moonchild

moonchild

FUNERAL

ISSUE

III

PARADE

MOONCHILD

A RT I S T S S U P P O RT I N G

A RT I S T S

MIXTAPE

A K W - Lo st i n t h e Ch a n g i n g E l Per r o D e l M a r - Wa l k On B y Br o adc a s t - I l l u m i n a t i o n C at P owe r - Ch e r o k e e Beach H o u se - Th e H o u r s Bat hs - Se a si d e Town To r o Y Mo i - So M a n y D e t a i l s B e c k - Wa l l s F ast Pl an et [ V i n d a t a R m x] - Co l u m b u s Go o d Gu y Mi kesh [Ch r i st i a n L o ffl e r R m x] - Sp a r e Z u l u Wi n t er - Peo p l e Th a t Yo u M u st R e m e m b e r Mi kh S o l vi s [ To d d B o d i n e R m x] - D e e p P o o l C u l t s - G o Ou t si d e

-LISTEN-

F E A T U R E D A RT I S T S

A RT 4 8 . W i sh Ca n d y 10 2 . Z o e W i l l i a m s 2 7 2 . Jo h n n y F o x 2 9 0 . Ju l i a Wa l c k 206 . An g e l a E l l e fso n

FASHION 3 0 . Th e Aft e r l i fe 1 6 4 . D eva s t e e

LITERATURE 3 0 4 . E . Am a to

MUSIC 62 . P u t a D e Ca va 116 . Ch r i st i a n L o ffl e r 1 8 6 . AK W

P H OTO G R A P H Y 24 0 . K a d i e N u g e n t

MUSINGS 132. D a n i e l l e Kowa l c z yk

We A l wa y s S a ve T h e s e F o r L a s t, S o w i t h t hi s s a i d , o u r e d i to r n o t e i s. . .

T hi s i ss u e i s m e a n t to b e e n j oye d wi t h c a r e .

S et asi de so m e t i m e fo r yo u r s e l f [ yo u d e se r ve i t ] , g r ab a ver y l a r g e c u p o f c o ffe e , t e a [ o r w i n e d e p e n d i n g o n t h e t i m e ], get o u r m i xt a p e r e a d y to p l ay, & di vu l g e yo u r s e l f i n to t h e wo r l d o f F u n er al P a r a d e ’s wi n t e r i ss u e .

We wan t t hi s i ss u e & t h e m a g i c wi t h i n to b e t hat sw i f t k i c k i n t h e b u t t o f i n s p i r a t i o n , m o o n chi l d a n t i c s, & d r e a m y t h i n g s.

Oh! A n d do n ’t fo r g e t . . we l ove , l ove l e t t e r s A S A @F u n e r a l P a r a d e . c o m xx Sh e e n a Sn yd e r Ta i d e Ke n n e d y

F u n e r a l P a r a d e C re a t i ve Te a m & C o n t r i b u to r s = = t h e c o o l c a ts t h a t m a d e t h i s h a p p e n - [cheese]

Li n d a [ E l l e ] Ch e n Jov i E sq u i ve l K a i t l i n Je a n S t eph a n i e L a u r e n Sm i t h K r i st e n R a t c l i ff E un i c e Vi l l a l o b o s Z a r a Al yse

C ove r A r t wo r k b y S h e e n a S n y d e r C l o s i n g P h oto g r a p h s b y B i n d y O ’ Ke l l y

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its about

forgetting

you ke ep t ho s e c lo s e t o you exa ctl y wh er e you need t h em b e in b e twe en th e c ra cks o f sa n i t y a nd i n ; a s if the thought of t h em l ea r n i ng t h e t r u t h o f you , m i ght b r ea k you r es s enc e en t i r el y.

word s have r un dr y. mi nd s et slowing, voi c e b ox numbing. i am lost in one of my awkward moments again. head is dead and gone in a million different directions.

thoughts overshadow reasoning. words find comfort within run on sentences behind eyelids and my heart has been skipping beats since yesterday’s morning

pitt-er patter pittter pat - ter pit.

I T ' S A B OU T F ORG E T T I NG A C o l l a b o r a t i on S e r i e s .

Wo r d s , P h o t o g r a phy, & S t r u c t u r e by S h e e na S ny d e r Wa r d r o b e S t y l i s t & 2 nd P h o t o g r a ph e r: E u n i c e Vi l l a l o b o s P h o t o E d i t i ng & C o l o r C o r r e c t i on by Ta i d e Ke n ne d y Mo d e l e d by Z a r a A l ys e

The AfterLife

What does fas hi o n m e an t o yo u ?

