make certain things anymore. You can’t get Mongoose hair anymore. I can’t find a replacement that I would put my name on, so I would rather not have a brush right now. It’s not about money for me. My brushes are not just something generic.

They are custom made. dM: Yes, they are. Swift lane change; Do you feel that learning how to properly take care of your skin should be taught in public schools?

DM: That would be nice, but I don’t think we’ll see that happening. Common sense should be taught and skin care is certainly a long way from that. The average person doesn’t know and most makeup artists don’t care about skin. Makeup artists that put a baby wipe on people’s faces traumatize me. It doesn’t matter if it’s got a cosmetic brand logo on it, it’s still a fucking baby wipe! They don’t realize when they get their first celebrity gig and they come up to some celebrity with a baby wipe on their face. The celebrity is going to kick you in the crotch. They’re spending a fortune getting peels and Botox and shit. You can’t put a baby wipe, that’s supposed to go on some little thing’s ass, on their face. dM: The general public really needs to know this stuff. I remember reading that you had a book that you were working on called “The Beauty Conspiracy”. Is that still in production? Are we going to have that any time soon?

DM: I’ve worked on that book for probably five years and I lost the entire thing to a computer virus. I know I should have had it off there. It got put on the back burner because I got a different book deal, and then that also got scrapped.

Then I got a book deal for ten “For Dummies” books, but that guy didn’t fully obtain the rights so that got scrapped. I think I should come write for you. dM: We would love that!

So, Donna, help me help the layman understand. Tell us what to look for in a good makeup artist. How do we figure out who is good and who is bad?

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Photographer: David Nguyen MUA/Hair: Donna Mee Model: Devon Barnes

DM: There are people that are great at doing everyday society, mall artists for the most part. There are tons that are horrible. Ask to see some unedited pictures. Ask for raw images to see the true quality of their work. If you’re looking for somebody for a wedding, contact the brides they’ve done to see how happy they were. It’s always good to ask for testimonials, or follow up yourself. Not a lot of ethics going on. People need to make a living. People need to pay for their kids. People need to pay for their bills. They’re not getting work because it’s not good. They’re in crisis mode, so they start scamming people. Sadly, some makeup

artists don’t know they suck. Most only see edited images, and they think ‘God I’m good’. So it’s not that they’re all intentionally fooling people. dM: So do you think that creative photo editing has helped or hurt the makeup artist?

DM: I’m not against editing. Things have to be edited. We’re fooled by looking at perfect images in magazines of gorgeous creatures with good makeup. It’s still been Photoshopped.

We can’t just pick an image and not edit it anymore because it’s not impressive. But there’s a level of ethical editing and then what’s not ethical.

Most people cross the line. They should get rid of the facial hair, or get rid of blemishes, or make her tummy not look so big. Ideally that’s what Photoshop is for. Part of a good makeup artist is honing your eye to improve your work, and if you never ask to see unedited images, that’s not possible.

Newer makeup artists are trying to master their craft. So if you tweak everything before they see it, they can’t ever figure out how to make it right for you. Cover your ass. If photographers won’t give raw images, have them come to your house and sit there for twenty minutes and look through the raw images at the very least. dM: That’s good, that’s a good rule of thumb.

DM: Totally. And of course, just when you think you ace it, you got to start all over. You have to. In this industry there’s so much to learn. Things most people just don’t even understand exist. There’s so much more to it… if you really want to master it!

Stalk Donna: Email: donna@donnameeinc.com Website: www.DonnaMeeInc.com www.EmpireAcademy.com Facebook: www.facebook.com/empireacademyofmakeup

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RYAN BURKE

“I’m an introvert so I tend to be very shy when I first meet people. I have found that photography and dressing up have been ways for me to connect with people without relying so much on conversation at first. The great thing about it is that I have become much more confident from what I do and I no longer rely on dressing up as a social crutch.”

~ An Interview with Ryan Burke

By Christine Lunday & Toi Green (Lasha)

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deVour Magazine: Can you explain your Portraiture to us?

Do you only shoot yourself in this manner?

Ryam Burke: My portraits tend to be documentary with an editorial flare to them, something that gives the portrait some extra magic, such as movement or rhythm. I shoot myself in this same manner. I always try to convey some element of emotion of feeling so that every photo feels like a different character in a different setting. dM: What do you feel is your strongest medium? Is it Photography? Makeup?

RB: I don’t know that I have a medium that I’m particularly stronger in at this point. I do still consider myself to be a photographer first and makeup to be an extension of my portraiture work. dM: Many artists admit to creating art that satisfies them.

That excites them.What turns you on?

RB: Transforming myself is a really empowering and exciting process. Every bit of creating portraits of myself and others excites me. I used to freelance more, doing head shots and weddings, but I would much rather shoot what I want to these days. I produce better work when I am passionate about the subject matter. dM: How long does it take you? From concept to actual execution?

RB: Most of the time I start with an outfit I want to wear. Then I conceptualize my looks, either right before I fall asleep, on the subway, or when I am in garment and flower districts.

Usually my ideas start off with a color scheme, motif, or material I want to use. I gather materials that relate to the original concept and begin turning them into headpiece/ face designs. I rarely have a precise idea of what I want the headpiece to turn into or what I want my makeup to look like in the end. The outcome is always a surprise to me. I think that working in an environment of spontaneity allows for more originality and creativity. dM: Without giving away anything, Is there a concept that you’ve been wanting to do for a long time?

RB: There are so many! I have been wanting to do a look based off of fast food. I want to do a look that is head-totoe flowers. Like one big bouquet but designed in a very fashionable way. I want to do a look where I am wearing a gown made out of burlap and netting materials with a beehive style hairdo that is made out of rope. I want to do a look in a gold dress with a collar that covers most of my face while the top of my head is covered in long gold spike pieces. When I lie in bed at night I get an almost infinite number of ideas. My biggest challenge is focusing on one idea at a time and executing it to the fullest extent without over embellishing.

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dM: What is it inside of you that makes you feel the need to connect with the public?

RB: I’m an introvert so I tend to be very shy when I first meet people. I have found that photography and dressing up have been ways for me to connect with people without relying so much on conversation at first. The great thing about it is that I have become much more confident from what I do and I no longer rely on dressing up as a social crutch. dM: I read that your looks can take up to 4 hours to perfect.

How long is the removal process and what do you use?

RB: Yes, my looks rarely take less than four hours. Makeup alone takes four to eight hours because I never plan my face out. I just start adding color and lines and contouring and pearls and paper until my face looks balanced and complete. If I am wearing a headpiece and jewelry then that can take anywhere from two to ten hours to create.

Not including the time spent gathering the materials. This also doesn’t include the time it takes to find clothes which is a completely different process. My roommate, Domonique Echeverria, is a designer and has been a huge help in styling.

