The Experience Magazine [DRUGS - VOL. 3] by Jason Stone - The Experience Magazine

THE EXPERIENCE MAGAZINE

OPEN DEPTHS OPEN DEPTHS THIRD EYE INDIGOS

My right and left brain were erected when she started to speak, on past lifetimes and how we would probably meet, like maybe I was her Queen, she was my King but our vessels have changed, changing dimensions oh did I forget to mention that we are many moons... her and I - Santiago

THE EXPERIENCE MAG

C ONTENTS

P. 12 | THE SUPREME MUSE

P. 18 | VESTA RISING

P. 28 | PHOENIX RISE IN THE FLOWERS

P. 32 | MOTHER VENUS

P. 40 | BLACK MEN DO CRY

P. 44 | WHAT’S IN A COLOR?

P. 50 | TALES OF A SPIRIT WARRIOR

P. 58 | IN SEARCH OF....

P. 66 | LONG LIVE.......

P. 72 | QUEENDOM COME

P. 78 | FANTASY IN COLOR

P. 84 | LIKE WATER 4 CHOCOLATE

P. 90 | BLACKSTAR

P. 102 | NEW YEAR. SAME YOU.

PRODUCTIONS

the Muse the { art

Art the

JS: Where did the title “The Art Witch” originates from?

AW: Somebody I knew would call me that for like the past year , and one day I had an epiphany and realized it’s a lot more fitting, plus vivaledanielle was my last social media name and it really doesn’t make since ... Cause I’m pretty sure “le” refers to a guy in the Latin language. Lol

JS: How long have you been in the arts? You have the skills of someone whose been doing this for decades. Very carefully crafted pieces, incredible use of colors.

AW: I was always really interested in art , since elementary school . I did art class or electives , and then art club and drama club in middle . It was a great way to get called out of class . A great to express myself . I took art class in high school and some classes in college . It was the only thing that came natural to me . So since forever . I even remember drawing funny faces on purpose and giving them a makeover and talking to myself like it was a to show lol.

JS: The very first piece I seen of yours was the “WatercolorDaddy” It quickly became one of my favorites. How do you approach each piece beforehand?

AW: Honestly before I approach a piece I meditate . My color schemes are from deep meditation and colors I see when my eyes are closed . Some concepts come as dreams sometimes I’m just inspired and the creativity just flows . I like to light Incense and blast music when I work . I also treat my painting like rituals I burn sage and Intensions into them and seal it in with medium . I usually won’t paint in a bad mood unless that’s the emotion I’m trying to get across.

“Fading away in my Natural habitat Making art until I disintegrate.”

JS: You have a very ubiquitous spirit. By that I mean, everything seems to be working with the ways of the universe. From your art, to other visuals you present. You are a dynamic spirit. What goes on in your world on a day-to-day basis? What are your inspirations?

AW: Other artist inspire me naturally ( Basquiat , Frida, chuck Close , Dali , Alex Grey , Caravaggio). I enjoy realism and as well as abstract works mostly spiritual art gets my gears going . I am inspired by life and creation . I love science, energy, musical theory, numerology, metaphysics , psychedelics , spirituality , literature , quantum physics , most of all color . I am completely an utterly infatuated with color and those wavelengths and energy we can see and how it influences emotion . I’m inspired by the whole journey of learning and growing; evolving. On a daily basis Im usually home eager to create or learn . Sometimes I go to work, most times I don’t , sometimes I do tattoos during the day, sometimes I just create all day , it’s always different. There are even times I’ll just lay around and not do shit, I’m working on that . Productivity is key .

JS: What are some of your goals you want to achieve with your art?

AW: I plan on going very far with my art. I’m using it as a vessel for larger projects/ experiments… first off: I plan on making prints, clothes, socks, condoms, clocks. I will do that when the time is right. But most of all I am using my art as a vessel to open minds. I want to open a store called “nostalgia.” Stay tuned. Oh, and most importantly I am a tattooist, I will be tattooing more often and hopefully opening a shop soon.

SOLARIS SAPIENTE V E

“THE THING THAT MAINLY INSPIRES ME TO CREATE IS THE OPPORUNITY TO INSPIRE OTHERS. I’D LIKE TO INSPIRE OTHERS TO CREATE, AND CULTIVATE THINGS INSIDE THEMSELVES THAT THEY’VE NEVER TENDED TO.”

JS: Your work somewhat favors the Romanticism era in that it has an extreme detail to emotions as well as emphasizing the beauty of nature. When did you start creating art?

SS: Wow, I actually have never thought that my work would be seen as even remotely favoring the Romanticism era. I love that era. It’s dreaminess. I’m pretty sure people hear that “I’ve always created…” phrase all of the time but it’s something that’s also familiar with me and my journey. I used to sew outfits for my baby dolls, make checkers sets with my dad, etc. Regarding painting, I learned to paint a few years ago – like 2011 as an estimate. I have been playing in oil paint, and anything I can really get my hands on, ever since. I didn’t know that I was beginning to develop a style until my friends started pointing it out. They’ve often pointed out that my color palettes and concept are very distinguishable. I guess that it has become a signature part of my work, but I’d never intended for it to be that way. Growing up actually, I would only wear black, white, and shades of gray, but my home was always full of color thanks to my mom. In a sense, I feel like my use of color is indirectly inspired by her attitude toward color I remember seeing her blissfuly decorating the house, bringing in new energy, and cleansing her own. It is also my knowledge of color therapy that draws me to use such palettes. Color deeply affects, on an emotional, physiological, physical, and spiritual levels, which is why I tend to use such vibrant colors. It makes me feel in ways I wish others to. Colors, whether vibrant or dull, makes us feel.

JS: The colors in your work really stand out. They sort of work of become a signature part of your work. What is it that draws you to use bright vibrant colors in your pieces?

SS: The thing that mainly inspires me to create is the opportunity to inspire others. I’d like to inspire others to create, and cultivate things inside themselves that they’ve never tended to. It’s been many years of ignoring my individualistic desires that has brought me here. Natural sciences and just nature in general inspire me to create. The nature we see in parks, the animalistic natures we see in our actions, and the nature of the human mind are things that are so deeply inspire me.

SOLARIS SAPIENTE SOLARIS SAPIENTE

VESTA RISING VESTA RISING

JS: What are some of the things that inspire you to create?