I wrestled for a long time with the idea of fashion in my head. Fashion has always had the reputation of being materialistic and unintellectual. I was always drawn to i t t h o u g h a n d i t w a s a s t r u g g l e t o j u s t i f y t h a t i n m y h e a d . To m e f a s h i o n i s j u s t a n o t h e r a r t f o r m . I t h i n k t h a t i t i s s c u l p t u r e , a n d i t a l s o h a s r e l e v a n c e i n h i s t o r y. I think it has a fascinating influence on the movement of culture, it can be a way to communicate and I think it can be just useful on top of all those things. Fashion is art that everyone wears. It's relevant in some way to everyone.

It’s not always sunshine and blue skies.

How would yo u d e s c r i be yo u r o w n s t yle ?

What ar e som e p i e c e s t hat yo u c an ’ t li v e wi t h o u t ?

I l o v e m y “ Ma ra Hoff ma n ” g rey wra p coat with a giant hood and a gold zipper. It makes me fe e l l i ke a movie s ta r.

I am in love w i th yo u r i d e a o f c r e at i n g v e rs a t i l e d e si g n s t h a t t ra n sf o rm i n t o d i f f e re n t a rt i c le s of clothing t o be w o r n m u lt i p le w ays . Wh a t i n sp i re d y o u t o d o t h i s ?

I h a d an A us tr a lia n r oomma te th a t wa s an aspiring stylist. She would sit in the mirror and play w i t h h e r c l o thin g f or h ours . I wa tched her take a skirt and wear it as a scarf. It inspired me t o m ake t h e s k eleto n d res s . When I started to really study alternative sustainability options, I r e a l i z e d t ha t co nver tib ility wa s a great and fun way to be sustainable. It also kind of helps d e v e l o p a d iff erent k ind of r ela tions hip with your clothing. I think you start to view it as more o f a p a r t o f you. T ha t’ s why I ca lled the new max i dress “Second Skin”.

Tell me a little abo u t yo u r d e s i gn p r o c e ss? W h e re d o y o u d ra w i n sp i ra t i o n fro m ?

Th e r e ar e ma n y diff erent wa ys I come up with ideas. I have fr u st r a t e s me th a t I ca n ’ t get th em o ut fast enough. Recently m aki n g s h a pes o ut of th e f a b ric a n d then trying to turn it into i n sp i r e m e . I r ef er to a rtis ts wo rk o f ten too. I’m planning to do s o m e o f m y a rtis t f r ien ds .

so many ideas sometimes it I’ve been ex perimenting with something wearable. Tex tures some collaborative prints with

E v e r y o n e n atura lly h a s th eir o wn mea n ing for everything in this world.

What d o you li k e m o s t abo u t w hat yo u d o ? W h a t d o y o u fi n d m o st c h a ll e n g i n g ?

I l o v e t h e d i s c o v e r y p r o c e s s w h e n I ’ m w o r k i n g o n s o m e t h i n g n e w. I a l s o l o v e working on the advertising material. Coming up with photo shoot ideas and concepts, collaborating with other artists, and coming up with creative ways to use or present clothing is so much fun.

I think the most challenging part is managing the money to fund all the ideas I have.

Depending on other people is challenging too. When you create a painting you don’t have to explain to someone else how to remake it - you know? It’s a fascinating journey to learn to work with a team in creating a vision. It’s also the best reward.

Why did you c ho o s e , " A f t e r li f e " t o r e p r e se n t y o u r b ra n d ? W h a t d o e s i t m e a n t o y o u ?

I was trying to come up with a name that was a symbol for sustainability without s o u n d i n g t o o c h e e s y. A f r i e n d s b a n d h a d a c o o l n a m e t h a t I a l w a y s l i k e d . I r e m e m b e r e d brainstorming and saying I wish I could come up with a name that cool. Then I realized I could steal it! I mean the band wasn’t named “Afterlife”, but it had it in there. It f i t p e r f e c t l y. I t ’ s r e a l l y b a s e d o n t h i s i d e a t h a t t h e c l o t h i n g c a n b e r e b o r n , i t ’ s a l l biodegradable so it can live again; it can have an “afterlife”. There are so many fun ways to play on the word too - Heaven, rebirth, reincarnation, death, another world..

Fashion is o bv i o u s ly a bi g p ar t o f yo u r li f e . W h a t a re o t h e r t h i n g s y o u e n jo y ? D o y o u h a v e passions for o the r thi n gs o r ar t fo r m s ?

I started out as a visual artist so I love going to galleries, I play guitar and I like to snowboard. I am also a super nerdy book worm- I think maybe a little too much.

