Tom Riker / Abadabad / Elizabeth Quesinberry / Felicita Sala / Mallory Rose / Yavonka Grady / Gypsy Threads/ James Turbayne
JAW
MARC H 2 0 1 3
N째3
contributing artists & writers ALEX GRANOZIO
ERIC RIKER
21
25
Age: Older than I look, younger than I feel. Current Job: Managed to work 50 years of hours in a 26 year time span. Musical Interest: All types, all volume levels. Self-taught musician, played in three different bands with a wide range of styles. There is nothing like playing in front of a crowd who dig what you are playin’. Cold Weather: HATE IT. No, really. I HATE IT.
23, 28
39
CHARLES SAIDEL
MELANIE SMITH —
Modern day Paul Bunyan, but instead of a Blue ox I have a long board that I use to carve down the hills of Gouverneur, NY, a small town where the Amish are considered regulars. Instead of an axe, I use my computer to chop down trees. By trees I mean design projects with dumb font choices and atrocious layouts. If I had to eat one meal for the rest of my life it would be ham, eggs, homefries cooked with onions, and garlic butter toast.
Twenty-two years old / writer, designer, and mother of one kitten / wreaking havoc on the streets of downtown los angeles / horror movie enthusiast / worships e. e. cummings, kurt halsey, and damien rice / obsessed with all things scandinavian / dreaming of my own type foundry.
CARLEY PARSONS —
44
What’s up? This is me. Beards, beers, and body mods. 21 in real life; 5 years old in my mind. Going on random ass adventures in nature or in walmart. Experimenting with food is what im about. I’ll try anything once.
9, 70
FELICITY GRACE ROSE JONES
COPY EDITOR
Twenty-three year old soul with an unhealthy fetish for stationary. My writing gets better when dressed in a good font. I like to make short films using tripodtoolbelt snorricams and skateboard dollies. A Frankenstein mix of Conor Oberst and “anyone lived in a pretty how town” by e.e. cuummings created the monster in me ten years ago and I’ve been spitting out awkward metaphors ever since.
COPY EDITOR
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Grandmother in a 23 year old body / artist + designer / swing dancin’ son of a gun / hand drawn type whore / avid snail mail sender / thrift store enthusiast / maker of nifty things + stuff / diy or die.
LAUREN MAHAFFY
YAVONKA GRADY
Twelve year old trapped in a twentytwo year old body / music student in boston, but dreaming about LA / roller coaster and dance party enthusiast / love everything that most people hate / the weirdest person you will ever meet.
Yavonka lives in Rhode Island with her handsome,in a Tom Selleck roguish way, husband Andrew. They share their home with a gravely voiced, chain smoking cat named Freckles, and an eighty year old in the body of a dog named Kobi. She loves Cherry blossoms, the smell of Pine Sol and finding new recipes. She only fears Dancing skeletons and Willem Defoe
41.42, 91
MICHAEL ROHR
SARAH LIDDELL
I believe in watches, wine, and Where the Wild Things Are.
22-year-old Buffalo native / knitting and doodling extraordinaire, but not all at once / seeing patterns wherever I go and sometimes putting them into print / a pencil in one hand and a tub of garlic hummus in the other / hand-drawn type, pastel colors, and purposefully off-register prints / future pig owner.
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58
A&J
FELICITA SALA Felicita is an illustrator and painter from Rome. She spent most of her life in Australia, where she graduated in philosophy and went to the beach a lot. She now lives in Rome, drawing beets and carrots and collaborating on stop motion videos with her husband Gianluca. For more info see www.felicitasala. blogspot.com.
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Who are we? Just a couple of sailortalkin’, vodka-imbibin’, cat-lovin’ gingers. Players of bar room trivia, seekers of adventure, appreciators of the great outdoors—so long as we’re not too far away from running water and an allnight Indian restaurant. Lovers of art and conceptual thought living in the plastic wasteland of Los Angeles. Alyson comes from a Fine Art background and currently works as a graphic designer. Jordan is a student of Literature who stumbled into writing ad copy and always feels like a phony when writing about himself in the third person.
in this edition JUMP JIRAKAWEEKUL
CAILEY TERVO
GYPSY THREADS
7
44
102
www.jumpjirakaweekul.com facebook.com/jumpjirakaweekul fiftypavements@gmail.com
caileytervo.blogspot.com www.society6.com/jedees fearsomeladies.tumblr.com
MALLORY ROSE
TOM RIKER
13
45
MalloryLucille.tumblr.com MRose@LCAD.edu
www.tomriker.com
ABADABAD
ELIZABETH QUESINBERRY
25
81
abadabad.bandcamp.com abadabad.tumblr.com abadabadmusic@gmail.com
www.iamwiza.com Instagram: @kwesynbearie quesenberries9@gmail.com
etsy.com/shop/gypsythreadsstore gypsythreadsstore@yahoo.com
table of contents INTRO
music
5.........JAW Statement
21........David Eugene Edwards:
FELICITY GRACE ROSE JONES
6........editor’s letter
design 7.........neopatra
JUMP JIRAKAWEEKUL
MELANIE SMITH
SARAH LIDDELL
The Genre is All His. ERIC RIKER
23.......new shit
LAUREN MAHAFFY
CHARLES SAIDEL
LAUREN MAHAFFY
25.......upcomers interview: ABADABAD 28.......album review: TRUTH
9.........osteotypography
11........alternatively ampersand: cake, in helvetica
fine arts
13........you bet
30.......shows we love: Mapplethorpe's XYZ
MALLORY ROSE
A&J
16.......book feature: Modern & Historical
31.......it's always freezing where we are
36.......works we love: Dan Flavin
Typography: An Illustrated Guide ERICA RIKER
ERICA RIKER
ERICA RIKER
on the cover
"It's Always Freezing Where We Are," Erica Riker, Silver Gelatin Print
food
film
37.......illustrated recipes: Maple Apple Cake
70.......films we love: The Future (2011)
FELICITA SALA
Fudge Brownie Bars
39.......cooking with chooch: Chocolate Chip Oreo
ALEX GRANOZIO
YAVONKA GRADY
YAVONKA GRADY
41.......red hot like pizza supper: ยกMexican! 42.......bottoms up: Frozen Mango Margarita
writing 44......dead authors: Mary Shelley
CARLEY PARSONS
ERICA RIKER
45......artist feature: Tom Riker 58.......an interview with an artist & craftsman: James Turbayne MICHAEL ROHR
MELANIE SMITH
Woolf (1966)
71.......film analysis: Who's Afraid of Virginia
ERICA RIKER
photo 73.......#instajaw
ERICA RIKER
81.......The Strong Place
ELIZABETH QUESINBERRY
fashion 91.......editorial: matriarch
YAVONKA GRADY & ERICA RIKER
ERICA RIKER
102.....collections we love: Hussein Chalayan FW13 103.......feature ad: Gypsy Threads
editor’s letter EDITOR-IN-CHIEF & CREATIVE DIRECTOR
ERICA RIKER Designer, installation artist, daughter, sister, activist.