SS: My process usually begins with this image in my mind that practically yells at me, manipulating me through emotions, yearning to be created by my hands. It doesn’t stop until I get started. I feel many times, like in various processes, that the hardest part is starting. I don’t usually sketch anything beforehand (which I know I should be doing in order to keep progressing in my work) I see every painting as hours of meditation. My process is mostly focused on what’s happening in front of me instead of what I project with my thoughts. The only expectation that I ring to each piece is that it’ll be of better quality than the last.

VESTA RISING

JS: You have a very beautiful way of talking about life in your pieces. What is your process like?

SS: Well the main thing that has brought me here, to the point where I believe that I can make a living off of cultivating my creativity, is mental illness. Primarily, the silent terror that is mental illness. How it consumes us, yet no one talks. I feel like healing is something that we should help each other with. It’s something we’d rather someone else deal with, but we need to address.

VESTA RISING

JS: What’s the story you’re ultimately trying to convey in your artistry and where do you look for it to take you in the future?

SS: I’m working towards a more natural way of living everyday. I want to take this in so many directions, but for now I’ll just do the work. I just want to create a legacy surrounding creation in all its forms. I’m a firm believer that creation heals.

SOLARISSAPIENTE.COM/SHOP

V E S

IAM GOD KING LEADER

AM GOD QUEEN INNOVATIVE

FLOWERS

PHOENIX RISE I N T H E

F L O W E R S

AMANDA FLOWERS

JS: As a jack of all trade’s visual artist, tell us how important it is to stay inspired and creative.

AF: It is important, because it’s what helps energy flow, where organic vibes and humbleness stands out. It pushes the mind to stay open with no barriers, to explore different angles with no bias or walls.

JS: Tell us about your early work. How did you get your start in the arts?

AF: I have always doodled here and there I have taken many art classes, durning my first year in college someone asked me to do a piece of cover art for them & it desired me to develop my artist skills. Many of my early pieces were large scaled canvas works. Also in college many upcoming clothing brands wanted me to model for them, however I felt more empowered behind the lens, so I bought my first camera Sony Nex5t.

JS: You know I love what you bring to the table artistically as you’ve helped with the last few issues of The Experience Mag. When did you develop the “Amanda Flowers” aesthetic and when did you realize you had “the juice?”

AF: When I came home from my college my mother began calling herself wildflower, I felt a connection with flowers and I just swooped my last name, it naturally fit. My juice comes from walking with God, it’s more so walking through god and being humble through his anointment which allows your natural eye to flow and manifest abstractly.

AMANDA FLOWERS

JS: Adding to the last question, we spoke about this before. Its dope that you recognize your influence amongst your peers. How important is to always remain fresh with new ideas?

AF: Extremely important, the goal is to do what you feel naturally resonates with you. Then you’re automatically 5 steps ahead of the game because it’s truly organic natural influences. I pull ideas from all areas, from seeing someone asleep with their head up against the window fogging up the window, while I’m in the car over to the right, to catching colors tones from the sunsets radiating over a certain angle of the city.

JS: Which medium of art do you enjoy creating in, the most?

AF: I have discovered I enjoy painting the most, I love physically controlling the tones and shades i want to see.

JS: How has living in Cali shape your art & style?

AF: I lived in Arizona for almost 2 years in my teenage years and it showed me the intense levels of blocks and barriers that people try to set up mentally and verbally. I mean it’s everywhere, but living in California we are spoiled not realizing the extent of discrimination, or the “stay in your lane” mentality can really go to. In California we are more inspired to be diverse and escaping barriers. It has truly help ground a solid foundation in being free with my style.

JS: What are your plans for the future of your brand?

AF: The plans I have for my brands future is expanding my clothing line, curating more major art shows, continue to develop my artistic eye, and help other creatives produce their vision. Just continuing to be a light and grow through god.

M O T H E R

DOMINIQUE DAVENPORT

V E N U S

JANE OF ALL TRADES

JS: When did you realize your passion for art?

DD: I always had a love for art since I was a child. I would copy the cartoons in the Sunday paper. I continued to draw, and in middle school I decided I wanted to pursue art as a career. My parents put in in drawing classes and the rest was pretty much history. I got into the High school or Art and Design where it was the 1st time I started selling portraits for people. I didn’t know any other kids that were doing the same.

JS: I really loved your “Label Slaves” series. What was the inspiration behind that?

DD: I’m always thinking about the things that stick out to me about our culture that I can turn into paintings. I make lists of ideas and I doodle a little until it looks good enough for a painting. Our generation cares so much about labels and I don’t particularly understand it. It feel like brands and labels have such a hold on the generation and that’s pretty much how I came up with the idea of the shackles. But even though I used shackles, for some reason it still looked like edgy fashion which is pretty sick.

JS: I noticed you went to FIT. What was your experience like going to school there merging art & fashion? What did you come away with as far as your brand? I notice that you’ve extended your work to merchandise. Was that always in the plans?

DD: FIT is a really interesting place. I actually never thought to get into fashion but as I was there it made it ok for me to paint woman and decorative things. In my last semester I had a class about the business and law aspect of art and that made me think of my work differently. I extended my work into merchandise when I noticed the world of art was changing. You have to stay in with the times. You have to do what’s current. That in itself is something I also took away from fashion. I didn’t see my work turned into items but when it was, it was like my art had a second life. I have pillows of my work at home, hats, shirts, pins and phone cases. I’m making sure that I live and breathe art. It probably sounds super cliche but once in surrounded by it all the time it keeps me thinking about my next move.

JS: Tell us about your piece for Amber Rose’s “Slut Walk” and that whole experience.

DD: I had got 3 pieces in the Amber Rose Slut Walk. That was super exciting because it was the 1st time my work was shown outside of New York. I didn’t get the chance to meet with Amber Rose personally, but I did a painting of her the night before I flew out to California and it was my goal to get it to her. While she was on stage and with the help of my boyfriend and others, we gave her the painting and she showed it on stage.

JS: What does the future have in store for you and your brand?

DD:I think this is one of those things you have to stay tuned to find out. I’m spontaneous when it comes to my artwork to keep it fresh and exciting for me. As of now I want to tidy up what I have and go from there.

BY Melyssa W

BLACK MEN DO CRY

I recently been feeling heavy sincerity and sympathy for Kid Cudi and Kanye West. When I read the tweets of Kid Cudi admitting that he needed help to cope with his mental health and recently last week when Kanye West was admitted to the hospital for psychosis. It truly broke my heart. As someone that grew up listening and idolizing Kid Cudi and Kanye, it was upsetting but it felt liberating to read that they were finally deciding to get help. Famous black men finally admitting to issues that have a cultural and societal stigma in the media felt like a breath of fresh air. Just like them, I’ve dealt with my own personal issues with mental health and it was so difficult to comfort these issues as a black woman. And I had to ask myself, why are we NOW talking about mental health issues? Why has it taken so long for us to have open discussions about mental health? Especially in the black community?