I’ve worn several of her gowns. While our aesthetic is often different we are able to bounce ideas off of each other and push each other to go farther.

It usually takes 10 to 30 minutes to remove all my makeup.

I use baby oil, cold cream, and makeup wipes. Sometimes I have to use dish soap if nothing else is working. dM: You recently relocated to NY from LA. What has the transition been like artistically/inspirationally for you and your work?

RB: I moved here a year and a half ago. New York has forced me to become better and grow. I intended to stop dressing up and focus on photography alone. But the network of people that I knew, and met, consisted of nightlife personalities so I naturally became a part of the club scene here as I had been in LA. My roommates, during my first year, were two grad school students at Columbia, one Pete Swanson who is also an amazing electro/noise artist and Sarah Archenbronn who brought me to New York and encouraged me a great deal. I felt so inspired here and taught myself more about contouring and eyeshadow and began experimenting with a broader range of materials. My portrait photography became more refined. I would go out almost every week riding the subway alone. This summer I moved in with Domonique who is a very inspiring and creative person. Living with her has definitely had a profound effect on me. I also started hosting On Top for Susanne Bartsch which gave me a budget to create more involved looks. dM: Where does this style come from inside of you? How did it evolve into what it is? It is unlike anything most have seen.

RB: About eight years ago when I first got into photography I was obsessed with Ouka Leele. Her style is very colorful and whimsical. I also have a strong adoration for Dovima, the 1950’s supermodel as well as Audrey Hepburn, especially

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in My Fair Lady. My style doesn’t come from any particular movement or design, however, but rather a combination of many different things I have encountered in my life.

A friend of mine in LA showed me how to create geometric shapes on the face using glitter, chapstick, and tape. I started with this and expanded adding eyeliner, eyebrow cut-outs, pearls, and other materials. I have always been the type of person who could never settle on one particular style of dressing or one genre of music so naturally I tried all sorts of things. I think that my style is so different because I didn’t grow up with fashion magazines, or watching party monster, or knowing what club kids and drag queens were.

I’m from rural Virginia and I had a very sheltered childhood where I wasn’t allowed video games, or much television, and I feel like I owe a great deal of my imagination to coming from that kind of environment. dM: As a MUA, what is the first thing you see when you look at a face for the first time? What are you immediately drawn to?

RB: The first thing I am drawn to is the eyes. No matter what you wear on your face or your body it is almost always the eyes that have the largest impact. dM: What comes first the completed concept to put on a model’s face or a model that inspires a concept?

RB: I almost never have a completed concept drawn out first. I always start with the model, followed by the outfit, headdress, makeup and accessories. dM: What do you see for yourself in the future? Travel, celebrity transformations, artist collaborations, etc?

RB: I would like to be an editorial and fashion photographer for a variety of magazines. Occasionally I would like to art direct and do makeup as well. I’m not as much interested in celebrity transformations but that is not to say I wouldn’t love to do them. I also absolutely love collaborating with other artists. Most artists benefit from working with other artistic minds that push out of their comfort zone. dM: How soon will you be back to LA to shoot with us?

(And, yes, that is a major invitation.)

RB: I’d like to visit closer to the summer of 2014. I cannot wait to collaborate with you!

Stalk Ryan: Website: www.ryanburkephotography.com Twitter/Instagram: @ryburke Tumblr: ryburke.tumblr.com

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NICOLE MCCORD

“The difference between tattooing and painting is pants. I have to remind myself that I can’t just roll into the shop sans pants, with a bottle of red wine in one hand, and my cat in the other. I haven’t achieved that level of eccentricity yet though I am hopeful.”

~ An Interview with Nicole McCord

By Natasha Vi

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deVour Magazine: It’s the beginning of the zombie apocalypse and you can only select one weapon, what it is?

Nicole McCord: Strangely, I already have my weapon of choice, a good friend of mine, Kay Townsend, brought me back a almost solidly rusted out Machete from a post apocalyptic party called Wasteland Weekend. I have decided to name her ‘ Tetanuschete’... hopefully it’ll serve dual weaponry purposes and also give the zombies lockjaw. dM: You are not only a tattoo artist but a traditional artist as well. Which occurred first; the love of art or the love of tattoos?

NM: I’ve been defacing the inside of Dr. Seuss and Silverstein books with crayons since i was three, drew on all my friends during class in high school, and stole their souls in graphite on a pilfered illustration board that I got from the art room during lunch hour. So I think you could say art has been a bit of a compulsion ever since I can remember. I don’t even go on vacation without my art supplies. I get separation anxiety. dM: How difficult do you find translating your artwork 56

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into tattoos? What is particularly tricky about this process?

NM: The difference between tattooing and painting is pants. I have to remind myself that I can’t just roll into the shop sans pants, with a bottle of red wine in one hand, and my cat in the other. I haven’t achieved that level of eccentricity yet though I am hopeful. Transitioning between painting and tattooing is tricky because with painting I have unlimited time to refine and change, if I want to take it in a different direction, and there isn’t a possibility I will make my canvas/watercolor board/archival paper bleed or cry.

It’s a difficult thing when you’re an extremely empathetic person who hates hurting people. dM: You have a beautiful ability to capture the female form; is this natural talent or the result of extensive study?

NM:I wish I could say I took a ton of schooling and study so I could pretend to know what I am doing, but the truth is, I’m just exorcising random images that are constantly popping up in my head rather inconveniently, and most of those images are female. I am extremely fortunate to have a bevy of offensively sexy friends that don’t mind when I steal their photos and force them into being muses.

dM: Tell us a bit about your study, training, apprenticeship and experience in both tattoo and traditional art.

NM: Oh man.. The only artistic training I had was in high school, which amounted to 4 years of mostly being assigned self-portraits, and me countering by technically completing said assignment by doing my version of it (i.e. this is what I’d look like if I were Medusa). Then I’d hate it and throw it away, at which point, I walked by the janitor’s office a week later and he’d have a sketch of me as a 1940s pinup on the wall (yes, this actually happened). My tattoo apprenticeship happened sixteen years ago and the experience was more like being a personal assistant for two years. I really didn’t develop as an artist until I left that shop and after I became inspired by other artists. I am still so thankful that I have always been incredibly inspired on every artistic level. I draw every day no matter what the circumstances may be. My love affair with Chartpak markers, which only began in 2011, started when I picked them up to try them out and now we are inseparable. I occasionally have a four-way with marker, ink, and acrylic, but that also depends on how much wine is involved. dM: Are there any styles of tattoo or traditional art that you find tricky and with which styles are you most at ease?