Y ou have to be li s t e n i n g t o s o m e thi n g wh e n y o u a re d e si g n i n g a wa y a t t h e s t u d i o . W h a t d o y o u like to listen t o ge t yo u i n s p i r e d ?

We h a v e a r a d i o i n t h e s t u d i o w i t h a n o t e o n i t t h a t r e a d s , “ D o n o t c h a n g e c h a n n e l ” .

It is on the best radio station ever- WFMU. Just this week Nardwuar had a 3-part h i s t o r y o f s k a t e r o c k t h a t w a s k i l l e r. D i a n e F a r r i s h a s a n i n c r e d i b l e m e t a l s h o w o n WFMU- really she has the greatest taste. I’m extremely influenced by music. Mostly Indie Rock I guess, but I get around.

“n atura E Vlly EhaRs Yt h eOi r oNw nE m e a n i n g f or e v e r y t h i n g i n t h i s w o r l d . ”

What ar e 5 w o r d s that w o u ld d e s c r i b e t h e o v e ra ll a e st h e t i c a n d t h e m e o f y o u r b ra n d ?

L u x u r y, Ve r s a t i l i t y, R o c k - n - R o l l , S u s t a i n a b l e , L o n g e v i t y, E ff o r t l e s s , C r e a t i v e - e h , I k n o w that’s more than 5!

To o m u c h o f a n y t h i n g , i s t o o m u c h .

Any d esi gn e r s yo u lo o k u p to ?

G a r y G r a h a m , A l e x a n d e r M c Q u e e n , M a i s o n M a r t i n M a r g i e l a , H e l m u t L a n g , M a r a H o ff m a n .

If you co u ld c ho o s e an y c e le br i ty t o e n d o rse y o u r b ra n d , wh i c h c e l e b ri t i e s wo u l d y o u c h o o se?

It would be awesome if indie rock chicks, snowboarders, and really awesome ladies who are ”making things happen” were into my line. People like Santi Gold, Alison M o s s h a r t ( D i s c o u n t , T h e K i l l s , T h e D e a d We a t h e r ) , K h a e l a M a r i c i c h ( T h e B l o w ) , K a r e n O , Jess Kimura (Snowboarder).

What ar e s o m e w o r d s o f wi s d o m y o u wo u ld l i k e t o i m p a rt o n t o y o u r f e ll o w f a sh io n desig n ers as we ll a s t o t h e re st o f t h e w o rld?

I have a little note on my desktop that says, “There is nothing that cannot happen.”

I t h i n k t h a t i s p r e t t y g o o d a d v i c e . I t h i n k M o t h e r Te r e s a w a s r i g h t o n w h e n she said, “If you judge people, you have no time to love them.”

N o w , le t s s ay i t s y o u r la s t b re a t h . . wh a t ’ s y o u r t o m b s t o n e g o i n g t o say t o t h e w o rld? “ Wo a h ! We l l , t h a t w a s f u n ! ”

J e n n i fe r S c hwa r t z D e s i gne r o f T H E A F T E R L I F E F u n e r a l Pa r a d e A r t i s t Fe a t u r e A S u s t a i n a b l e C l o t h i ng B r a nd b a s e d ou t o f N YC

Fo r m o r e A f t e r l i fe T h i s I s T h e A f t e r L i fe . c om -ALSOL i k e on Fa c e b o o k . c om /A f t e r L i fe N YC

I n t e r v i e we d by L i nd a [ E l l e ] C h en P h o t o g r a phy by G i a n l u c a B i a nc h i no Mo d e l s fe a t u r e d : L i nd a [ E l l e ] C h e n & G önü l A k s oy

H S I W

Y D N CA

I ’m p r e t t y m u c h t h e p r o d u c t of a mi l i tar y/ gov er n ment, wo r k er -bee f ami l y.

M o ve d ar o u n d a lo t as a k i d , as th e awk war d l o ner. U sed to b e a c h am p io n o f r u le f o llo wi ng, now I don’t see wh y I shoul d car e.

R u le s o n ly b e n ef i t th e p eopl e who mad e th em.

R E V O LT ! !

W h at do you feel ar e th e s tr o n g tr a i ts i n yo ur cha ra cter? What makes yo u , Wi s h c a n dy?