It seems like We are so quick to assume that when someone is suffering from a mental illness, we quickly diagnose them as CRAZY or in the black community we have different definitions of “crazy”. Such as in the black community, we have always been taught with mental illness to either dismiss the signs, ignore, simply say it doesn’t exist or be told it’s just a sign of personal weakness. Or my favorite one was “put it in god’s hands”, although I do think that religion can help in certain ways it doesn’t fix the problem. It’s like we create this form of emotional detachment from our own emotional being. Why are we being cruel to ourselves when this it’s just part of our natural makeup? Everybody experiences mental health situations or know of someone that has. Yet somehow the notion of a person dealing with mental health can be seen inferior or second rate. Notably with black men, their masculinity always ridiculed. As we see Kid Cudi and Kanye face these mental health issues, the outpour towards them both has been overwhelming and appreciative. Yet it’s interesting how much backlash and negativity is being exhibited towards them!

When Men are faced with mental illness, they are never able to confront these problems with themselves or with others. There’s this immense pressure from society and culture particularly on men to not be seen as vulnerable. To not show any feeling, emotion or affection is a symbol of victory as a man. In fact, when you think about it and we describe nurturing or paternal we normally think of a woman. We never tend to look at a man and think he could fit that image of being, obviously he could but the notion associated with men is never to show any sign of weakness. I don’t know if we realize how damaging this is to the mind as it is to the soul especially when it is seen through the eyes of young boys. From a young age, we teach this ideology that little boys and men NEED to be seen as tough and rough while little girls and women are soft and sweet. We are creating these gendered bias opinions to young kids on what it means to be a women or men. Telling young boys from a young age that they aren’t

sustaining a level of masculinity affects men in their development as men but also how the rest of us perceives men. The influence we conceive to young boys starts from a young age when we call or sought to refer to them as “little man” to create this persona of an unbreakable man from youth. Particularly through cultural stigmas that are cultivated within ethnic groups mostly with people of color especially black people. Black men can’t be seen as weak. Black men are the embodiment of struggle and have to portray strength at ALL given time. Historically black men have faced enormous adversatives from slavery to Jim Crow to police brutality, black men didn’t have that choice to seek support or help for their own mental problems. When they are already face with the daily routine of trying to survive as a black man. Black men didn’t and still in some ways don’t have a choice but to be strong, protective, and powerful not only for their family but for their life.

The idea is perpetuated that black men have to be strong from generation to generation is such a false idea and false belief that needs to be destroy. That black masculinity can be expressed through soft feelings or emotional tranquility isn’t justifying on any level. Because at the end of the day, we are human beings. Everyone has the same feelings and emotions just on different levels it doesn’t make you or anyone any less of a woman or man. You feel what you feel. Seeking help for your mental health is a sign of love and gratitude for yourself. It is not a sign of defeat or weakness. People like Kid Cudi and Kanye West are the just the beginning of black men admitting that they do struggle with human feelings. Mental health is a valid illness that needs to have the proper attention as any other illness. Admitting you have a problem is raising support and awareness for other people of color, men, or women that might feel that they couldn’t.

Thank You to Kanye West. Thank you to Kid Cudi.

We believe in you in getting better, thank you for believing in the people that need to get better.

BLACK MEN DO CRY

what’s in a color? Julius Pearson

JS: Straight to the point…. Why are you so obsessed with colors?

JP: Its my thing, colors really inspires me. Since I was young I was fascinated with colors in cartoons, I couldn’t tell what an episode of Ninja Turtless or the Simpsons were about because I was just looking at the colors. Colors are the best form of expression, people don’t even realize that when they choose a color to wear its based on their mood. When a girl goes and gets her nails done she is choosing a color. With what’s going on at the time of her life, with me knowing colors so well I would freak them out (in a cool way) like I am Psychic breaking down what their going through in their life right now just by looking at their nail color (it was a good way to pick up girls to)

JS: How did you come up with the alias “MyFavoriteColorIs” ?

JP: I wanted to start taking my art more serious; start doing more shows and set up something great. So when I was creating my instagram page just for my art I was like “I need a dope as name.” I was thinking it should be something that defines me as an artist and I said to myself that it’s really all about color. So then “MyfavoriteColoris” came about and I said I wouldn’t give the answer to what my favorite Is just leave them on a cliff hanger.

JS: What led to the development of your signature DRIP style in your paintings?

JP: At the time in my life there was so much change happening and I would just run from but you can’t out run change. Sometimes you have to stop and accept it. When I did things in my life , I did change but for the better and it even let me fit room in to get back into art. I wanted my first piece to represent what I was going through. I’m a huge Anime fan so I made all these black and white anime characters look like they were in fear running for their lives in a chaotic scene. But they were runnIng from all these colors so I just took some paint and dripped it down. People really thought the idea and the meaning of the piece was cool but everyone went crazy over the drip. I thought it was nothing but people were like you have to keep doing that, so I did it on another piece and people went crazy again so I was like okay. It got so crazy I look on instagram and see people trying to do the same thing and I am like nah chill. People ask how do I do it because they wanna do it but it has become a signature for me already so I just look at them with a look like nah chill. I appreciate that it inspires people like Andy Warhol and the Campbell’s Soup (not comparing myself to Warhol at all #teamhumble) but that is his thing.

JS: Tell us more about your “What is Your Favorite Color” Project?

JP: When people see my instagram name they ask me “so what is your favorite color?” and then I ask them and “why?” and its always some dope response. I thought to myself I wonder what is the best color is the world would be cool if someone does that and then I said fuck that I will do it. I have a friend that have this camera thats used in

movies so he will help me document it and I have a friend that is a comedian who will interview them. We started already in Union Square in NYC. I will continue to hit up other places. Its coming out so dope I want to go on a tour around the states with it and grab some artist, do some pop up shows and then hit some countries. This would be a great opportunity for artist also companies that wants to sponsor and have their name part of history.

JS: When will you know its time to create a different signature style?