NM: Tattoo wise, I love everything. However, I do prefer tattooing with color, and I absolutely adore reworking

and covering up existing pieces. In my opinion it’s like getting paid to do community service. I also don’t tattoo portraits but I will paint them. I think it’s because none of my portraits are photorealistic. Personally, I use something unique that I know about the subject, and then build a theme around them. There’s a lot of organic thought and flowing movement involved in my creative process. If I could do the portrait my way I would be all over it, but most clients value realism. As for a traditional art style that I like and love to do I would have to say dark, macabre, and overtly sexual. I would say I have a raging “art-rection” or something awkward like that. dM: Favorite tools of the trade? Any equipment you refuse to create without?

NM: It would have to be Michael Bergfalk and Shag machines, Eternal Ink, Wizard Blood and Harpy Tears. As for art tools: Chartpak markers, FW Ink , Golden Liquid Acrylics , Denny’s crayons for kids, and paintbrushes ratty enough to look like witches brooms. dM: Of your many works (both on your person and created works), which has the most meaning to you?

NM: I don’t think I can narrow that one down. Artistically, I feel like I’m just a conduit, all the ideas are in my head and chest kicking each other in gladiator sandals like the movie 300. The idea that kicks the hardest and for the

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longest time gets done first. After that I’m elated, but then saddened because the idea is gone immediately, and I no longer feel it anymore. I have either sold or given away everything I’ve ever done. If they are in my house, I will constantly feel like they aren’t finished, and the thought of that will harass me without ever relenting. I will say that my piece, ‘Burnt Offerings’, was extremely hard to let go of. It was a piece I created where I depicted a woman with burning antlers and hands of blood. The idea of this woman stayed with me for a few months because it was very cathartic and personal. She is now haunting my friend, as well as fellow tattooer, Oak Adams’ house now. I did give him fair warning about the negative energy that went into creating her, but he excitedly accepted the challenge. dM: What is the strangest tattoo request you have ever received?

NM: As a woman in my industry I get a ton of creeps and prank emails. There was one sent to me a few weeks ago from a man asking me to tattoo his asshole to look like a female’s parts. He was also kind enough to send anatomical illustrations as a reference. After a few messages, he dropped his request, and thankfully I do have the right to

refuse any offers or requests I’m not comfortable with. dM: Which part of the body do you most prefer to tattoo?

NM: Anything with skin. I have been asked to tattoo toenails before and the idea made my skin crawl. I’ve been working on whole backs and appendages for the last few years. It is thrilling and I’m still in awe of it. It is of utmost importance to me that the design I create compliments the client’s body and flows smoothly. Composition is key. dM: Do you have any industry idols, inspirations, or mentors?

NM: With the inception of Instagram I have found a number of people that inspire me. Too many to list. There is some stunning work coming out of Australia right now. I don’t understand what they are putting in the water over there, but they are such a hotbed of talent. Some favorites of mine at the moment are Emily Rose Murray, Dean Kalcoff, and Dave Olteanu. Some American picks that come to mind are Issac Fainjuken, Mike Roper, Michael Bergfalk, and Sung Song. dM: As a female tattoo artist, have you had to deal with any gender bias? Or, what has been a particularly difficult experience you’ve had to deal with, and how did you overcome it?

NM: This has been a constant topic at work lately and something that really gets under my skin. Tattooing has always been a male dominated industry, and with the creation and popularity of reality tattoo shows, women will have an even harder time getting into this industry. If women want to be taken seriously as an artist by their male counterparts, they cannot take the easy route of exploiting their looks to get clients. Instead, women should be throwing all their energy into becoming an amazing tattooer/artist. Spend your time drawing and trying to make each piece better than the last. Do it without the desire of being on the cover of a magazine and wearing a bikini fueling your end goal. Just a note to the clients, you should not choose your artist by gender, you should decide by their talent. dM: As artists, nearly all of us experience moments of doubt, frustration, and the dreaded creative block. How do you push through and pull yourself out of this obstacle of creativity?

NM: Honestly, I don’t have artist’s block because I draw every day. The more you draw the clearer your artistic vision gets. The longer in between creating the harder it is to create. I follow art blogs, google high fashion images, and watch highly visual movies. Every little bit helps. dM: What do you consider to be your greatest driving force?

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NM: Caffeine. I get up every day, sit in a chair, and Flashdance a bucket of latte on myself. After caffeine I

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proceed to wrestle every day into submission. dM: Are there any exciting new creative developments in the works for you?

Stalk Nicole: Website: www.urbanarttattoo.com Instagram: @nicolemariemccord

NM: I do have a solo exhibition coming up this summer at the Filmbar. At the moment, that is the only thing that comes to mind. Although, by the time this interview is published, I’m quite sure I will be well on my way to over committing myself to multiple art shows in one month. This while simultaneously working full time, eleven hours a day, and also catching up on painting commissions. Basically I have almost no time for sleep.

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COLLIDE

“When I make music, I open myself up inside and then pull something out which is a combination determined by what I am feeling and how the music makes me feel at that moment. After that, I am done and I don’t ever go back and listen.”

~ An Interview with kaRIN & Statik

By Toi Green (Lasha)

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deVour Magazine: You are a band that has been missed.

Some would even say there is a hole in the space in which you used to occupy.What have you been up to? And can we expect to see an album from you in the near future? kaRIN: We have been together as a band for a long time now and have released quite a lot of music. We have also been lucky to work with a lot of amazing people. This is the first time in 18 years that we are not actively working on a new Collide CD. I think after 18 years it’s okay for us to take a break and step back. I’m not sure that we have really been gone long enough yet to be missed, but I am happy to think that we have a space that we fill and that we would be missed. As for when we will be working on a new Collide album ...sometime in the future for sure... although I can’t say exactly when.

Statik: It’s one of those things that requires timing. When the time is right, we will know. It’s good to get some perspective for now. dM:Your music has been featured on shows like True Blood, Vampires Diaries, NCIS, and in the Underworld franchise.

Which has given you the biggest boost? How much do features like these actually help your project? kaRIN: We have been really lucky to have had our music licensed in quite a bit of TV & Film. Every bit helps get the word out there and it is deeply appreciated. I would have to say though that it all feels like a drop in the bucket as far as actually changing anything. dM: kaRIN, if you could exchange voices with another artist for 7 days, who would it be? kaRIN: Hmmmm... I have never been asked that question.

Maybe I would like to take Sinead O’Conner’s voice for a spin. She has a depth and a power that is haunting. If not her...Nina Hagen because her voice is so “out there” and she does so many fun things with it. dM: Out of all albums released, which holds the most memories? Why? kaRIN: Definitely Chasing the Ghost. That was written at a very emotional time in my life. My Mom had just died of breast cancer and I had been taking care of her for the previous 5 years. Chasing the Ghost was my way of dealing with all the emotions that I was going through. It was very cathartic for me. Writing, for me, is always self soothing, but this was done at the time that I needed it most. dM:What musical collaboration besides The Secret Meeting has been the most memorable? kaRIN: We have worked on some really cool things and with some really cool people. We were both fans of Curve and

felt so lucky to work with Dean. I would have to say one of the coolest experiences for me was going over to our friend cEvin Key’s (Skinny Puppy) and doing some guest vocals for his side project Plateau. Lets just say he makes the best coffee, there was a little smoking involved and a ghost...so it was awesome!