Wi s h c a n d y is f u ll o f j u xt ap o sit io n s! I l o v e the sacch ar i n e, pi ctu r esque, and b eauty. I’m al so a t t ra c t e d t o t h e st r an g e , g r o t e sq ue, haunti n g, and k i tsch. I can b e v er y q ui et, but m o m e n t s l at e r I ’ m b u r st in g w it h g i g gl es an d bei n g r i d i cu l o usl y si l l y. It’s al l ab out c o n t ra s t . O h , an d a se n se o f h u m o r.

Th e J a p a n ese z o d iac m ig h t b e p r e tty accur ate. It’s based on bl o od types, mi ne bei ng AB. Wh i c h p r e t t y m u c h m e an s h avi n g a dual per sonal i ty, k eep i n g i t i nter esti n g. Pl ea se d o n ’t m u rd e r m e an d st e al m y b lo od n ow th at y ou k n ow, ok ay?

W h en did you b eg in yo u r a r ti s ti c jo u r n ey?

I ’ve b e e n d r aw in g e v e r sin c e I c o u ld hol d a penci l . I u sed to dr aw al l ov er my mom’s b ills ( b e fo re s h e b o u g h t m e so m e p ap e r ). Howev er my jo ur ney tr ul y star ted at the end of h i g h s c h o o l o n c e I r e aliz e d ar t c o u l d be pur sued as a car eer. My i d ea of ar ti sts were o ri g i n a l l y o f Van G o g h , w h o n e v e r so l d a pai n ti n g i n h i s l i f eti me.

I k n u c k l e d d o w n in c o lle g e an d d idn’t d o much el se b esi d es mak e ar t. I sti l l don’ t.

Be fo re a rt , I ac t u ally w an t e d t o p u r sue f ashi o n d esi g n… wh i ch i s sti l l ar t i f y ou d o it ri g h t .

Ho w would you des cr i b e yo u r s tyle o f wo r k?

M y s t y l e i s c o lo r f u l an d f u n , e v e n if i t’s tack l i ng a dar k er subject. D o esn’t matter wh at m e d i u m I wo r k w it h , it ’ ll st ill b e t h e same ener gy b ehi n d i t.

Wha t m edium do you wo r k w i th ?

H o n e s t l y, I lik e t o sw it c h ar o u n d a l ot. The past year or so I’v e been pr etty dedi cated t o w o rk i n g w it h w at e r c o lo r an d p e n ci l s. I l i k e how f l at and detai l ed I can mak e i t. But I ’ve b e e n it c h in g t o w o r k w it h o il pai n ts ag ai n .

W h ere do you draw i n s pi r a ti o n ?

I t ’s h a rd t o say e xac t ly w h e r e it c omes f r o m. I r eal l y l o v e th e col o r s and nai v ete of t h e 5 0 s & 60 s, b u t r e ally d ig t h e r eb el l i o n of th e 70 s. I u sual l y ju st f i l l my head with f a s h i o n , i n te r io r d e sig n , n at u r e , f o o d photogr aphy por nogr aphy, nov el s, an d gr eat f i lm.

M y i m a g e s c o m e f r o m a c o m b in at io n of my mood and whatev er el se my subconsci o us decides to puke out!

How do you g o ab o u t s ta r ti n g a n ew pi ec e ?

W h at is your proc es s i n f i n di n g di r ec ti o n; wh ere does i t all b egi n ?

I t ’s n e ve r th e sam e ! S o m e d ay s I sit down and tr y to f i nd a metaphor f o r what I’v e been fe e l i n g . An d o t h e r d ay s, I ’ m h it w ith a f ew i mag es at once, I’l l si t down an d tackle t h e m . I t a l way s st ar t s w it h m e c u tti ng paper (p r eppi n g suppl i es) an d danci n g ar ound to music though.

T e ll me a b i t ab ou t wh a t yo u ’r e c u r r en tl y working on.

I ’ve b e e n w o r k in g t o w ar d c r e at in g a ser i es of sassy l ad i es. I’m g r adual l y wor k i n g on b i g g e r p i e c e s an d b e c o m in g m o r e r i di cu l o us. Th er e wi l l b e cr y i n g an d d ebaucher y!

W h at would you s ay i s a f a v o r i te pi ec e you h ave created? Tell u s a b i t a b o u t i t.

M y fa vo ri t e alw ay s c h an g e s. R ig h t now i t’s “Saddl ed by Sweet N o thi n gs”. It’s of a m o ro s e g i rl w it h g r e e n h air b e in g r estr ai ned b y d onut h andcuff s. Sh e’s compl etely s u rro u n d e d b y t h e su g ar y c o n f e c t ion s.