JP: I already have something in mind for that and will display it maybe mid 2017, but it has to come organic. I always was into art since I was young, i’m talking pre-K. I remember in elemtary school I was the art kid and I would draw my own character called Kid Vid. Kid Vid was a Martial artists and I would make these lil stories with him. This was all on loose-leaf paper because I didn’t know anything about art materials back then, mind you I’m like 7-8 years old. Kids loved this character and I would sell Kid Vid for a $1. I remember when I was in 4th grade the lil kid in the 1st grade or maybe Kindergarten knew about Kid Vid and loved him and wanted to buy one . But he was a kid and he didn’t have money. So I drew Kid Vid on the spot and gave it to him for free. That kid was super excited I would never forget that. Kid Vid was my signature style when I was young but it didn’t follow as I got older I just got tired of it. You have to move with your growth you don’t want to be known for just one thing, a perfect example of that is Davinci...he was genius.

what’s in a color?

JS: What does the future have in store for you?

JP:I want to work with kids more, our future artists. My parents knew I was good at art but they didn’t know how good I was so I never took it as serious. I want kids to embrace their art never lose it, so I’m gonna put together some work shops with kids so they have room to create. I am currently in talks with a sneaker company to help me set up a work shop to help kids design their own sneakers, nothing crazy just paint and mark on some blanks. I wanna help and open the mind of design and not always wanting to fit in by doing your own thing, this can kill low-self esteem and bullying.

JS: So we have to ask… what is YOUR favorite color?

JP: PURPLE

My first orginal favorite color was red, but I worked at a company for 9 years and the uniform was red so wearing that everyday for 9 years destroyed the color red for me. Plus they tried to fire me but I got the heads up and quit. My whole staff left with me #bestexitever. So now purple is my favorite color, I picked purple because no matter what any female I was in a relationship with or dated their favorite color was purple. I feel that I attract that color with just the women that I have gotten to known. Even tho I can’t stand half of those females but God bless em and all that good stuff.

Kitty Leigh

the Tale of a Spirit Warrior

interview: jay stone

PHOTOGRAHY:

Villiannoire & Jay Stone

JS: How are things coming along with your book sales? What has been the overall reception of your book “The Revolutionary Dogwalker?”

KL: Right now sales have been kind of slow but honestly I am not complaining. Have ya’ll seen the line at the post office during holiday season? I’m enjoying the mini break when my book first dropped I sold 100 copies in like two weeks! So far I’ve gotten great reviews on my book. I actually checked my IG this morning and one of my followers @vhision said “ Fam I needed this – We all need this.” No shaggs that shit made my whole day, that people fuck with my work like that. The only negative review I received was from an Asian woman on how my grammar was so bad that I probably wouldn’t get taken seriously as an author. In the back of my mind I thought well this book is for my people and in our world I speak just fine.

JS: What was the book writing process like? I know it was your first crack at becoming a full fledge author.

KL: Hard AF. When I first decided to write a book I actually wanted some one to write it for me because I was too lazy to write it myself. I was like hmmmm maybe I can Hire someone to listen to my story and they just write it down. I realized I’m too much of a control freak to let anyone else really be involved in the writing process so I just buckled down and did what I had to do. I decided last year I wasn’t going to be the help any more that I was going to be an Artist & Activist full time and be rich AF so every day for a year straight I just wrote on the train, at the park, at work, and at all hours of the morning. From 3am-5am I would get up and just start

writing. I remember I wrote 150 pages and started reading and was like hell no this is garbage, word vomit, and deleted the whole thing and started from scratch.

JS: The “Dog-Walker” aspect of your life is pretty well summed up in the book and to anyone that has been following you. Tell us more about your revolutionary mindset.

KL: People say I’m an extremist when it comes to my Revolutionary mindset, and they are right. If I could get away with it I’d blow shit up, kill pigs, and go through extreme measures to wake up our people who are caught up with killing each other. I’m running out of patience. In order to keep my sanity I wrote my book. After Freddie Gray was killed so maliciously I realized being a social media activist wasn’t enough anymore and I needed a positive way to release my rage so now we have The Revolutionary Dog Walker. For many people I will be viewed as a villain because I’m not above fighting violence with violence and laying mother fuckers out. For those of you who read comics I’m def like The Huntress she kills her enemies and Batman doesn’t fuck with her because of it but me Kitty Leigh idgaf. Let one of mine get slain by police brutality…

NO SOUL FOR

JS: Will you be writing more books? I don’ think there needs to be a part two but are you dabbling with idea of a sequel? What kind of ideas for future projects are you working on?

KL: Ahhhh I will write more books but right now I’m actually focused on Animation. I want to create three different tv shows. One based on my book for adults with 90’s style animation and I’m already putting together in my mind the people I want for music and art. Black Revolutionary Artists like me. The second show I want is for it to be for the pre-teen audience 10-14 like Pepper Ann but about what I was like as a child. I was hella awkward and cray-cray pure jokes. The third show I want it to be for the babies “Isis The Magical Cat” I am a Black History teacher and my cat Isis is the class pet. In my pilot episode I would be teaching about Egypt and the origins of the name Isis while combating racism against Muslims. The main character would look like my little sister brown skinned with beautiful thick curly hair and shining brown eyes. She asks to go to the bathroom during my lesson and Isis follows her out. While she’s in the bathroom Isis opens a portal and gets my sister’s character to follow her. When they get through they are in Egypt and Isis can talk. I would love Brandy to play my cats voice! They spend the whole day in Egypt at night Isis takes my sister back into the school but back at the school no time has passed, so when she runs back into her classroom I say something like “I thought you were going to the bathroom?” Isis walks in and we wink at each other because I know the deal. Every episode would be a different country/ culture the focus would be more on black/Latin places. I want to do childrens book based on this show like the magic school bus type shit.

the Tale of a Spirit Warrior

Kitty assata nina angela

JS: Why do you believe most or a majority of Americans are ignorant to the philosophy of spirituality and all that comes with it?

KL: We have been programmed by the media to think spirituality is a joke. Look at every show where there’s a “spiritual” character they are the butt of every joke and gets labeled as weird etc. We see this growing up and unless you were raised in a spiritual household you don’t want to be associated with spirituality. Why would I want to be associated with anything that gets me made fun of. We were brainwashed by our slave masters after being

raped, tortured, beaten and killed by them until we accepted their religions while abandoning our culture our magic, our spirits. All of us still practicing religion needs a hard truth pill. Religion gives us this mindset like we need saving which is already a problem and keeps us in a fear based mindset. Oh if I do this I’m a bad person and I’m going to hell etc. Spirituality is painful people don’t want to know themselves because they have already been conformed and its scary having to admit your brainwashing. Being able to unlearn all of the things we have known our whole lives isn’t easy. But after the pain comes

this great sense of power. That realization that you are a God capable of anything. For people of color nothing is ever easy so just know no matter what reaching your goals, dreams, and knowing your spirit it’s going to be hard as shit but It’s going to be worth it.