Statik: In the early 90’s I worked with a lot of different other people as a programmer. I got to work with Prince for 3 years, and I was a big fan of his music. I also did some work with Michael Jackson after that which was interesting as well. I’ve done programming on a couple of Tool songs, and we’ve been lucky enough to get Danny Carey to drum on a couple of our songs. dM: You are a band that has chosen not to tour. Do you feel like you may be missing out on an important piece within the “Fan Experience”? Do you ever crave the live performance aspect? kaRIN: I feel that there is a difference between being an artist and a performer. I like to make things but I don’t necessarily crave attention. If it wasn’t for Statik I would just sing forever and nothing would be released. I would probably rather have a drink and hang out with someone than entertain them. When I make music, I open myself up inside and then pull something out which is a combination determined by what I am feeling and how the music makes me feel at that moment. After that I am done and I don’t ever go back and listen. I am a creatively driven person and there is only enough time to move forward. I am so glad we had the live experience but creating is what I love the most. I was a sensitive child and creating is my ultimate escape. It allows you to make your own world.

Statik: Do I think that touring could be a great experience?

Sure. I had a great time when we did our little string of shows. Even at that level though, it was hard. I felt like I was kind of the musical director, and had to make sure that everyone was ok, and from their monitor mixes, to the gear, and everything else. If I could just play my parts, and just be a “player” that would be great. Our setup was fairly complicated so there was a lot to keep track of. It wasn’t just a couple of dudes plugging in their guitars to an amp. I guess I wanted to see if we could do it to the level we did.

The answer was yes, but it wasn’t easy. dM: Alternative Celebrity affords you the luxury of still having a somewhat private life. To some that can be seen as both a blessing and a curse. Most interviews end up strictly being about the music. Do you ever wish that a journalist would dig a bit deeper and get more personal?

Would you be opposed to that? kaRIN: I am a private person, but I am open to anyone asking more personal questions. It is still my decision to answer them the way that I want.

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Stalk Collide: Website: www.collide.net Facebook: www.facebook.com/Collideband 68

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Statik: I suppose our personal lives are pretty boring for the most part. We walk our dog, make dinner, and a bunch of other stuff that just isn’t too exciting. dM: You two met at a club here in Los Angeles and began sharing common interests. When did you realize the chemistry went far beyond just music? How does that translate within the music? kaRIN: We were seeing each other prior to making music.

I would say that the chemistry of finding out that we could also make music together completely enhanced the relationship. We always treated the two separately though and one did not depend on the other. I don’t know that is does necessarily translate in the music...we are both not easy to please people and the combination of our differences is what makes it interesting. The relationship is ultimately much easier than making music together.

Statik: There was a time when I first heard kaRIN singing, with her acoustic guitar, and I was like ‘you know, I like your voice a lot, maybe you’d like to sing to a song I’m working on?’ That became “Dreams & Illusions”. So the music didn’t come first. At this point we do try to keep it separate. When we’re in the studio together, I have to be able to talk to her as a producer, and not just be the “yes” person, who thinks that everything is great. kaRIN: Yes, there is no “yes” person. dM:What is the most amazing thing that you can share with us about the other? kaRIN: Statik is very funny and does not like peas.

Actually the most amazing thing about Statik is the way he cares for animals.

Statik: Besides being a great singer, kaRIN has been a designer for as long as I have known her, and has run her own business that whole time. That in itself takes a lot of dedication and hard work. dM: For a period of time Statik you felt as though there was a lack of good music coming out. Is that within your genre or just in general? What are your tried and true, never-let-me-down, albums or artists?

Statik: I would say, in general. Even if there is good music out there, there is just soooo much crap out there, it’s tough to find it. Most music magazines are gone as well as record and music stores. I’m not sure if the music business will ever be the same. Well I know it won’t.

People will hear whatever is the loudest and most obnoxious thing of the day. I don’t think that I have any never-let-me-down artists any more unfortunately.

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REBECCA TAYLOR

“From the start of my career path as a stylist, I always knew I wouldn’t just want to be average. I dreamed of doing hair for runway, creating avant garde editorial work, educating, hair shows, etc. I’ve had a lot of ups and downs along the way.

The ups are amazing and make you feel like you’re really doing big things and ‘have arrived’.”

~ An Interview with Rebecca Taylor

By Natasha Vi & Toi Green (Lasha)

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deVour Magazine:You wake up late and have only enough time to get dressed. As you are running out the door, you only have enough room left in your hand to grab one hair related item; what do you choose?

Rebecca Taylor: First of all, I will not leave the house without filling in and arching my brows. That’s hair related right?

Besides that, I go several days between shampoos because I have purple/magenta hair and I don’t want it to fade too quickly, so I’d say my dry shampoo. Love that sh**! Smells amazing, volumizes and mattes it with just a few sprays. I’m partial to Joico Instant Refresh. dM: What prompted your entrance into the world of hair?

RT: You know, I wish I had a better story, or could remember that specific moment when I just ‘knew’, but it didn’t happen like that for me. When I was a kid, my mom said I would always cut my She-ra dolls and My Little Pony’s hair. In high school, I would always cut and/or color my friends’ hair, as well as my own. I still didn’t see the vision that would be me when I grew up. I did a little of this and a little of that before cosmetology school. Things like selling the New York Times, working as a travel agent, going to culinary school, studying marketing and finally ended up deciding to look into hair school. After that first day, eight years ago, I knew this profession was my calling. I have strived for perfection, and one day hope to become a wellknown and talented force in this industry. I’m not exactly there yet but I’m working on it. Every day is another chance to accomplish something new. That’s how I look at it. dM: Please tell us a bit about your background, training, and experience in this industry.

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RT: I went to Pensacola State College for Cosmetology (here, in NW Florida) and graduated early on the Dean’s List, with a 4.0 GPA. I am incredibly competitive, but not in the sense that I’ll scratch and claw my way to the top at another’s expense. I’m hard on myself and I’m somewhat a perfectionist when it comes to doing hair. After school, I went right to work at a Regis here in my area. At the time, I figured it would be a great place to build a clientele and start really honing my skills as a stylist. I watched every DVD I could find pertaining to hair, went to every class or hair convention, started collaborating with local photographers and models for session/creative styling and took on special ‘side project’ color clients that would let me experiment.