I t ’s a b o u t f e e lin g h e ld b ac k b y an ad di cti on to sweets and th e ex pectati o ns o f our s o c i e t y t o b e p e r f e c t . W h at e v e r t hat mi g ht mean: th e per f ect b ody, mak i n g enough m o n e y, d o i n g w h at o t h e r p e o p le w a n t.

W h en not creating o r w o r ki n g wh a t a r e yo u d oing?

I ’m u s u a l l y c u r le d u p w it h a g o o d book o r seek i ng an ad v en tur e. I eq ual l y en joy e x p l o ri n g t h e w o r ld w it h f r ie n d s o r al one.

W h at do you love mo s t a b o u t c r ea ti n g? Wh a t is yo ur leas t favorite ?

Ex p re s s i n g m y se lf an d g e t t in g r id o f p ent up ener gy i s th e best! P utti n g together color p a l l e t e s i s also p r e t t y p le asin g . O r g etti n g to co nnect wi th o ther s (I ch eated an d can’ t c h o o s e ju s t o n e !) I w o u ld say w o r r yi n g ab out mo ney an d d oi n g ad mi n i str ati v e wor k is m y l e a s t fav o r it e .

W h at direction, if a n y, do yo u s ee yo u r s tyle or t echni que g oing ?

I s e e m y wo r k g r o w in g b ig g e r, a li ttl e mor e l o ose, sti l l gr aphi c. A i mi ng to tr anscend b e i n g s o l e l y an ar t ist , c r e at in g m o r e tangi b l e wo r k . P r obabl y bl eed i n g ov er i nto f ash i on or books.

Fo r t hos e annoyi n g m o m en ts o f c r ea ti v i ty bl o ck, how do you get th r o u gh ?

I s t e p b a c k f r o m ar t c o m p le t e ly. I ’ ll car r y a sk etchbook , ju st i n case, b ut i t’s i mp or tant t o ju s t g o g o o f ar o u n d w it h m y f r iends. I’l l tak e a good wal k o r see a f i l m al one. An a rt b l o c k usu ally c o m e s f r o m t o o much r ep eti ti on an d p utti n g to o mu ch p r essur e on myself.

W h at s ort of impres s i o n a r e yo u i n ten di n g to le ave vi ewers with, i n r ef er en c e to yo u r b o dy of work ?

Ei t h e r p e o p le sh o u ld t h in k I ’ m c o m p letel y l o oney or absol u tel y br i l l i ant. I’l l tak e any sor t of e m o t i o n a l re ac t io n r e ally, t h e n it ’ s a success.

W h o a re s ome arti s t yo u a r e f o n d o f ? Wh a t is t he a t tracti on?

Th e ra n g e o f ar t ist s I ad m ir e ar e v ast: p ai n ter s, i l l ustr ator s, co mi c ar ti sts. It’s about m o o d , p e rs on alit y, an d w o r k e t h ic !

I f y o u w a n t sp e c if ic s I c o u ld g o o n f o r ev er : Gu stav K l i mt, H ok usai , Junji Ito, K azuo Um e z u , M i ch ae l d e F o r g e , Jo n n y N e g r on, Mi ss Van , B ei B adgi r l , McB ess, Tayl o r McK i men s, Yo s h i t o m o N ar a, Ay a Tak an o …

Any advi ce you’d li ke to pa s s o n to o th e r aspiri ng artis ts ?

Wo rk re a l l y h ar d , d o n ’ t t r y t o b le n d i n to f i t i n , and n etwor k , networ k , networ k . Look o u t s i d e o f ar t f o r in sp ir at io n o r y o u r wor k wi l l b ecome a cheap copy of so meone el se’ s.

And f or F uneral P a r a de’ s i n f a m o u s q u es ti o n .. la st b reath, what is yo u r to m b s to n e go i n g t o sa y t o the world?

I d o n ’t w a nt t o b e b u r ie d , w i l l c re m a t e m e , t ak e m e b o a t ri d e i n t h e S e in e , an d m y l i f e re m in d s p e o p le t o

p r e se r v e d an d tak i ng u p sp ace i n th e ear th . I h ope so meone in t o t h e Lo uv r e, an adv en tur e i n Ver sai l l e, dump me on a t h e c at acombs, th en go out f o r tea and macar oons. I h ope b e t h e m sel v es no matter what, dr eam b i g , and wo r k h ar d.