In Search Of

JS: I really love your work and just how versatile it is. There are so many layers underneath your art. Take for example: “The Marriage of Quisqueya” fashion photography series. It details a story of the island of Quisqueya and the relationship btw the corrupt government and the island’s inhabitants. The irony behind it is that it made me think of our very own country in the United States. You can go further than that, and look at the relationship btw the American-Europeans & Africa. How much thought goes behind your work?

YR: The ideas behind my work come from my upbringing and different experiences that have happened throughtout my life. And things that I’ve heard before as a child that still has effected me. I don’t really recall many faces or specific details. I do recall stories that I heard when I was 5 or experiences I had when I was 7. A lot of that had to with race and being brought up in the Bronx, going to the city and hearing racial slurs in the early 90s. That complexity of being Domincian American but not really being from the island and having that experience of racial slurs in NY but being privleged in DR. It kinda comes together in my work just by years of experiences of that. When I’m working I have a general idea of what I want to do. I do these small thumbnail sketches but everything comes to life once I start phsyically working on them. A lot of my work involves sewing cause I make the outfits myself. It depends if the fabric is working with me, it will come out like the sketch. But I also get alot of ideas from friends.

Yelaine Rodriguez

Sometimes we’ll be sitting down brainstorming and they’ll say something interesting that I incorporate into the work. Even though I major in fashion design I try to mix different aspect of art like painting and sculpture, just to get a broader range of my work.

JS: How did growing up in the Bronx shape your what was to become of your future? Were you always interested in the behaviors & practices that you seen around you?

YR: Well I grew up in Patterson Projects in the Bronx and at a young age, sophomore in H.S., I acquired a scholarship to go to Parson to take free art classes. In my household we were all artists and my mom made sure that we just went to school and come back home, do our homework, go back to school... so we never really hung out in the neighborhood. But I always felt like I was in a little bubble because even though I knew what was going on and things with the neighbors, our famliy was always protected because our mom had a super shield. I showed a lot of potential in the arts so in my high school they recommended me to apply to this program at Parson and that really shaped me. I was surrounded by kids of color that were from my neighborhood but were also artist so we shared that experience.

Being that I was from that neighborhood, but I was the weird art kid so I was always an observer. I always saw what was going on but I never got involved too much. I never felt more safe in the projects than walking in Time Square when I was a teen. For me, being in between worlds, being able to go to a prestige school at such a young age and being surrounded by people who had different experiences than me but I was an urban kid going back to my apartment... it was weird because I was able to manuever to

through different scenarios. I had street smarts but I was also getting university education at such a young age. That shaped me into the person I am today. I can go into a building of really “educated people” but I won’t let people step all over me because I know where I come from. So I’ve been in a situations where I’m at a dinner table with people talking bad about people from the Bronx, and I can say “Well I’m from the Bronx”and their face, their reactions change because they don’t expect me to be from there because of the way I act. I also had the privilege of going to different schools, studying in Paris and London. So I got a lot of the experiences of other people’s stories so that made me more well-rounded that I didn’t only stay in the Bronx, I also went outside, got resources and came back.

JS: One thing I can appreciate about your work is that there is a lot of soul in it. You’re a soulful person! Theres this deep expression even in your fashion pieces. Is that sense of consciousness something that you can attribute to your parents?

YR: My mom never taught me to discriminate people. Even though she grew up in D.R at a different era and she came here older, that wasn’t her mentality. She just wanted the best for her children, a lot of immigrant parents want their kids to be doctors, or lawyers and she let us express ourselves and be artist while letting us go to school for it. She is a very strong women, she raised her kids. She was always pissed off because her father didn’t want to pay for a woman to go to school even though it was sixty cent a month, back in the 70s in D.R. That always bugged her. I remember her telling me “you don’t have to cook or clean just go to school, that’s all I want you to do.” A lot of my friends joke like “Dominican parents would never do that, they would smack you across the head to make sure you wash the dishes!” But I know she wanted better for us even if it was going to school to be an artist. A lot of Dominican and immigrant parents feel thats a waste of time and money. Just seeing her strong stature, she had me older so she was already tired. I didn’t learn how to ride a bike or roller skate and stuff because she never let me go out like that. But she made sure I was in books, reading and doing these things. Her strength and intelligence shows in different ways and she passed that onto me just by seeing her and how hard she works. She has a bad leg but she’d still get up to work as a hair stylist where most of her job is standing. She would come home tired and stressed, she still doing it now but just to see how strong she is... my dad too!

My dad is a hard worker ...even if I go on dates when I was a high school kid, he would say “here take $20, a woman shouldn’t go out without money. If you want to get something yourself you get it yourself!” So those type of comments were the life lessons I took and people could say “its good” but it also has its bad side cause I don’t cook or clean but I work and I could pay for someone to do that lol.

JS: 4. What has been the most challenging thing you’ve ever worked on?

YR: The exhibitions have been very challenging but very rewarding. Doing “La Lucha” has been challenging because there are a lot of people who are against anything Dominicans and Haitians do together. Even if its just a talk or putting together art and having art together in the same space. There will always be these people who have negative views towards our Dominican and Haitan collaborations. I do these projects with no funding but with the support of my friends. In the beginning it was tough but a lot of my friends have skills they would lend to me. They would help me put up the show or things like that. Working full time and working at night and putting these things together is very challenging. But its very rewarding so I still do it even though I’m not getting any financial things out of it. A lot people who protested the show felt like I was getting money to do this and getting paid to destroy the Dominican community by doing these exhibits. A lot of extreme theories they have! I know I’m not the only one who gets attacked by this. There’s a friend of mine whose a writer, she did an article based on that; how a lot of Dominican who support Haitian artist or want to help the issue thats going on, get trolled by cyber bullies. She interview me as part of the artist section as well as writers and organizations who try to colloborate. While seeing theres still people out there who challenge us and want to break us down with life threats. I still want to work on it, I’m from the Bronx I can deal with it!

JS: What are your thoughts about the current state of relations btw Haiti and the Dominican Republic?