PHOTOGRAPH BY SEBASTIAN RIKER Blizzard in Syracuse, NY Instagram: @cinnamonbun98
A hell of a lot of us have been stuck in a deep freeze for what seems like forever. Power outages, broken heaters, processed food from the pantry, sweaters on sweaters on long underwear on leg warmers on socks on socks on socks; summer can't get here soon enough for those of us stuck in the bitter cold. Fortunately, a heaping handful of our contributors are nice and toasty in Los Angeles and Savannah, so this issue is a big mix of where we're all at in our creative processes as a result of our drastically different environments. I'm sure many of you know that this factor is something that drastically affects our processes, our spirits and our mindsets. This issue has work debuting from two new contributors (both wonderfully talented ladies, and appropriately so in celebrating March as Women's Month), Yavonka Grady, originally from Miami currently working with me here in Newport, RI, and Felicita Sala, an illustrator and painter from Rome, Italy. I'm really proud to have so many contributing artists and writers from so many different corners of the world. They all care so much about what they do and work so hard for JAW. This issue is purely about all of the work that we love to do, and what we are simply driven to create within all our different circumstances. Enjoy!
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NEOPATRA DESIGNER: JUMP JIRAKAWEEKUL
7
8
DESIGNER: MELANIE SMITH
9
BISON THIGH
ALTERNATIVELY, AMPERSAND cake, in helvetica
DESIGNER: SARAH LIDDELL
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YOU BET DESIGNER: MALLORY ROSE
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15
BOOK FEATURE WRITER: ERICA RIKER
MODERN & HISTORICAL
TYPOGRAPHY:
AN ILLUSTRATED GUIDE
BY IMRE REINER
Thomas Bewick, wood engraving
Imre Reiner's 1946 compliation
if modern signifies mereley the
design absolutely holds true in
of the best typographic designs
fashion of his day; he should
these pages, some designs as
created throughout the centuries
rather
produce
old as 1500, with backgrounds
is a real gem. Reiner touches on
works of lasting effect which
on why things like billheads and
the idea of "modern objectivity"
will remain modern in time to
book plates were so important,
(that is, the transition of modern
come." In this book are samples
and samples of the most well-
design to simplicity) and says,
of works from the greats like
designed in each category. Here
"A typographer should never
Bodoni, Fleischmann, Aldus, and
are a few of my personal favorite
limit himself to being modern
many others. The idea of timeless
selections from the compilation.
endeavor
to
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Melchior Lotter . Wittenberg 1522
Joseph de Casanova . Madrid 1650
Title-page with woodcut
English trade-card of the 18th century
Cover of a booklet
Wood cuts
Lino cut study
The "Latina" of Yciar . 1547
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David Eugene Edwards The Genre is All His.
I happened upon this slightly obscure man while looking for something by Old Crow Medicine Show, but that band will be a different story. David Eugene Edwards is the main force behind the bands 16 Horsepower and Wovenhand. Both are similar bands which cross lines into each others music. It’s not enough to just listen to this music; you really have to see him live on stage, on DVD or YouTube to really get the full effect of what he is doing. His is not an over the top production, but simply a small stage set up with a stool in the front for him to sit on with the rest of his band behind him. I have never seen him standing while playing any of his instruments which include: guitar, banjo, lap steel, piano, bandonean and Chemnitzer concertina which is an accordion style instrument. After hearing just a couple of songs, I needed to see what else he had out there and it is all good. His lyrics are telling
stories of faith, conflict and redemption which goes along with his personal beliefs, but the way he sends those words out there while playing his own style of music is something to see and hear. His facial expressions show a man who is deeply into what he is playing and it is something to watch his eyes roll up into his head as if he’s getting electric shock treatment. The whole style of music that he plays is a very wide range of genres that don’t really fit into any one category, so I call it his own genre. I love the way he plays slide guitar with the slide bar hitting all the strings at once and he moves the slide piece in a way to where the sound is almost like an old cassette tape that is warped. He also plays a very cool style of banjo to go along with this old time/new style music, but one of my favorite songs is American Wheeze where he plays the Chemnitzer concertina (accordion). This is a great song with really
cool lyrics. His covers of classics, especially his version of the 19th century folk song, "Wayfaring Stranger," are done with his style of music, giving the songs a whole different feel than what you would be used to hearing. You still recognize the songs but you are given the chance to hear it his way and there is nothing wrong with that. There is plenty of music out there that he has recorded with 16 Horsepower and Wovenhand, around 17 in all plus a couple of DVD’s. Look, if you like real music that isn’t a bunch of doctored up takes and mistakes from a studio then you will appreciate this guy. He is truly a man with a passion for his music. The expressions, lyrics, music and overall attitude puts this man in a place that is all his own. Give it a listen or watch him play, I know you won’t stop at just one, it’s just that good.