W I S HC A N DY F u n e r a l Pa r a d e A r t i s t Fe a t u r e

Fo r m o r e Wi sh C a n d y v i s i t Wi sh C a n d y. n e t Fo r P u r c h a s e v i s i t Wi sh C a n d y. e t s y. c om - ALSO Fo l l ow on Wi shy C a n d y. t u mb l r. c om C om m i s s i on I nq u i r i e s : Wi sh c a nd y y y @ gm a i l . c om

I n t e r v i e we d by Ta i d e Ken ne d y A r t wo r k Š Wi sh C a nd y [ i n o r d e r o f a p p e a r a nc e ]

[ C ov e r P h o t o ] " P i z z a W h i p p e d " " D a r l i ng W h a t H av e I D one " " Wou nd e d " " S a d d l e d B y Swe e t No t h i ng s " " C om fo r t Q u e en "

Puta De Cava

i’ l l s o a k in to th e gr ou n d in th e p l a ce wh ere sou ls w ill me e t f l o o d th e s tr eets , the y w ill dr ow n d r i n k f r o m th e s t r e am th ey wi l l ch r i s ten me

How long have yo u b e e n cre a t i n g m u s ic ?

I p i cked u p t h e g u itar abou t 4 years ag o b e ca use the p e o p le a ro und me at t h e t i m e i nspired me to. Ever since the n, I p la ye d fo lk music o n my own , u n t i l a l ife c h anging oppor t u n it y p re se nte d itse lf to me . I met H e i d i , ou r b a s s pl ayer at a par t y as I he ld a ha nd le of B la ck Ve lvet C a n a d i a n W h i s k ey. S h e l ater ask ed me to co me j a m with he r b a nd , Puta d e C a va , a n d t h e rest is h istor y .

Be i n g p a rt of a n a l l gir l s ban d w it h tal ente d la d ie s is a d re a m co me true .

Eve r y mem b er p os sesses a u n iqu e fl avor b le nd ing into o ne b e a utiful a nd u n i q u e s ou n d .

An y other form of a r t i s t i c o u t l et a s i de fro m th e band?

M y wh ole li fe i s a bou t ar t an d c reat in g. I a lwa ys cycle thro ug h cha rco a l il l u s tra t i on , m u s i c , sew ing, jewel r y mak in g... I love a ll fo rms of cre a tivity, so I do n ’ t l i m i t m ysel f to on e t h ing. Righ t now I cura te shows a t a n a ma zing a r t ga ll ery c a ll ed Index A r t Center as well a s he lp run a n a rt co lla b o ra tive c al l e d O c u lu s . It feel s amazin g to be par t of the flo urishing a nd up co ming a r t s ce n e of N J.

Wh a t fuels your cre a t i o n p ro ce s s ?

Th e wa n t to m a k e somet h in g ou t of myse lf d rive s my cre a tio n p ro ce ss.

I do n ’t wa n t to s i t around and see t h e wo rld p a ss me by. I cre a te so tha t on e da y i t w i l l ta k e me away from New Jersey; so tha t o ne d a y, I ca n se e t he re s t of t h i s wo r l d. W h en I see ot h er p e o p le cre a te , it motiva te s me to c re a te . W h en I s ee somet h ing t h at moves me , I’ m d rive n to d o the sa me .

If n ot mus i c, then w h a t ? Th ere’s no such thing .

Fa vor ite part of b e i n g i n a b a n d ? Le a st favo ri te ?

Favo r i te- g et t i n g l ost in t h e moment on sta g e . T he fe e ling of co mp lete ly re m ov i n g m ys el f from t h is pl ane of ex iste nce a nd tra nsce nd ing to a nothe r on e as b ec om e lost in t h e sou n d an d sensa tio n.

Le a s t Fa vori te- N ot h aving gas money .

Now, lets s ay it s yo u r l a s t b re a t h . . wh at’ s yo ur to m bsto ne g o i ng to sa y to the wo r l d ? “ You may be a king o r a stre et swe e p e r, b ut eve r yon e d a n c es w it h t h e gr im reaper , so live life the wa y yo u wa nt it to b e l i ve d … ”

My nam e is L ind a.

I am someone who dre a m s to d o a lot with life.

I have always been dra w n to the arts becau se it is a n ou tl e t in which allows me to tra nspose my feelings into some thing re a l , som ething tangible; so a l l m a y experience what I e x pe rie nc e .

- L ind a [ Elle ] Chen Gu itar

I ’m t h e c r e e p y o n e .

Jus t k id d i n g ; w e ’r e a ll cr eepy.

I p l a y b a ss . I l i k e g i mmi cks .

M y new g i m m i c k i s pla yi n g b a s s in a b a n d . J o k e s o n yo u.