YR: I feel that when we’re united we’re stronger, thats obvious in any minority group. They always try to create issues just to break us down so that the people whose on top stay on top. It’s unforunate that a lot of people side with the government when the government doesn’t give them anything. The whole series of “The Marriage of Quisqueya” is about the Dominican government and the land, and how the government isn’t giving nutrition to the land. So if you don’t take care of your people, what are you doing there? Why are you in office? You’re just there to take care of yourself. So I feel a lot of people are in denial of what’s going on. But that’s not the only story that comes out of the Dominican Republic and Haiti thats why I wanted to bring “La Lucha” out there to give another narrative. It’s translated to “the struggle” but within the admission statement, it’s like the struggle of taking control of our own story. I think thats a problem with black culture that we are not the ones writing our own story. We have other people writing our own story.

The whole “Get Down” was problematic because we can do it ourselves. We can do a whole series of the Boogie Down Bronx and have black producers have latino writers just us telling our stories. But we have somebody else, not from our neighborhoods saying our story in their own version. So that’s what I thought about D.R and Haiti that I was tired of these protesters or anti-Haitian people, that narrative coming out of D.R when that’s not the only narrative. There are people who are united and doing work together. I went to Haiti this summer and I met a group of musicians who are doing what I’m doing but through music. I met Haitian Pen doing what I’m doing but through writing.

So I know they are out there and theres a different narrative. I’m tired of being in NY and hearing “why do Dominicans hate Haitians” That’s not the case, all the time.

JS: I always think its important to really know where it is you came from. During a spiritual counseling, I was told that I should look deeper into my West Indian roots as opposed to constantly looking into African, more specifically Egyptian culture. I started researching my ancestors who were the Tainos. Can you shed a little more insight for those who also maybe interested in learning about our ancestors and how we live through them today?

YR: The Tainos were mostly in the Carribean (Puerto Rico, Cuba, D.R., Jamaica) and its interesting because Europeans thought they were savages and uneducated. They actually had a civilization, they would all join in one of the islands, coming from different islands joining together to have games and battles. They had communication between each other as well. Theres a famous story how the Tainos of D.R went to the Tainos of Puerto Rico to warn them about the newcomers.

We have that history. If you see the old Puerto Rican flag; the flag we know today was created in the 70s for Nyuoricans. But the old flag looks similiar to the Dominican flag, because of our history together. It’s sad those people don’t exist anymore because we can only learn from what they left behind. It’s a struggle between people of color tnow hat our history was wiped out. We have to reinvent it just with the little pieces left behind or the little pieces Europeans decided to keep in museums, that we have to pay to go see. I want people to know that these people were artistic, creative, had a civilization, educated in their own way. Even though they didn’t have guns or run around how Europeans thought we should be. They were a human race who should have been kept and fought, they were very strong. Theres stories of Anacaona who was a queen on the Haiti side of the Island. Unfortunately they didn’t make it and thats why theres other people telling our stories. I know Dominicans are a mixture of so many different things, my skin tone didn’t come from one person. So when I create my work I try to incorporate African,Taino and European influences. The masks I make, the series of the Zemis, is inspired by African and Taino work. Zemis were little scultupres the Tainos carved out of wood to elevate or highlight different gods. So I thought of creating my own gods but by doing masks. Masks are also very important part of African culture.

Then there’s the dresses, traditional European knitting, just mixing everything together because I know I’m a mixture of all of that. Even if I like one more than the other lol they all influence me.

JS: What’s the next thing you want to accomplish?

YR: I’m very inspired by a lot of black female curators are doing and I hope to eventually make “La Lucha” a stable organizations and have supporters backing it up financially. I would like to have a building of my own so I can start doing exchanges with artists from D.R and Haiti who probably don’t have the financial means to do a project. I’d like to have an established artist residency supported by the government to help me bring artists from D.R and Haiti, into NY to do work here. That seems like a little bit further in the future. Since I’m still supporting myself. I’m going to continue doing exhibitions and artist talk to help educate the people that are around my reach.

THE GRIND

Q 12 U E E N S 10 N Y C 16

LONG LIVE

LONG LIVE THE GRIND THE GRIND LONG LIVE

COME QUEENDOM COME QUEENDOM COME QUEENDOM QUEENDOM COME

COME

CHANTAE SUDLOW

JS: There is a very strong aura you radiant. It’s the embodiment of black goddess personified. What were you like growing up?

CS: I grew up an only child therefore, I was my everything. I moved from NY when I was 7. I spent summer 1996 with my cousin and aunt and surprise! I returned to a new state, new home, new room, new everything. It was tough as I spoke differently, I excelled above most of my classmates, and I was very much so about business. I was not a girl from Baltimore and became an easy target to bullying and teasing. Try navigating that new world (Baltimore) and a new elementary school while shaping yourself. It was emotionally taxing for a 7-8 year old. I internalized a lot of my experiences which made me cold, lonely and not trusting of many people. That pretty much sums up my life through middle and high school. I remained self motivated, made honor rolls, and did everything I was supposed to do. My moral compass has been pretty good and mature throughout my experiences. The other thing that remained consistent through my evolution: creating. I doodled, sold $.25 - $.50 drawings, dabbled in hair care-- whatever one would consider creative, I tried.

I was the typical, nerdy, introverted, unpopular girl for most of my life. LOL!

JS: What form of the arts do you enjoy the most? Fine arts? Photography? Crafts? You do them all very well.

CS: Ah! That’s a tough one. Each one satisfies me equally and greatly. I suppose I would say, photography. I never considered myself a model of any sort- even to this day I still have a challenging time saying it. I view it as another facet of my expressive self and it’s so beautifully reflective and requires a lot of trust. For me, it’s the only art form that allows me to really focus on the inward parts of myself. When I sit in front of someone’s lens, I allow them this subtle, quiet control. I can’t see myself so I honor whatever it is my body wants to do- how it moves and feels itself through the vision. It’s a very mental process as I transition through poses- mindful of how I may look, my angles, the shapes I form, my emotions, raw beauty. I think a lot about who I am when I pose nude. It’s liberating for me and I always recommend that at least once in your life, you should pose nude - simply for the experience and self.

JS: Your page often displays strength, unity, and beauty. I often feel like your page is saying, “Phenomenal Woman is In You” to all your followers. Is it safe to say this could be as an accurate interpretation of what you bring with your art?

CS: Oh wow. That’s love. Oftentimes I look at my page wondering, “What that heck am I trying to say here? Who am I reaching? This is a disaster! Lol” I think it’s beautiful that that is a message that you see. I want every Black woman to feel powerful and not in an evil, egotistical, way but in a loving, humble, inner self way. It’s important that we reclaim that power that we’ve subconsciously given to social media, white media, or other people. That power is OURS.