WRITER: ERIC RIKER
photo source: 16horsepower.blogspot.com
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new shit WRITER: LAUREN MAHAFFY
CHARLI XCX
AZEALIA BANKS
CLOUD AURA FT. BROOKE CANDY
YUNG RAPUNXEL
GAMBLES
MUSIC VIDEO DIRECTOR - RYAN ANDREWS
SINGLE PRODUCER - LIL INTERNET
SINGLE PRODUCER - GAMBLES
Watching the video for “Cloud Aura” is like stumbling into a black and white Tumblr world where videos and gifs of Honey Boo Boo and a sloppy Lauren Conrad are constantly playing. When combined with this standout track from Charli’s Super Ultra mixtape, this world makes perfect sense.
Regardless of whether people love or hate Azealia Banks, they will definitely be talking about “Yung Rapunxel.” This first single off her album, Broke With Expensive Taste, is aggressive, ominous, and reminiscent of her track, “212.” It may not distract the public from her constant drama, but it will give them something better to talk about.
Gambles (NYC’s Matthew Daniel Siskin) is a mysterious character. With only one real original recording and a puzzling blog (gmbls.com) to his name, he has been somehow amassing fans all over the Internet. Luckily, his moody and gritty folk single, “Trust,” proves that Gambles is a puzzle worth solving.
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throwback greats
TRUST
SAM COOKE
BRING IT ON HOME TO ME
From left: Jeremy Lee Given (vox/guitar/keys), Josh Northcutt (drums/vox), Welly Netto (bass/vox), Adam Young (vox/guitar), Tim Batchelor (guitar)
ABADABAD IS DANGEROUS, TAPE RELIC'D, GUITAR ROCK FROM A LAND OF PERPETUAL SUMMERS OF DREAMY LADIES. THESE MOMENTS AND DREAMS HAPPEN SOMEWHERE IN ALLSTON, MA. WRITER: CHARLES SAIDEL
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HOW DID YOU COME UP WITH THE NAME ABADABAD? The name abadabad comes from an episode of sesame street where Stevie Wonder is teaching Elmo how to sing like Stevie Wonder. WHAT'S EVERYONE'S STORY? HOW DID YOU COME TOGETHER? ADAM: We are all from very separate corners of America. JEREMY: Josh you want to answer this one? JOSH: We met each other on O.K. Cupid. ADAM: See josh was looking for love and I thought it would be finny to pose as a girl on the website. When we met in real life it was a shocker. JOSH: It was really awkward. ADAM: So we figured we may as well be playing music together. I met jeremy at speed dating. JEREMY: Yep. We found rock in a souless place. WELLY: I met you guys on your second or third date at Little Steve's Pizzeria.
WHAT TYPE OF EQUIPMENT DO YOU USE FOR RECORDING AND MIXING? ANY SPECIFIC PROGRAMS? WELLY: I know I'm a big fan of Reason, myself. JEREMY: I use a Yamaha MX 8. that's an 8 track in a Alesis Quadraverb. Bicycle Horn. A couple piles of wood. JOSH: And a variety of trash pales. JEREMY: You know, whatever's around the kitchen as they say in the business. WELLY: Auxillary percussion, if you will. We also track in Logic Pro or logic express. Whatever we're feeling at the time. JEREMY: Or Cake Walk ADAM: or Garage Band. HOW WOULD YOU DESCRIBE YOUR MUSIC TO SOMEONE WHO'S NEVER HEARD IT? JOSH: Tropical Punk. ADAM: It's actually more like tropical goth. JEREMY: In our EP that's out now it's music that borders in familiarity and unfamiliarity, but it's an EP of simple love songs.
ADAM: Yeah, Welly was actually the waiter. WELLY: I was bringing you guys out a pizza. ADAM: And we said, hey we like your face. What's your story? Come Join us. JEREMY: The souless place I was referring to was actually Marlboro Mart on the corner of Marlborough Street and Massachusetts Ave. The Back Bay neighborhood of Boston.
WELLY: There you have it. Simple love songs. WHAT IS YOUR PROCESS WHEN COMING UP WITH A SONG?
JOSH: Yay, but to be serious we actually met at Berkeley College of Music where we were all studying our various disciplines, but we got a couple bands together and now we have 4 or 5.
JEREMY: We usually like to take a progression or vamp and play it in several different styles, like latin. Usually we go for a more of an island, more of a reggae styling to start out with so we can really feel the groove. Put ourselves in that beautiful island where songs come from. Then after that we try to bring it up through a central Florida and maybe make a stop in Texas and then somewhere inbetween the southeast up through the Virginia corridor the song comes together and becomes an American rock song.
WHAT IS EVERYONE DOING WORKING ON THE BAND?
ADAM: I knew that all of my songs start out as rap songs and somehow in the process I keep adding things and adding things and changing things and eventually it comes out the way it does.
ADAM: Welly was waiting and came up and I said hey I like your face and I like what you're doing. What are you doing on your lunch break? We're going to be having drinks next door.