I started marketing myself on good ‘ol Myspace at the time (later Facebook), posting pictures of my work, and building a reputation for myself as a colorist and session stylist. After a year at Regis I responded to a classified ad on Behindthechair.com for a national educator’s position with Joico. I got the job, began to travel for work and went from Regis to becoming a booth renter. At this point I’ve been with Joico for about five and a half years. I’ve traveled all over the country getting educated from some of the most talented, well known, industry icons (Beth Minardi, Damien Carney, Sue Pemberton, Tabatha Coffey, Vivian McKinder, Robert Cromeans, etc). I’ve been on set in NYC with Damien Carney (world renowned, avant garde,

editorial stylist) and been flown to LA to be taught one-on-one with the most influential colorist of our time, Beth Minardi. I’ve been published in multiple national beauty/fashion magazines, both in print and online. Just this past year I finally opened my own studio, Vivid. Artistic Hair Design and just recently won Best of the Coast Best Hairstylist, Best Wedding Stylist, and Best Salon 2013. dM: We know you are passionate about your craft, but we would love to know why.What part of the industry really sets your heart aflame?

RT: There are two parts to me as a stylist. The ‘service provider’ part of me is the stylist behind the chair everyday taking clients.

It’s the part of me that is doing thorough consultations (face shape, skin tone, lifestyle, at home maintenance, etc), giving the client exactly what they want, so I can witness that look on their face when they see themselves in the mirror at the end of the appointment. I get chills sometimes when my client tells me how beautiful she feels. That is one aspect of hairdressing, and one side to me as a stylist, that is very fulfilling. The other side is the artist in me that just wants to create and experiment without restrictions or input…just have complete and total power of expression. I know with paying clients, this isn’t the ‘Rebecca show’ and they still need to have something wearable for them.

With that being said, I organize photo shoots or ‘guinea pig models’ to explore my edgy, dark, avant garde, high fashion,

bizarre, bold, colorful alter ego. I have an extensive portfolio of both types of hair….and both of my needs as a stylist are met. Many, as my career has progressed, of my paying clients have sat in my chair and said ‘go nuts, I’m your canvas’. The fact that they trust me explicitly based on my body of work and portfolio is pretty awesome. dM: Do you see anything lacking in the beauty industry that you’d like to see change, such as the lack of color experimentation and avant-garde styling on AfricanAmerican hair? Or the lack of education in schools about proper hair and skin care? What are your thoughts and ideas?

RT: I have a few peeves, yes. As far as color experimentation goes, I am dumbfounded as to why so many employers and schools still dictate a person’s hair color and deem fashion shades ‘distracting’. How can they allow (as an example) chunky platinum and black highlights and not a few subtle, peek-a-boo, turquoise or violet shades? It makes no sense and irritates the hell out of me! I try to push the envelope with my clients because you might say I have a little problem with authority. I have a knack for ‘hiding’ color in the interior of their hair, so it can be wrapped up in a bun/ponytail at work and very visible when the hair is down. I’m hoping that, in time, society will accept brightly colored hair as a thing of beauty instead of a ‘distraction’. It’s getting a little better I think…I’m seeing progress.

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Education is another topic I could go on about for a while.

Programs are really only as good as the instructors they have running them. Since there are so many types of schools out there, with so many different kinds of curriculum, hour requirements, etc., it is up to the student to finish their program, absorb what they can from school, and take the initiative to learn everything they can on their own. Hair shows, private classes, webinars, DVDs, apprenticeships, and practice are just some ways to become a better stylist.

How much you pay for your tuition is not indicative of how great of a stylist you’ll be.

I actually see many women of color (African-American, Asian, Latin) being used as models for avant garde styling. To me, bone structure is the most important element when selecting a model. A more exotic look, darker skin tone, super pale skin tone, freckles, light eyes/dark skin, very long neck…those kinds of attributes are a plus to me. I like a more obscure aesthetic when I’m selecting a model for a fashion or beauty editorial. But that’s just me. To be honest, hair texture is not really a factor for me when it comes to avant garde session styling because most of the time hair pieces of synthetic will be used. dM: What are your favorite styles, cuts, and colors for your clients? Are there any hair trends you absolutely adore or abhor?

RT: I’m partial to anything unique or cutting edge. I like both balance and contrast. For instance, I love asymmetrical cuts but they still have to be executed to be balanced to the eye in terms of the face shape and how the texture is blended.

I like undone, effortless styles/waves, frothy micro-crimped texture, and deconstructed braids are always cool. Color wise, I love many styles and techniques. I just love color period! At the moment I’m into very blended balayage highlights and modified ombres for natural shades. For bold colors I love color melts and my signature technique called ‘chameleon color’. It almost looks like watercolor. It seamlessly blends from one shade into another. Every way you turn it looks like a different hue. It’s hard to explain, but it’s friggin’ beautiful. I also love pastels…mint, coral, peach, silver, lavender, etc. I hate mullets, chunky highlights and reverse ombres. dM:You use a lot of vibrant colors in your work: this is your trademark. Do you consider this your artistic medium or -and perhaps this is a stretch- a cool science experiment?

Perhaps a bit of both?

RT: I’m absolutely known for my use of vibrant (fashion) color choices. There’s a reason I named my studio Vivid. It’s been my trademark for almost my entire career. I just started doing color experimentation on the side for willing participants and added to my portfolio. As time went on, people started requesting the colors they were seeing in my portfolio. As more people came in, the more my repertoire grew…so on and so forth. Now, I’m known not only locally for this type of color, but I have stylists all over the country following my work and asking for tips and formulas. I strive to use edgy colors but execute the placement in a blended, natural way…just to 74

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kind of elevate the whole idea of using these colors. Coming up, in 2014, I have classes I’m formatting to teach some of my techniques and color theory to salons nationwide. I’m also doing a lot with Joico’s fashion shade series, Intensities. dM: Besides your immense love of Joico, what are your other favorite tools, brands, techniques or products of the trade?

RT: I do love Joico, that’s pretty clear, but ultimately I use what works. I love Kenra’s shine spray and texturizing taffy, those products smell like candy. You’re almost tempted to taste the taffy! It’s purple and smells so good! I love my Babyliss curling wand and micro-crimper for editorial looks. I also use a product called Prewash by Beth Minardi Signature, which is a simultaneous conditioning treatment used between foils while the hair is processing. It’s a rad concept because not only are you conditioning the hair while it’s being colored but you also have more control of your foils. I use very thin, pliable wire with some of my avant garde styles and sometimes spray adhesive with synthetic hair. You should see my workshop at my house. The amount of industrial tools and materials I have laying around for my hair projects is comical. dM: What is your number one fool-proof tip for a flawless look?