QUEENDOM COME

COME QUEENDOM COME QUEENDOM

JS: You recently moved to ATL from BK, NYC. What was that like?

CS:It was a rather smooth transition. In March 2014, I visited a high school friend for one night. We went to dinner and ubered around a bit. I felt a connection to the city immediately. Atlanta was a place I could see myself and I knew that I would make it there at some point. However, the in between was unclear. I didn’t plan the transition but the Universe aligned everything for me and I am blessed for that. Here I am 2016.

JS: What does unification amongst all women of color mean to you?

CS: It means everything. We need more sisterships, we need more safe spaces, we need to love one another but most importantly, we need to heal and shift our paradigms. So many women of color still feel unsafe around their sistas. Ive lived in that space before - I thought all women were catty, gossipy, and manipulative. All it took was for one woman to show me otherwise. Now, that’s a part of my platform. I hope that I am that one for other Sistas.

WWW.INSTAGRAM.COM/TAE_NOIR/

TAS

WE DREAM IN COLOR

Rob Ayala | Tommy The Animator | Kadeem Phillip | Ivette Urena | Christy Ayala

FANTASY IN COLOR Harlem,

JS: What are some of your best memories of the first couple of shows?

TAM: The vibe was amazing. The peoples love for my art was overwhelming. There were no egos no matter what the skill level was. The room was in total harmony.

IU: Some of my best memories were painting live in front of a new group of people, meeting and networking with new artists, the warm welcome I felt from everyone.

KP: Some of the best memories probably comes from such small things that I know certain people don’t pay attention to; but I’d have to say after our first group picture at the brownstone. It had such a cozy family feeling to it, & I’ve become so accustomed to that feeling that not having it around me feels leaves me with an empty feeling. I look forward to that time around when we have to take the group picture.

JS: Do you guys get nervous doing these shows? I know for some of the artists, these are some of the first times they have had their work being shown publicly?

KP:Personally I don’t get nervous that often, but typically first time artist are nervous because they just don’t know how the crowd will react to their work & usually they don’t know some of the artist. I’m only nervous when I put together a new piece on display because honestly these shows help keep me motivated & helps me look for other ways to further my art anyway possible.

IU: No, I don’t feel nervous doing these shows because I am doing these with my art family and it isn’t my first go-around having my work shown publicly.

WE DREAM IN COLOR

NY

WE DREAM IN COLOR

COLOR F AN TAS

JS: What do the artists, besides recognition, hope to achieve working as part of the collective?

IU: I hope to grow close connections with other talented artists and to be a part of more unique opportunities by working together.

IU: Some of my best memories were painting live in front of a new group of people, meeting and networking with new artists, the warm welcome I felt from everyone.

JS: Do you guys get nervous doing these shows?

KP: I believe that besides recognition, they are trying to build a following; which is something that is very important in regards to getting your work out across the US & the world as well. Also I believe people are trying to achieve a certain level of comfort with being in shows, learning how to network, become familiar with people and that a very important component to shows likes these. For some people, these are their first shows or their first time being around so many artists; so their learning a lot of key essential and have a great time in a welcoming space.

JS: What do you think separates “Fantasy in Color” from other art collectives in the city?

TAM: The many walks of life we come from but how we have the same passion for art in common. It’s like a big bridge connecting people of all walks of life but at the same there are no egos.

KP: Honestly it’s the fact that there is no ego, no barriers, just an open welcoming environment for people of all ages, all backgrounds just mixing in one area just having a good time but the focus remains on the art & all of the artists. Now I’m not saying that other collectives don’t, not at all but sometimes you can feel when the art isn’t that big of a priority at a certain show. Sometimes certain things feel like a bigger priority than others. At Fantasy In Color, nothing is made to feel like it’s less important than the next thing. All the visual artist & performers feel important.

IU: Everyone that is a part of this collective working together, the Founder and Vice Presidents of Fantasy In Color is all that drives it.

INSTAGRAM.COM/FANTASYINCOLORNYC/

like

water 4 chocolate

afrocentric keyy | kiarra elliot

interview | shot by jay stone

JS: Tell us more about your particular style that creates the unique look behind your pieces.

KE: I consider myself a eco-conscious visual artist creating unique pieces of artwork that both inspires others and captures the elegant moments in life; portraying beauty and strength. I’m Inspired by nature and life fusing the human, animal and organic plant form to make up a one of a kind portrait. By painting on wood I am able to bring back the organic nature of art using a natural resource.

JS: How did you get your start in fine art?

KE: I have always loved art in all forms, but it was really my mom that helped guide me into the drawing and painting side. I attended a performing arts high school for fine arts and was able to really learn and develop my skill.

JS: It is this unique brand of art that you bring to the table that caught our attention. It plays on the whim of “art meets nature meets acrocentric.” Pieces like “Power of Da Puff” is a prime example of that. How do you plan the initial stages of such intricate pieces?

KE: To be honest none of my paintings are planned out prior. All of them come to me in a random inspirational moment, from either a conversation, a walk around the city or even listening to music.

From there take a moment and think about what that images animal spirit would be. I always want to make sure that both the image and animal balance each other like a ying and yang combination.

JS: Its refreshing to see an artist who incorporates animals into her work. Would you consider yourself an animal’s activist?

KE: I wouldn’t consider myself a full animal activist, but I do believe that animals are important and need to be protected.

JS: Where do you hope your brand “Afrocentric Keyy” will take you and what are your plans for it?

KE: I hope to take my brand worldwide and spread the message of positive images of strength, beauty and ambition. I would love to continue to showcase all around the states as well as international. My ultimate goal is to have one of my piece in homes all around the world in either a art print, home decour or original wood painting!

BLACKstar

host writer

s.t.a.r.c.h nyc

byas

& leon

JS: Tell us about S.T.A.R.C.H. and its conception. What is it an acronym for?

HL: Well, S.T.A.R.C.H arose from my growing desire to contribute more to collective human consciousness...in a way that was really spiritually fulfilling and that combined elements of film; which I’ve always felt was a powerful medium for change. So I made a FB post a couple years ago asking if anyone had a camera, and the rest is history. As far as what the acronym actually stands for, well...I’m taking that one to the grave, haha. A little mystery never hurt anybody. More so though, I like to think of S.T.A.R.C.H as a force, an energy, a beacon of change...that transcends words and even spoken language.