Heid i H uss a Bass

W i t h a d e s i g n b a c kg ro und, I trul y appre c i ate th e fash i o n you la d ies cu l t i va te a n d t h e parti c ul ar l o o ks yo u e ac h po rtray . D e sc ri be a b it a b o u t yo u r p e rs o nal sty l e and wh y i t i s as suc h . Favo ri te pl a ces to s h o p , etc.

I l ik e finding c l othe s in thrift sto re s a nd p e o p le ’ s a ttics. I d on ’ t real l y fol l ow fash io n.

I used to be a turd y p lume a nd fe a the r so rt of g oth kid . I got real l y into new wave a t so me p o int. So metime s I try to cha nne l Gwen S tefa n i in t h e 90 ’s. S h e was re a lly g o o d a t ha ving b ra ce s a nd p ink ha ir.

Th e t h i n g a b o u t s trug g l i ng art ki ds, up and c o m e rs, ni g h t ow ls , a nd / o r t h e cre a to rs i s. . we sti l l ne e d a day jo b to suppo rt o ur d rea ms .

W h a t d o yo u e a ch do to e nsure th e e l e c tri c bi l l i s pai d o n time?

I don’t k now about the b ills g etting p a id o n time , b ut it’ ll get p a i d even t u al l y . I h ave ab o ut six hund re d o d d j o b s. R ig ht now I’ m a meta l wor ker , I wor k as a bl ac k sm ith. I a lso wo rk with a no n-p rofit a rts co lle ct i ve t ha t we’re al l members of.

W h a t fu e l s yo u r c re ati o n pro c e ss?

Th e want to mak e so mething o ut of myse lf d rive s my cre a tio n p roc es s.

I don’t wan t to sit a ro und a nd se e the wo rld p a ss me by. I cre a te so t ha t on e day it w il l tak e me a wa y fro m New Je rsey; so tha t o ne d a y, I c a n see t h e rest of t h is world . Whe n I se e othe r p e o p le cre a te , it motiva tes m e to c reate. W h en I see so mething tha t move s me , I’ m d rive n to d o the s a m e.

An y p a r t i cu l a r q u irks? Ri squé se c rets? O ddbal l i nte re sts?

Ugh god, don ’t eve n g et me sta rte d . All thre e of tho se ca te g o r i es a re w h at c ompr ise my e ntire life .

W h a t h o o l i g a n d r ive n ac ti v i ti e s do yo u parti c i pate i n befo re t he s un g o e s d ow n ? As i n, wh at c o ul d I fi nd yo u do i ng o n a no rm al Tues d a y a ro u n d 2p m ?

Break ing and entering into a b a nd o ne d b uild ing s, sp ra y-p a inting a ki n g sized c r u c ifix on a mo unta in to p , b uild ing a fire in the wo o d s, s l eep i n g in a w igwam, h ang ing o ut with ho me le ss p e o p le , b iking fo r six m i l es for no reason, pay in g to o much a tte ntio n to p o litics, p la nning o ut el a b ora te fic t it iou s h eist s in my he a d , ma king j unk o ut of othe r j unk, writ i n g fa ke l ove l et ters to dead ce le b ritie s, etc, etc.

Now , l et s say it s yo ur la st b re a th.. wha t’ s yo ur to mb sto ne g o ing to sa y to t h e wor l d? “ G o get fucke d ”

If you co u l d d e s cr i b e t h e se nsati o n yo u’ d h o pe th o se to ex pe ri e nc e w hile lis teni n g to yo u r m u s i c, w hat wo ul d i t be ?

Pres s “ pl ay ” . Wait . Listen . Th ink ske ptica lly. B o b the ir he a d s. Ta p the ir fe et. Swa y t hei r bodies. Feel sensual. Connect with each instrument part and the lyrics. Evoke images, old m em ories, an d detail ed stor yline s in the ir he a d s. He a r nothing . Wa nt mo re . Press “ rep ea t ” .

(Melyka ) I t h ink l isten ing to music is a co mp lete ly visce ra l exp e rie nce t ha t i n tert win es al l of t h e senses with how the b ra in p ro ce sse s the so und to st i m u l a te c erta in t h ou gh t s, feel in gs, and ima g e s. I wa nt eve ryo ne to exp e rie nce a ll of t hose t h i n g s w h en t h ey l isten to our so ng s.

(Li nda) We want t h e l istener to tra nsce nd time a nd sp a ce . (S) T ha t of, ta k i n g off a l l your c l ot h es an d r unnin g into a d a rk fo re st to d a nce a ro und a fire .

T he d e e p , a l m o s t m e l a n ch o l i a dri ve n vo c al s pai re d wi th th e wh i m si c al , d rea m like s o u n d , cre a te s a n a d d i c ti ve and al m o st arde nt unde rto ne . W h e re d o you fi nd yo u r i n s p i ra t i o n ?