RT: Prep with a matte finish product for control (Joico Instant Refresh, Humidity Blocker, Power Spray) and your style will be more pliable when trying to shape the look whether it’s a top-knot bun, braid, waves, etc. Make sure the silhouette is balanced for your face shape and finish with a med/light hold setting spray (Joico Power Spray). If you want a little extra shine or if your hair looks a little dull, mist your style lightly with the Kenra shine spray. dM: If you could cut anyone’s hair, alive or deceased, who would it be? Why?

RT: Dax Riggs (lead singer of Acid Bath, Deadboy and the Elephantmen, Agents of Oblivion) because he’s a gorgeous specimen with the voice of an angel. He’s been my favorite musician since I was probably eighteen, I’d say, and I’m thirty-two now. I would tell him he needed every service I could think of (eyebrow wax, deep conditioning treatment, shine gloss, keratin treatment, highlights…I don’t give a damn!) just to keep him there longer and make him sing to me while I shampooed him in the dark. Yeah, that’s not creepy or anything. I could have said someone more influential like Vidal Sassoon or something but I had to keep it real. Dax Riggs is a fox. dM: What surprises you the most about what you have managed to achieve in your career?

RT: Every time I get a message, text or email, saying I inspire or motivate another stylist, it really blows my mind. It’s a huge compliment and really makes me feel like I’m making a difference. Also, the fact that I have a company that believes in me enough to spend thousands of dollars for me to fly all over the country to learn and teach others, is pretty epic as well.

Opening my studio this year definitely surprised me and, last but not least, being featured in deVour kicks MUCH ass! dM: Can you tell us about your biggest achievement as a stylist; perhaps a moment when you felt fiercely accomplished in a difficult situation?

RT: I’d have to say the opening of my studio in June.

Conceiving my concept for the studio, and the timeframe in which to open it, wasn’t under optimum conditions. The salon I was renting space from for about 3 years expanded their team and welcomed a few other stylists. Unfortunately the new group wasn’t meshing well. I can’t gloss over an deVour - Book 2 - January 2014

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rewarding aspects of working in the hair to be on point to create the hair they industry, with emphasis on fashion and envision. Both can be really stressful and runway? challenging situations because you’re working as a team and you don’t want RT: In terms of fashion/runway or creating to let anyone down or for them to let you looks for photoshoots, I’d have to say down. However, getting those images actually conveying your vision to the back and being absolutely blown away team and having it become a reality. If I’m with how beautiful they are is one of the That same day I rode around looking coordinating a shoot for the purpose of most rewarding feelings ever. for either a new salon to call home, or a location to possibly dM: Every artist experiences open my own salon. Second lesson-learning setbacks; spot I came to was a gorgeous what has been your most turquoise cottage with the significant and how did it perfect square footage, space shape you and your career? for what I needed, downtown location, price...everything! I RT: From the start of my put the deposit down the next career path as a stylist, I day and began the toughest always knew I wouldn’t just job of my life and career.... want to be average. I dreamed opening my first dream salon of doing hair for runway, in thirty days (well, more like creating avant garde editorial twenty-nine). work, educating, hair shows, etc. I’ve had a lot of ups and Already a long story short, it’s downs along the way. The ups a beautiful space that I’m very are amazing and make you proud of and we even won feel like you’re really doing runner up Best of the Coast, big things and ‘have arrived’.

Best Salon within months of Then when there’s a lull in creativity, you are uninspired being open. With the help and or you get discouraged, and support of my fiancé, Keith, that’s a bummer. Not a good we just went for it and made feeling, especially if you’re a scary thing happen in record hard on yourself like I am. But time. it happens, just don’t beat yourself up over it. I’ve learned dM: Was there ever a time success is a process, it’s not where you ever seriously going to come in an overnight considered quitting? express package wrapped up in a pretty bow for you.

RT: During the whole process There are tears, sleepless of dealing with the epic load nights, long hours, lack of a of bullshit from the last social life, people hating and salon... that would be it. sacrifices involved in achieving Unhealthy competition, drama, greatness in your craft. I know v i n d i c t i v e n e s s , j e a l o u s y, that now. I’ll just keep working insecurity, backstabbing, etc. on achieving higher and high are all unfortunate bi-products levels of success with trying to maintain of doing something for a living that has to do with using your own abilities and my portfolio, or the photos need to be hair some sense of balance in my personal life creativity to compare with another. That or beauty centered, I’m responsible for and not get so discouraged when things whole scene before I opened my own clearly relaying the concept of the shoot. don’t go as planned. salon was exhausting and negative. It From choosing a photographer, model, was either open my own place or run MUA, set/wardrobe stylist....your whole away and join a circus or something. I just team, that would best be able to nail the don’t know what I would do if I didn’t do concept. This can be very challenging. hair. I just adore what I do too much and You have to clearly communicate both will never let another person sway that verbally and visually with references.

That’s one scenario. Another would be adoration again.

Stalk Rebecca: if you’re the stylist working on another FB: www.facebook.com/VividArtisticHairdesign dM: What are the most challenging and person’s project/concept and you have Instagram: @vividartistichairdesign awkward situation and the tension was killing me. I wasn’t enjoying being a stylist for the first time ever and I knew it was the tense environment and just drama for a lack of a better word. So, without knowing my next move, I gave my notice that I’d be out in thirty days.

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SHINING (NOR)

“It’s easy for me to hit what I aim for. But I do feel there is still something that I don’t have control over. It’s something inside me that really dictates what I’m going to do. I might think that the next album will be this or that, but when I sit down that’s when the decisions are made. So I have no idea...”

~ An conversation with Jørgen Munkeby

Photos by Levan TK

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By Nadia Carmon

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deVour Magazine: There seems to be a movement, in extreme metal, towards experimentation and genre blending. Metal bands are becoming more avant-garde and progressive but you guys, on the other hand, seem to have done the opposite, starting out as a jazz ensemble and then moving to incorporate a harsher more metal sound. How did this come about?

Jørgen Munkeby: First of all, I agree with what you’re saying.

That it seems like there’s a movement in the metal scene towards more experimental stuff, or at least the last five years. I’ve seen loads of bands going that direction. Bands that experiment with jazz elements in their music. We have, like you’re saying, gone the other direction and it might seem weird. To me it’s not that weird because I personally grew up with metal music before I was into jazz music.

When I was young I listened to Pantera, Sepultura, and the Swedish band, Entombed, and all that kind of music. I listened to them long before I listened to jazz music. Then I eventually started playing jazz music and spent fifteen years playing and studying jazz music. dM: Who were your influence and inspirations in jazz?

JM: I wasn’t really into jazz or what my idea of jazz was.