NOW
BESIDES
ADAM: Well we have a variety of side projects between all of us. Welly releases his solo music quite frequently. Josh and I are working on a side project called Yomaha. Jeremy has his solo album that he put out two years out now. I have my first solo album coming out in January and every once in awhile I participate in a fun little project called Stoner Showers. JEREMY: Josh is working on several screen plays right now. WELLY: As well as a sequel to Beauty and the Beast. JOSH: Oh no, that's going to be a sequel to Jumanji. WELLY: Oh cool, that one's better anyways.
buy their music at:
ABADABAD.bandcamp.com
JEREMY: The journey is the destination as they say in the business. IF YOU COULD OPEN FOR ONE BAND OR MUSICIAN WHO WOULD IT BE? AND WHY? WELLY: That’s a good one. ADAM: Rolling Stones. New Years Eve. Madison Square Garden. JEREMY: I’d probably want to open for Skrillex or Avicii because that would get us the most coverage from the fan base that we have not experienced before. JOSH: I’m partial to the three tenors. I don’t know if you’ve heard of them.
Solange Knowles is an artist that is constantly being reborn. After releasing an intriguing, yet disappointing R&B/ Pop album in 2003, Solange released the critically acclaimed Motown-influenced album, Sol-Angel and the Hadley St. Dreams, in 2008. With an interesting new soul sound and new collaborators (Mark Ronson, Cee-lo Green), Solange was finally proving to the industry and the public that she was more than just “Beyonce’s kid sister.” However, this was not enough for Solange, who left Interscope in 2009 in order to become more independent and in control of her own creativity. With this came a whole new era for Solange, and it may be her best one yet. True is not an EP that you would expect from someone who has appeared in a straight to DVD sequel of Bring It On, but that unpredictability is what makes it so great. It is an EP that is probably more appealing to Brooklyn hipsters than someone who listens to Top 40 radio, yet it has the ability to bring those two worlds
together. To anyone on the outside, it may appear as though Solange is purposely trying to distance herself from her major label past and claim some indie cred, but after just one listen, it becomes clear that this is where she belongs. Released via Terrible (record label coowned by Grizzly Bear’s Chris Taylor) and produced/co-written by Blood Orange’s Dev Hynes (Sky Ferreira, Charli XCX), True is a nostalgic and moody take on late-80’s pop and dance music. Although all seven songs on the EP follow this formula that Hynes is best known for, first single, “Losing You,” does it the best. Accompanied by a funky and stylish video directed by Melina Matsoukas (Lady Gaga, Beyonce, Rihanna), “Losing You” is the epitome of a fun song that is carried by a series of dark lyrics. In the video, Solange sings, “I don’t know why I fight it/clearly we are through,” as a man stands beside her, excitedly spinning an umbrella. This quick moment is precisely what this EP is: a small distraction in a seemingly darker world.
Another particularly impressive moment on True is “Some Things Never Seem To Fucking Work,” a somewhat sad and nostalgic look back on Solange’s past. The majority of this track is carried by one of the best grooves of the EP, but the magic of the track comes when the groove drops out and Solange’s vocals shine through. Despite the constant focus on the grooves and intricate electronic beats in these tracks, Solange’s voice (both literally and lyrically) is what sets her apart from other people in the game. In “Lovers In the Parking Lot,” her voice soars, and it almost makes you wonder how we’ve gone so long without having her around. In the EP’s closer, “Bad Girls,” Solange paints a picture of a night out gone wrong, but somehow makes it sound inviting. With this EP, Solange has the power to make a rough night sound like a party and a breakup sound like a fresh start, and that is the magic of True.
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Cedric, N.Y.C. (X Portfolio), Robert Mapplethorpe, 1977.
shows we love WRITERS: A & J
MAPPLETHORPE’S XYZ:
MAY NOT BE SUITABLE FOR ALL AUDIENCES LOS ANGELES COUNTY MUSEUM OF ART “Can you believe the size of that thing,” asked the elderly patron to her equally wizened companion. She replied, “I don’t know how you could keep your balance with one of those.” We were standing in the center of the Robert Mapplethorpe XYZ exhibit at the Los Angeles County Museum of Art, and they were talking in a loud hush about a veiny, half-engorged black cock jutting out of the front slit of a pair of stark white briefs. Neither of us woke up this morning with dick and balls on the menu. We were planning to hoof it over to LACMA to catch the Stanley Kubrick show. All the kids around town were coming unhinged about seeing the actual typewriter used by Jack Nicholson in The Shinning or the pube-encrusted milk bar furniture from A Clockwork Orange. However, after we got our tickets and were walking across the museum to peep his old scripts and storyboards, something caught our attention. It was a small side gallery painted a deep merlot with sparse lighting and a warning
painted on the wall leading into the room: “THIS EXHIBITION MAY NOT BE SUITABLE FOR ALL AUDIENCES.” Through the doorway was old bullwhipy himself, Mapplethorpe. Now, Robert Mapplethorpe is arguably one of the most recognizable photographers, up there with Ansel Adams, Annie Leibovitz, and Terry Richardson. Some people might not know his work, but they’ve heard the name for sure. Judging by the wild swings in the reactions to his exhibit, it was apparent that more than a handful of the museum-goers who stumbled across this wing had no idea that they’d be standing six inches away from a man’s pinkie plunged knuckle-deep in his own pee hole. Yet there they were. From outside the gallery, though, the show is more enticing than intimidating. Looking in, you couldn’t guess that XYZ is actually three separate collections: the Z series, portraits of black nude models; the Y series, his floral still lives; and the X series, his graphic photographs of homoerotic bondage and sadomasochism. All you can discern from the doorway is that
there are three rows of images wrapping nearly the entire perimeter of the small room. It’s not until you’re standing on your tiptoes to see the top row that you end up face-to-face with one man’s fist shoved down another man’s anus. It’s startling at first (even if you’re expecting it), but then the logic of the room’s layout reveals itself. The juxtaposition of the nude black models, scenes of bound-and-gagged S&M, and exquisite floral still lives forces us to question the distinctions we draw between form and content. Stylistically, there’s little difference between the defined slope of an orchid’s stamen and the soft arch created just before the head of a penis connects with the shaft. Thematically, flowers and dongs are not that far apart—a reproductive organ by any other name, right? Contextually, though, it seems like many still find it hard to hold back the nervous giggles when confronted with hyper-sexualized male bodies. In the abstract, they’re simply shapes and patterns. In the material, they’re erections and scrotums. And the reaction in the exhibit shows that we are living in a material world.