JS: I can appreciate S.T.A.R.C.H as a platform for young intellectuals and folks who just want to check out thought provoking shit. Was this always what you had in mind?

HL: Yes and no. Yes in the sense that I absolutely appreciate (and have from the beginning) the core of our fanbase who were liberal/open-minded/free thinking people before they ever even heard of S.T.A.R.C.H. But the primary focus of the show is to *free* minds, widen perceptions, expand consciousness...there is no limit to the expansion of consciousness, but who we really hope to affect the most are those whose perceptions are really narrowed, who are *not* open-minded in

JS: The episodes that hit me really hard were the ones in relation to child sex trafficking. What was that whole series like for you?

HL: In all honesty, that episode (3 parts) is where I truly understood the dangers of the path I was walking. Some knowledge comes with a price...a price on your soul, a price on your sanity. Of course I had known about sex trafficking and of how rampant it actually is in the world. And shit, I had always strongly suspected that the U.S was much more involved in it than the common person was aware of. But then I heard it told straight from someone who was a sex slave for over a decade... learned of the thousands of children here in the U.S, boys and girls, who are sold for sex to ordinary men as well as some of the most powerful people in the country…and of the deplorable and downright disgusting things these children are forced to do with these men. I’m telling you man...that episode rocked me to my core. And that knowledge stays with me forever. BUT, it did also strengthen my resolve, and made my desire to spread truth that much more powerful & urgent.

JS: One thing I grasped from the latest episode of season 3: Red Buddha, was the idea of consciousness rising. Given the current state of affairs here in this very country, how close do you think we are to a mass awakening?

HL: Hmm...hard to say. lol. We live in interesting times, that much is for sure. On one hand, with the rapid advancement of technology, we’re all connected on a scale never before seen in human history. Information travels at the speed of light (literally), and so people of today are much more aware of what’s going on in their own areas as well as around the world. But there’s a flipside to that coin too...if the availability of information has gotten wider and more complex, so too have the methods employed by the elite to *dis*inform you, to manipulate & to control. Spiritually and collectively speaking though, I do indeed sense a mass awakening, people seem to be breaking away more and more from the prejudices & indoctrination of the past. But I honestly don’t know if that’s objectively true, or if it’s just me attracting

Harvey Leon

s.t.a.r.c.h

more and more people into my life that are on the same frequency. The collective human condition is in for some profound changes, that much is certain, and relatively soon I feel. But which way the pendulum will swing the heaviest...it’s impossible right now to say. a theme, we decide on episode topics that will fit *within* that theme. And then once we agree to at least some initial number of episodes and how complex we’d like to make em, we find subjects by doing research the old fashioned way and making proposals to them. Our subjects nowadays are literally people we reach out to directly or they are referred to us, that’s pretty much it.

JS: When did you decide to focus on Byas & Leon?

HL: We’d been having on and off little talks about it prior, but my best friend & co-founder Rony Byas and I finally went to Northern Haiti (Cap Haitien) in the summer of 2013. We touched down, established a relationship with some local tailors, and haven’t looked back. Now my life’s a juggle between S.T.A.R.C.H and Byas & Leon, doing work for both most days, but pivoting more of my attention to one or the other during important periods.

JS: You got a lot of great ideas coming together as well as hosting many of the underground art events in NYC. What do you think the future has in store for you?

HL: I see myself as like a Childish Gambino or a Lupe Fiasco kinda dude you know? Haha, nah legit, I can really appreciate how versatile people like them are; Lupe for instance is a successful rapper, DJ, painter, martial artist, philanthropist and little of this is known, but he was also among The Aspen Institute’s 2014 Class of Henry Crown Fellows (google it google it, lol). So yea man...won’t be going down those exact paths per say, but I see myself hosting bigger and bigger events around the world, (and not just parties/bashes or the like, but intellectual debates/roundtables, etc), interviewing bigger & bigger names and seriously getting my weight up with these documentaries while S.T.A.R.C.H airs on VICELAND or MTV or something, haha...and of course reaching pre-eminent status as a philanthropically based fashion label with Byas & Leon. I can go on & on, haha, but I’ll leave it at those. Gotta dream big man, gotta dream BIG! Haha

BLACKstar

WWW.BYASLEON.COM/

EDITOR’S NOTE

MAJOR THANKS! To those who have rocked out with us all 2016. When I woke up this morning, I reflected on how frustrating things have been. It has been a very bizarre, stressful, up and down year for me, that has ended on sour note. But when life gives you lemons you drink tequila.... I’m prepping for our first ever show this January 15, 2017 “The Sunrise Kingdom” and much more to come. Thanks to those who just caught onto our movement, we been steady grinding for four years now but its never too late. Thanks to those who continue to ignore us. Thanks to those who doubt us. Thanks to those who continually inspire us to be great, there is a sea of stunning artist. Most importantly, thanks to you!!! 2017 will be mean, believe that. - Jay Stone

20 16 20 17

> New Year. Same you. Better view.

Alphanso Jackson

Christmas Day. It’s finally arrived. The moment where all of one’s happiness has either been dispersed or absorbed amongst their loved ones. A cheesy ending to an enigmatic year.

However, besides enjoying the basic new socks that you’ve just unwrapped. You now sit at the edge of your bed awake thinking. What of? The simplest but most frustrating thing. Not where the time has flown off to or if those same socks have a polyester lining but in one week, rather just where the hell are you going to be for a dope NYE celebration???

This feeling adds more excitement to your adult life than when you got invited to your first sweet 16. It’s that time of year where the clock resets itself. And much like Halloween or any birthday spanning from 18 to eh, 25 because 30 is right down the street, you can get wasted or be a complete slut and all shall be forgiven. Why? Because it’s the fresh start to a new you.

But... let’s slow down and take it back. A notch and go with the fact that as we age, our lives change. And though priorities aren’t everything to a good amount of people in this world, we must take note that not all of us will make it to the next level. Hey, some won’t even make it to the next breath but that’s where our maturity must kick in. It’s the sense of knowing that not all is to be taken for granted. Appreciate what you have. Treat it with care. And eventually, it will gravitate what’s meant to be for you, to remain for you.

Just word of wisdom from a messed up year. Rather than soak in the sorrows. Take it down with a shot and grain of salt. You made it this far. Keep going.

With love,

Here’s a toast to the New Year, Blessings

Jackson A.D.

||| peace 2016

- Donahue Johnson