Obviously jazz, like many other genres, has a wide variety

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of types. As there are different types of hip hop. You know metal might be the world champion in sub genres. I thought I didn’t like jazz because I, obviously I hadn’t heard that much jazz but I wasn’t really into checking it out either. After a while, I started playing the saxophone. I have no idea why I chose that instrument. It was not because of jazz music. I was still listening to metal music at that time. I was nine years old. Then I started playing the blues harmonica a bit. Then I played in some rock bands while also playing some guitar. Part of my education, my natural saxophone education, would be to study jazz music even though I wasn’t really into it then. I studied Charlie Parker and one time I bought an album by John Coltrane. Honestly, I didn’t really get it. I tried to understand it and then, after half a year, I bought another album. That new album really opened my eyes. From that point on, John Coltrane was my kind of leading star, my biggest idol for ten years. So it was John Coltrane, Miles Davis, and Michael Brecker from the 90’s.

A New York guy called George Scarzone, and a bunch of people, but John Coltrane was my main guy. dM: So how has it been going from music, with no words for the most part in your early career, to having to write?

How is that transition?

JM: I choose what to write. But, I also feel that since I have focused so much on the words, it’s been a very slow transition. On the newest album there are a lot of words.

We might focus a bit more on the instrumental parts on the next one. I don’t know. I recently wrote a piece for saxophone and string ensemble. It is for twenty-one string players and I am going to perform that piece for a festival in Norway. That piece was purely instrumental. While creating that piece, I found myself missing the lyrics because, to me, words and music, if done correctly, can elevate each other.

It’s an interesting thing to be able to put music to lyrics or vice versa. It can also be very awkward. That’s the thing with words. A bad piece of music isn’t really that awkward, but bad lyrics can be very awkward. So there is some risk to it also. I feel when it’s done correctly it makes the whole thing better. dM: The right lyric can create a movement. Some people are moved to acts of greatness just by music alone, which makes the combination of music and lyrics a more grand concept.

dM: Non-fiction?

JM: Non-fiction, yeah. Mainly about music, composition, philosophy, and whatever else interests me. I have tried to read the most important pieces of literature in our history but that’s more to fill in the holes and to make sure that I understand certain references in other writings. dM: That’s good. Is your personal music collection as eclectic as your sound?

JM: More I think. It depends on what you think our sound is. I’ve tried to kind of limit the eclecticism of it in our newest album. I’ve tried not to throw in too many different things.

That’s just because I feel it needed some kind of enhanced focus. If you look at Shining’s total output, even with the first two albums, which were acoustic jazz albums, I would say my musical taste is even wider than that. I listen to everything from Brad Paisley to Jay-Z and there’s not much country in our music and there is not much hip-hop either.

It’s pretty, pretty…

JM: Yes. It’s very natural because we use words all the time. I’m not saying that music has to have lyrics, but to me I’m in the frame of mind now that I find it really positive to have words-lyrics within the music. dM: It could just be a natural progression for you. A lot of people evolve into something bigger and greater. I mean, this is just your journey.

JM: Yeah, yeah. dM: Where do you draw your inspiration from lyrically?

JM: The themes are from my every day life. Some people have lyrics about dragons and shit.. I’m not really into that personally. So the themes I pick are important to me. I have studied other bands and other lyrics just see how it works.

For instance, Dave Grohl, he’s a great lyricist in the way he twists words, repeats words, and has words that sound kind of similar but are not similar. I find that really fun; to sit and twist the sentences. But that’s more on the technical side of things. dM: Are you an avid reader?

JM: I do read a lot, but read mostly manuals. dM: A lot of people, don’t read as much since the invention of the internet. I haven’t actually read a real book in maybe a year and a half to two years.Which is sad.

JM: There is a lot of good writing on the internet. I read more than manuals. I kind of tend to read more of the…

What’s it called..?

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dM: Pretty broad?

JM: Pretty broad, yeah dM: That’s good though. So you listen to Brad Paisley and Jay-Z. Who else would you listen to? What’s your guilty pleasure?

JM: I don’t want my music to be guilty pleasures. If there is something I like I don’t want to feel guilty about it. So that’s why I have no problem saying that I really like Brad Paisley. I also listen to anything that comes out of pop, like Rihanna and Britney Spears. Everything. Part of the reason why I listen to them is also to update myself on what’s going on with current production techniques and sounds.

I don’t really like the idea of feeling guilty about something.

Especially something musical. dM: I think that sometimes people get the wrong impression when you use the term guilty pleasure. I have a sevenyear-old daughter, we’ll sit in the car and we’ll listen to something on Disney Radio. I find myself singing and dancing along to it, and I just stop for a second.You have this moment where you pause and you’re just like, Oh I can’t believe I like that, but I really do.

JM: Yeah, if you define it that way as something that you like that surprises you, then I personally like that way of looking at guilty pleasures, more than it being something that you listen to and when somebody comes into the room you stop.

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Actually, if I had a guilty pleasure, something I sometimes can feel ashamed of, it would Facebook. I’m not really on that much. I’m more on our band’s page, but I do have to have a personal account to be able to log in to our band page. So I am on Facebook and the colors on my screen are fucking blue and white. I’m a bit ashamed because I don’t want people to look at my computer screen because they might think that I’m just fucking around looking at all my friends. It’s not music but that’s something in that aspect I kind of understand. To me that’s more of a guilty pleasure thing. Even though it’s more like I’m afraid to be misunderstood. I don’t do that to Brad Paisley. If I’m playing to him and somebody comes in the room he’s still on. dM: You’re going to turn it up?

JM: Yeah, yeah, yeah. dM: What was it like working with Ihsahn and how did he get involved in his project?

JM: He called me. He was making an album that was going to be called “After”. He wanted to have a saxophone player for some reason. He didn’t really know who to call so he had called a Norwegian jazz pianist, Dugel Vysaltoft, and asked if there was someone that he would recommend, and Dugel Vysaltoft knew about Shining. We had started incorporating some rock and metal elements into our music. I think we already had a collaboration where we composed a 90 minute concerto or symphonic concert. So he felt that I might be the right guy for him. Ihsahn called

me and it was pretty clear, even on the phone, that it was a good match. We were getting along well. Had the same kind of references and both were really interested in studio equipment. At that time I was recording, finishing up the Shining album, Black Jazz album.

So that’s what really happened. He called me and asked. He sent me some demos and short letter telling me about his ideas for some melodies here and there, and basically said that I could do whatever I wanted. If I wanted to improvise here and there, if I wanted to do other things, then I was free to do that. Then I just listened to it and went to his home studio where he lives, two hours outside of Oslo. We recorded a bit and talked for awhile about what the whole idea was. It was called, “After”. So the whole idea was that it was about the world “After” things had fallen apart. There was going to be no signs of life, pretty gray and lifeless. So that really changed my whole attitude towards the music.

We did a few other takes for solos and improvisations. We were all happy at that time. It was pretty quick and he was a nice guy to work with. I went home and he finished the album and it came out the exact same day as the Black Jazz album, which is pretty cool I think. dM: What do you envision musically for your next album?