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IT'S ALWAYS FREEZ INSTALLATION SCULPTURE & CONCEPTUAL FILM SET ARTIST & PHOTOGRAPHER: ERICA RIKER
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ZING WHERE WE ARE
Photo: via arthag.typepad.com
works we love WRITER: ERICA RIKER
UNTITLED (RED AND BLUE) DAN FLAVIN, 1968
T
he heart of my heart; the reason I started venturing into the ephemeral world of fluorescent installation sculpting: Dan Flavin. There isn't much that can be said to really capture the feeling of looking at a Flavin. It is quite similar to looking at a Rothko – that sacred, quiet, enlightenment. I can only imagine he and I felt the same when building pieces with fluorescent media, the absolutely holy feeling you have when you're alone in the dark with these lights. They radiate these colors that seem to carry on conversations and even though Flavin limited himself to a specific color palette, he knew exactly which colors to mix and which colors to flood the spaces with to give undeniably different emotions to every piece. Flavin's Unititled (red and blue), 1968, (left) showed at David Zwirner's 2009 Dan Flavin: Series and Progressions, with work spanning from 1967 to 1990, including the incredible Untitled (to Helga and Carlo, with respect and affection), 1974. "It is what it is, and it ain't nothin' else... Everything is clearly, openly, plainly delivered." -Dan Flavin Photo: Dan Flavin by Fred W. McDarrah/Getty Images
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Recipe, photos and illustration by Erin Gleeson for The Forest Feast, a blog full of simple recipes based on seasonal ingredients.
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cooking
Chef & Writer Alex Granozio
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with
Chocolate Chip Oreo Fudge Brownie Bars
shit you’re gonna need 1 cup unsalted butter, at room temperature 1 cup granulated sugar ¾ cup light brown sugar 2 eggs 1 tablespoon vanilla extract 2½ cups all-purpose flour 1 teaspoon baking soda 1 teaspoon salt 2 cups (12 ounces) milk chocolate chips 1 package of Double Stuffed Oreos, or whichever you like. 1 Family Size (9×13) Brownie Mix 1/4 cup hot fudge topping
how you wanna go about making this 1. Preheat oven to 350 degrees F. Butter a 9x13-inch pan, line with parchment paper, and then butter the parchment paper. 2. In a small bowl, mix the flour, baking soda and salt; set aside. Cream together the butter and both sugars in a large bowl with an electric mixer on medium speed for 3 to 5 minutes. Add the eggs and vanilla and mix the shit out of it until it's combined. Turn the mixer down to low and slowly add the flour mixture into the mixer until the flour is just combined. Stir in chocolate chips. Spread the cookie dough in the bottom of 9×13 baking dish. 3. PUT OREOS RIGHT ON TOP OF THAT SHIT! 4. Make Brownie Mix according to box directions, adding ¼ cup of hot fudge topping to the mix. Pour the brownie batter over the cookie dough and Oreos. 5. Bake for 45-55 minutes (Check every so often… time could be longer depending on the oven.) Let cool completely before slicing into bars.
RED HOT LIKE
¡M
WRITER: YAVONKA GRADY
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X E
N A ! C I
•1 piece of Naan •1/2 Cup refried beans (Fresh or from the Can) •1 1/3 cup Mexican cheese (save 1/3 to sprinkle on top) •1 cup cooked ground turkey •1/3 cup salsa (more if you like) •1/3 cup sour cream (see directly above) •1 handful (about 13 slices) pickled jalapenos •1 heaping cup spring salad mix •1 half tomato •1 half avocado •Pizza stone or pan
1 2
Preheat oven to 375° Place your Naan onto your pan. Spread the refried beans onto Naan, sprinkle the 1 cup of Mexican cheese onto beans and let cook 20mins.
3
Remove pizza from oven and start layering your toppings starting with the ground turkey and end with a sprinkle of Mexican cheese.
WRITER: YAVONKA GRADY
frozen mango
•2 whole Limes •2 Tablespoons Coarse Sugar (decorator's) •2 jars (20 Ounce) Mango Chunks, Drained or two mangos •1-1/2 cup Tequila •1-1/2 cup Triple Sec •1/4 cup Sugar Zest the limes and lay the zest on a plate. If you have the time, let the zest dry out for ten minutes or so. Pour the coarse sugar over the zest and toss it around with your fingers to combine. Lime sugar! Yum. Throw the mango chunks into a blender. Pour in the tequila, triple sec, and sugar. Squeeze in the juice of the limes, then top off the whole thing with ice. Blend it until it's totally smooth. Give it a taste, then add more of what you think it needs (alcohol, sugar, lime, etc.) To serve, cut a small wedge in one of the juiced limes and rub the lime all over the rim of the glass to moisten. Dip the rim of the glasses in the lime sugar to give it a pretty, crystally rim. Pour in the margaritas and serve immediately!
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dead authors WRITER: CARLEY PARSONS
Mary Shelley OR, A MODERN PROMETHEUS
“The whole series of my life appeared to me as a dream; I sometimes doubted if indeed it were all true, for it never presented itself to my mind with the force of reality.” This boy I’m with, the one with the blurred face, can’t see in the dark. He pulls the truck over and pulls
The boy doesn’t matter and this isn’t about the deer. A strange sound comes from the woods – maybe twigs breaking.
out a match to light the woods on fire – a nightlight, a hint I’m dreaming. Deer flee the heat
I feel like a metaphor, like the burning tree trunks and they are nothing more than wicks
too quickly. The sound is different than what I imagined deer body and metal would make when put together.
and I am running out of time. I try tracing back to the beginning, but I’m not sure there is one
I blink and the carcass is in the backseat. My mind accepts this, adapting to the new order of things –
or if, like memory, there is only as far as it can go. Perhaps it is somewhere between the thoughts
easily, the way bodies get tired when lights turn off. I must be waking up because I begin to wonder
before and after the slow, sudden moment of sleep, not unlike the unclear boundary
what it means. I remember: I fell asleep thinking of Mary and how I should start writing these things down,
of earth and no longer earth. I think that is where my monster lives
these things of mine that become unfamiliar with the speed of something burning by mistake: a dish rag thrown
but it is not a place I can stay for long enough to remember. I am awake
too close to the stove, a loaf of bread forgotten over the course of an argument. I should start writing
and my cheeks are wet and I must have been weeping. It is a strange feeling, the memory of something sad
or my monster will be nothing more than the after-smell of smoke, or the dry hissing sound of a pot
or significant on the body and nowhere on the inside – like no longer knowing someone
boiled out of water. She had come a great distance to tell me this, I thought, as I searched my nightmare
you loved once. Dreams work like this, coming all at once then not at all,
for my monster. The boy doesn’t matter, I can tell, and the blood stanched by the seat fabric isn’t enough
leaving leftover bits to build with. This is where the monster lives.
to make this about the deer, the only dead thing I can find. I feel my cheeks and they are wet and I am weeping.
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Tom by Evelyn
After many years of hearing
knowledge,
bits and pieces about My great-
and heaps of beautiful prints
contrasted
uncle,
my
and originals of his paintings.
format) compliments the haikus
father, I finally looked up his
One of my favorite pieces of
perfectly. The last piece is one
work online in hopes of getting
work I received from Tom was a
of his newer paintings and one
to know him and getting some
booklet of haikus accompanied
of my personal favorites. I am
insight from another artist in
by scans of his abstract work.
extraordinarily proud to come
my family. What I ended up
Having been a working part of
from a line of such talent, and I
with was much more than I had
the beat generation, his poetry
hope you enjoy his work as much
anticipated: an outpouring of
is perfectly gritty and his style
as I do.
Tom
Riker,
from
stories,
resources
of work (especially in the harshly black
and
white
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54
AN INTERVIEW
WITH AN ARTIST AND CRAFTSMAN:
JAMES
T U R B AY N E
WRITER AND PHOTOGRAPHER: MICHAEL ROHR
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The Flamingo Café on Nehoiden Street in Needham, MA. I never knew what went on there, but as a kid, I would always drive by with my mom, gawking out the window at what appeared to be the most interesting house in town. As it turns out, it is the most interesting house in town. I met James Turbayne for the first time about nine months ago while longboarding by his house (The Flamingo Café). I was rudely staring into his backyard when he snuck up on me from across the street. “Can I help you with something?” I explained to him my childhood admiration for his awesome house and he agreed to show me his workshop. It didn’t take long before I realized Mr. Turbayne was a perfect candidate for my next JAW exposé. The interview, which turned out to be more of a great conversation, was followed up by a tour of the most interesting house in town. Little did I know that I was in store for a wild ride including more beautiful antiques than I’ve ever seen in one place, some tea and scones, and just a little bit more storytelling.
Who are you, and what is it that you do? My name is Jamie Turbayne and I’m an antique dealer. I buy, sell, do some estate appraisals for local lawyers. I repair furniture. One day a week I make diving helmets at Morris Diving Company (Mark Fives) and also helium hats.
Helium Hats? Yeah, did you ever see Men of Honor, in the courtroom scene when Cuba Gooding is walking across the floor and they put this huge helmet on him with a canister behind it? That’s a helium hat.
And you make these from scratch? Well yeah.
What led you to become interested in this sort of work? A neighbor next door growing up and an aunt. The neighbor next door, she was the mother of my best friend at the time and she was an artist/sculptor, she would bring home old furniture and work on it, and I was always over at their house because it was like a wonderful mess. And then I had an aunt down in Hanover and she was always going to auctions and sales and bringing stuff home to refurbish it. She was into stenciling and decorating, so between the two of 'em… my father dabbled in oil paint. So it was, I think from that. So, I knocked on the door in this house in the summer of ’62, and I saw the article in the antiques magazine of the Stuarts of Needham: ‘Antiques for Amateur and Expert in Simple New England Setting.’ That was their ad. And the telephone number and address. I said “Oh! It’s right in town here!” I never knew about it. So, that started it. At the time my parents lived up the street.
So you’ve lived in town your whole life? Not yet.
Can you describe process a little bit?
your
Well, it depends what’s missing on it first. Like, with this chair with some of the turnings. When these turnings were originally made, they were four pieces of wood glued up and then put on a lathe and turned.