JM: For our next album, I don’t really know. From my experience, it might change when I start working with it.

I have a song on the new album called, “The One Inside”.

That’s really about someone, something inside me.

I think that I decide but then I discover that there is something inside me that really decides more than I do myself. I also feel in making our music, I become better at writing. I become better at hitting what I aim for when it comes to writing a melody or a song. I become better at recording.

It’s easy for me to hit what I aim for. But I do feel there is still something that I don’t have control over. It’s something inside me that really dictates what I’m going to do. I might think that the next album will be this or that, but when I sit down that’s when the decisions are made. So I have no idea... Well I have some ideas but I don’t know if that’s what it’s going to be like. I have a feeling that maybe I like what we have created with Black Jazz. I think that’s a great word.

It’s a great idea and I personally don’t want to change it too much. But again that’s what I feel right now. Something else might happen. dM: Do you think that it is exciting? Or do you feel that it could be toss up of intimidation and excitement at the same time? Just letting everything flow as opposed to knowing exactly what you’re going to do?

JM: I don’t really know. I feel that there is nothing I can do about it. We have a word in Norwegian where expectations from others make you feel pressured by other people because they have expectations about what you’re going to do based upon what you have already done. That’s a problem and it’s always been a problem for me when writing, when I’m sitting down to make a new album. I deVour - Book 2 - January 2014

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always feel afraid that the new album won’t be as good as the previous one. That is something I feel every time.

I’m starting to feel that now. I’m afraid to get started, but I know once I get started I just let it all go and do what I feel is right. It’s both about what other people think and about my own expectations and just afraid of not meeting those expectations. dM: Have you done anything outside of making music?

Like scoring a film? Is there any other way you express yourself?

JM: I’ve been, fortunate enough to have never had another job other than making music. I started pretty early. I’ve been a musician all of my life. That’s a good thing. The bad thing is you have to work tremendously hard. I did have another hobby when I was young. I spent a lot of time doing martial arts, Jiu Jitsu, and mixed martial arts. Fighting and music. I wasn’t sure if I was going to be a musician or a professional fighter.

I ended up with music and the fighting I had to let go because I kept damaging my fingers and joints. It was hard to combine martial arts with playing music. Apart from that I haven’t done much else. I have been involved with movies, contemporary dance, and theatre. I do have a lot of interests so maybe in the future I will have time to do some other things. I am kind of involved with the Shining designs and art work. That is something I have also been interested in doing but haven’t yet.. It’s been music most of the time. dM: What sort of movies have you been involved in making music for?

JM: I haven’t done that many movies. A couple of short films by Norwegian directors, but I have done more for contemporary dance and theatre. There is a choreographer in Norway that I have been working with for three or four of those things. So that’s something that I really enjoy.

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Stalk Shining (Norway) Facebook: www.facebook.com/shiningnorway Website: http://www.shining.no YouTube: http://www.youtube.com/shiningofficial Spotify: http://open.spotify.com/user/shiningnorway

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BURDENED B E AUTY P h o t o g r a p h er : To r i Lan e M o d e l : C l a r a Rae M UA: R e b eka h Veen Ha i r : E r i n Gr ah am Wa r d r o b e S tyl i st: M arcu s No r van i J e w e l r y : Gi sel l e Ga tsb y

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Shirt: H&M Bowtie: Marcus Norvani

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Blazer: H&M Pants: Urban Outfitters Necklace/Rings: Giselle Gatsby

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Blazer: H&M Pants: Urban Outfitters Necklace: Giselle Gatsby

Shirt: H&M Bowtie: Marcus Norvani

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Blazer: TopShop 96 Giselle deVour - Book 2 - January 2014 Necklace: Gatsby

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P h o to g r a ph er : Jen n i f er Est eban M o d el s: Jen n i f er Thompson Ni ch o l as Mcleod B r ett Van Haaster Grisw ald M UA : Kath y O’Driscoll Desi g n er /Styl i st: Ch enoa Faun Lo ca ti o n : VisionLab

I Was In Love...

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clipped wings

P h o t o g r a p h er : So ph i e E l l en L a ch o wycz M o d e l s : P al o ma @ P r o f i l e M o d el s M UA / Hai r : A d el e San d er so n Wa r d r o b e S t y l i st: Ch r i sti an n e Lu ci an n e S t y l i n g A ssi stan t: Jay Si n g h P h o t o g r a p h y A ssi stan t: Ni co l a Na yl o r

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Dress: Taboka M Jewlery: TopShop

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Dress: Karentino Clutch: Pearls and Lipstick

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Headpiece: House of Halos 115 Taboka deVour - Book 2 Dress: - January 2014M

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Crown: Roses and Bones Bodysuit: Sanctus

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Dress: Karentino Jewelry: TopShop Clutch: Pearls and Lipstick

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H THE AUNTING Photographer: Irvin Rivera Model: Kira Conley @ LA Models MUA/Hair: Carly Ryan Wardrobe Stylist: Malcolm Joris Bacani & Bei Lautchang Photographer Assistant: Darwin Abad

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127 deVour - Book 2 - Gown: JanuaryRocky 2014 Gathercole

Headdress/Dress: Rocky Gathercole

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E C H O Photographer: Jonathan Roberts Models: Victoria Raemy @ Next Model Management

Adam Lee @ Models Direct Management MUA: Irene Mar Hair: Amber Nichols Wardrobe Stylist: Nichole Lumpkin Wardrobe Assistant: Torii Rurup Photographer Assistant: David Ramirez 133 Accessories: LZZR Jewelry deVour - Book 2 - January 2014

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Top/Shoes: Nasty Gal Pants: Zara

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La Douleur Exquise Photographer: Magic Owen Model: Ruby True MUA/Hair: Sabina Yunusova Designer: Sasha Louise

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subspecies Photographer: Philip Faith Models: Chloe Gilbert-Morin Joanie Darveau MUA: Dangerously Elektra Hair: Alexandra Apple

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Red Photographer: Raisa Kanareva Model/Designer/MUA: Alex No

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The Hunt...

Art Director: Christine Lunday Photographer: René Salvador Models: Karin Hallén MUA: Des Arellano Hair: Abigail Nuezca Wardrobe Stylist: Ali Levine Retoucher: Melina DeSantiago

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Vest/Bustier: Lip Service Skirt: Aidan Mattox Necklace: Marianna Harutunian Shoes: Priviliged by JC Dossier

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Gown: Olcay Gulsen Shoes: Ellie Shoes Harness: Marianna Harutunian Gold Bracelet: Stylist’s Own

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Gown: Diego Binetti 189 deVour - Book Necklace: 2 - January 2014 Harutunian Marianna

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