It’s pretty. This is an old reproduction of... they call this a Spanish foot chair.
And where did you acquire this? The dump. I re-webbed the seat, tied the springs, so it’s usable, and, I like the shabbiness of the old paint so I’m just gonna leave that; clean it up a little bit. Shabby Chic. Sometimes things are missing so, I have a lathe, I can turn on a lathe. And if there’s some veneer damage, I usually take care of that too.
So how do people find out about you and employ your services? It’s word of mouth. My bosses started the business here in 1928, and so, once in a while I have a grandchild of their original customers call me: “Are you still in business?” Yeah, me, myself and I, we’re still in business.
Where would you say you usually get your pieces from? Oh, once in a while I’ll go to house sales and buy a piece.
Are these houses that were foreclosed upon or abandoned? No, no, a lot of times people are moving and downsizing, so you’ll find a piece now and then there, or once in a while a friend will drop by: “Jamie, how much will you give me for this?” So different things like that.
So things just kind of come to you in some ways. You never know where it’s going to come from next.
That’s probably part of the fun of it. You get to go out and explore. Yeah, and Mr. Stuart used to say, “Well, you have to go and take a look no matter what.” His expression was, “You can’t know how far a frog’s gonna jump until you see it.”
Aside from money, what do you get out of this work? What does it mean to you? The pleasure. Everything is different. It’s not the same old thing, day in and day out. You always have new pieces to think about and work on. So it’s not boring that way at all. It’s kind of interesting, ‘oh, I think I could do that.’
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Can you think of a piece in particular that you most enjoyed working on? Well, recently, I did a house call in Needham to look at stuff to buy, but there was a dumpster out in front of the house. The stuff inside [the house] I gave her a price on it. I said, “While I’m here, could I dumpster dive?” **Takes out piece of furniture**
What is that? This is a Sheraton sewing table with a drop bag. It had a few problems, so they smashed it up and threw it in the dumpster. It’s a period piece around 1800-1810. The legs were broken off. Can you tell which rosette was missing?
What is a rosette? This.
That?
The things people throw out… Well, years ago when I was an art student I used to go through the alleys all the time. I got some of my friends and we’d go alley hunting at night. Packs of rats would come out.
What do you like to do when you’re not working on this stuff? I don’t do much else… Well, I’m on the road, always looking for more I suppose, and I do some antique shows.
So, it sounds like you do this when you’re not doing this. Well, it’s part of the income, so I have to be flexible. But, I’m still looking for things. I have my own sort of collections.
Are those upstairs? Oh yeah, bits and pieces all over.
This.
I have no idea. I don’t know which one. That one.
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Where would you say is your favorite place that you’ve ever been? Oh, well, I helped chaperone forty-two art students through Europe with a friend who I originally met at museum school. He was an art teacher in Pittsburg.
Where did you go in Europe? It was like, London, Paris, Milan, Rome, Florence. Florence is a beautiful city.
What’s your drink? Well, I had to give up my wine. I liked white wines. I tend to lean to chardonnays. You know, when I was in art school, I liked scotch for a while. And then, Martinetti’s. For three dollars and some cents you could get a gallon bottle of red wine.
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films we love WRITER: MELANIE SMITH
The Future MIRANDA JULY
I have been a huge fan of Miranda July's work since I first read her book of short stories No One Belongs Here More Than You during my senior year of high school. My love for her grew exponentially after seeing her first feature film Me and You and Everyone We Know (2005) shortly after. She is like a delicate, bizarre, multitalented mythical creature whose mind gets more creative and unique with every new work she releases. This review is about her most recent film The Future (2011), but first I must address her book that was released earlier the same year. It Chooses You is the result of July's temporary obsessive interest in the Los Angeles PennySaver classified ads. At this time, July would stumble upon certain ads that caught her attention and she grew desperate to learn more about the person selling the hair dryer for $3 or the person selling the leather jacket for $10 or best offer. This book is brimming with wonderfully strange interviews and photographs from her encounters with the mysterious PennySaver people. Among these strangers was an 82-yearold man named Joe. July made such a connection with Joe that she ended up writing him into The Future to play himself as well as the voice of the moon (I'll explain later). Very shortly after his big debut, Joe sadly passed away. The purpose of mentioning Joe and It Chooses You is because I read it after I
saw The Future and I wish I could go back and reverse that order. The Future means so much more to me now after gaining the knowledge that the quirky, slightly perverse, but always lovable old man in the film was not acting. After knowing about his life, his family, his relationship to July, and how much of an impact he had on her, viewing The Future is a much more profound and relatable experience. The moral of my tangent is: if you plan to watch this film, I highly recommend reading It Chooses You before you do. You probably won't like the movie any less if you don't, but if you do, you will feel like you're in on a little behind-thescenes secret and you will absolutely feel more connected to the characters and more emotionally moved by their stories. The Future is a painfully realistic observation of human connection and the maddening fear of growing old. Sophie (Miranda July) and Jason (Hamish Linklater) are a couple living in a small Los Angeles apartment. They seem to have fallen into a dull routine of going to jobs they hate and coming home to sit on the couch, watch YouTube videos, and think up ways to grab things from the kitchen without actually having to get up (sounds a little like me). Their lives change radically after volunteering to adopt an injured stray cat named Paw-Paw. The vet tells them they have 30 days to wait before officially making Paw-Paw part of their family. When they
volunteered to take the cat, they were under the impression it only had a few months left to live and they were doing a kindness by giving it a nice home at the end of its life. They quickly find out that if they do a good job as caretakers and bond with the cat, it could live up to five more years. The harsh realization that they will be turning 40 in five years (which they reason is "practically 50") stops Sophie and Jason in their tracks and scares them into spending the next 30 days completely reinventing themselves and aiming to live their lives to the fullest while they still can. In a month's time, their self-crises test their relationship and lead them to discover new things about themselves. This involves hallucinations, time travel, a conversation with the moon (good ol' Joe), and the icing on this bizarre cake: the film is narrated by Paw-Paw. Miranda July's work is most definitely an acquired taste, but trust me she is worth a chance. The Future is a perfect blend of quiet humor and a slight sadness that hits close to home for most people. She has a knack for finding the extraordinary in the ordinary and making a seemingly simple story have very complex depth. If I haven't convinced you to watch it yet, just remind yourself that it is narrated by a cat. How many films have you seen that were narrated by a cat? Probably zero.
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Who's Afraid of Virginia Woolf? WRITER: ERICA RIKER
"I LOOKED AT YOU TONIGHT AND YOU WEREN'T THERE... AND I'M GONNA HOWL IT OUT, AND I'M NOT GONNA GIVE A DAMN WHAT I DO AND I'M GONNA MAKE THE BIGGEST GOD-DAMN EXPLOSION YOU'VE EVER HEARD.." -MARTHA
W
ho's Afraid Of Virginia Woolf?, the film adaptation of Edward Albee's play of the same name, is by far one of my favorites. Aside from having an insatiable love for the work of Elizabeth Taylor, the absolute raw, unapologetic exposé of the façades we put up in our relationships grabs you by the throat and puts you in a state eerily similar to paralysis while watching a train wreck.
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Our expectations of one another, of our relationships, of ourselves are always so goddamn high, that when faced with the standard of creating these façades, adding
liquor to an already unstable situation will unleash a whole world of shit we try to smother; the masks, the gloves, the manners come off. We get ugly and scared, then angry and indifferent, and finally filled with regret. Regret either for living this way or for proving your position with a verbal (or literal) sucker punch. There are certain ideals placed upon us that are almost impossible to hold up. The fact of the matter is there are few people in our lives to whom we can tear off our societal masks, and once this sacred line becomes unrecognizable on our own accord, this
is when it all goes, "SNAP!" as Elizabeth Taylor's character Martha would say. One example of how this occurs is incredibly demonstrated in the film between Martha and Richard Burton's character George. Her, being the daughter of the president of a prestegious university, feels such a sense of superiority and entitlement that she tears at the marriage when he doesn't meet her standards; she alienates him and forces him to take part in a vicious game of appearances (even in their own relationship) to keep up with what she's lacking. These are actions of a desperately unhappy and insecure human,
Photo: Mike Nichols’ Who's Afraid of Virginia Woolf? 1968 further smothered by the wonderful quote,
YOU'RE ALL FLOPS. I AM THE EARTH MOTHER AND YOU ARE ALL FLOPS.
If there is one lesson I have learned, from watching these situations unfold again and again in real life and in film, it is this: if the first priority within a relationship is how it looks on the outside, nothing on the inside is going to tick properly. In fact, it becomes a constant battle to keep up with these ghosts and the emotional thrashing eats away and anything real to be had. The characters of Nick and Honey are reflections of the state of George and Martha, although 20 years younger, on this same path, in the same molds, plastering up walls and in a constant battle on whether
or not to settle. Sometimes we don't know whether or not we should in fact "settle" or if this description is even accurate. Perhaps what we view as a result of society's standards as mediocre is good for us, personally as individuals, and if nurtured is better than anything projected or exaggerated in public. The desire we have to create these façades in order to impress and invoke jealousy is exhausting and, quite frankly, not worth it. Forget the imaginary debts placed upon your loved ones and give each other equal respect as human beings. Forget the bullshit, this life is all we've got.
#INSTAJAW SOME OF THE BEST HAND-PICKED SHOTS FROM OUR FOLLOWERS & THOSE WE FOLLOW @JAWMAGAZINE
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@BKHPHOTO "these two, a reminder."
@MRFORTS
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@SYRACUSEFIRST
@SCOTTRAMSAY
@JONCONTINO
@WELLFED
@GUYAROCH
THE STRONG PLACE PHOTOGRAPHER: ELIZABETH QUESINBERRY
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MATRIARCH WARDROBE: YAVONKA GRADY PHOTOGRAPHY: ERICA RIKER
Photo: Runway Detail
collections we love WRITER: ERICA RIKER
HUSSEIN CHALAYAN FALL 2013, PARIS FASHION WEEK
F
orever have I ever been a fan of Hussein Chalayan's work, not only of the structure and material of the pieces, but of the overall aesthetic of how he presents them. In his latest collection for F/W 2013 he has, once again, made me say aloud, "holy fucking shit," brought about by the sheer genius of his metamorphosis dresses. There are three pieces in the collection that initially show as beautifully structured cocktail dresses and after being ripped from the throat, billow down into incredible flowing gowns. It is truely ingenuity in readyto-wear fashion at its finest. As outstanding as these dresses are, they still don't completely outshine the rest of the collection. The prints and textures paired with the bulky structure of the top-and-bottom looks are reminescent of peeling paint, spin-art-meets-wood-grain and are tailored with perfectly wide-open layer detailing. Don't get me started on the heels. Send money. Photo Source: ImaxTree
WATCH THE SHOW HERE
http://www.youtube.com/watch?v=tr0UYFMxeyI&feature=share&list=PLUt_SSnQZsQBmfOrtl3jXg2_JL_KF8UWq
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JESSICA JOHNSTON | GYPSYTHREADSSTORE@YAHOO.COM ETSY.COM/SHOP/GYPSYTHREADSSTORE
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