(Heidi) Mu sic al l y , Br ian Eno ha s a lwa ys b e e n a n id o l of mine . I re a lly en j oy k ra u t roc k and sh oegaze. I love Fra nk Za p p a ’ s mo cke ry. I g rew up liste n i n g to Si ou x s ie an d t h e Ban sh ees and B a uha us. Stylistica lly I’ d like to co mp a re m ys el f to C a r l os Den gl er from Interp o l o r P hil King fro m Lush. I ca n’ t sa y I d o n’ t l ove u p - a n d - c oming ban ds l ik e A m e n Dune s a nd Prince R a ma a s we ll. And , I love B oa rd s of C a n ada. I don’t k n ow if a ll tho se thing s co me o ut in my simp le b a ssline s b u t I l i k e to pretend t h ey do.

(Melyka ) I real l y en joy jazz music, e sp e cia lly Ella Fitzg e ra ld , Ed ith P ia f a n d B i l l i e H ol i d a y . Th eir sporadic mel od ie s insp ire me to ma ke unexp e cte d cha ng e s i n m y voc a l par t s. I get a k ic k ou t of sho cking p e o p le by sta rting off with a soft, m el l ow a n d d el ic ate ton e to t h en frig hte n the m with my unsig htly “wa iling ”. I a lso l ove s t ron g voc al ist s su c h as Dol o re s O’ R io rd a n fro m The Cra nb e rrie s, Stevie Nicks a n d .

Ja n i s Jopl in. But above al l , I wo uld sa y, my b ig g e st insp ira tio n is Eric B urd on from T h e A nimal s. I l ove h im.

Mus in gs ?

( S am ) A bso l ute l y .

It ’ s p o s s ibl e to h ave i nspi rati o n fro m eve ryo ne and eve ry th i ng .

“The music is my muse.”

De scr ibe your pe rs o n a l s t y l e .

I love old and forg ot te n t h i n g s . M y p e rso nal sty l e i s a m i x betwe e n old a n d new. Fas hi o n i s a l wa ys re i n ve n t i ng th e o l d. C l oth i ng de si g ne rs an d manufacturers re cycl e o l d t re n ds and re i nve nt to a m o re acc e ssi ble aes th et i c to s u i t t h e m o de rn ag e . I l i ke to c o l l e c t o l d piec e s and incorp o ra te t h e m i n to m y wardro be . L i nda and I h ave a tradition of goi n g to t h r i ft s to re s o n M o ndays to browse th ro ug h rac k s of old cloth i n g . Th e re i s h i s to r y th at l i ng e rs i n eve ry th re ad of vin ta ge clothing. I s u p p o s e t h a t re a l l y i ntri g ue s m e .

Wh ic h s ong do yo u e n j oy p e rfo r m i n g t h e m o st? W h y so ?

I feel really fucki n g e m p owe re d w h e n eve r we pl ay “ S o l ” . I do n’ t know what it i s . . . It c o u l d b e Sa m ’ s d r u m m i ng o r H e i di ’ s bass parts o r Lin d a’ s ai ry, atm o s p h e re to n e , o r D a w n’ s g rung y tex ture , but afte r pla yin g that s ong I a l wa ys fe e l l i k e I ’ m re ady to g o o ut and do s omet hi ng complete l y o u t ra g e o u s a n d spo ntane o us.

An y parti cular qui r k s ? R i s q u é s e cret s ? O ddbal l i nte re sts?

I like to collect fa n cy , s ch m a n cy l i n g eri e . I l i ke to m ake sure I am fre ezing before I cra w l i n to b e d eve ry ni g h t. I l i ke to watc h A si an dra mas . I lis ten to n a u g h t y , ra u n ch y rap fo r g i g g l e s. S o m eti m e s I dro p pennies on t h e s t re et i n h o p e s th at so m e o ne wo ul d pi c k i t up an d fi nd good luck . I b re a k o u t i n to a fo re i g n ac c e nt de pe ndi ng o n m y m ood.

Do yo u beli eve i n t h e co n ce pt of a m u se ?

I d on ’ t, but then a g a i n m a y b e I j u s t h a ve n’ t m et th at pe rso n. I adm i re diffe rent people fo r d i ffe re n t q u a l i t i e s, but I wo ul dn’ t c o nsi de r th e m to be my “mus e”. C e r ta i n p e o p l e ca n b e i nspi rati o nal , but no o ne e l se s h o u ld be the bas i s of yo u r ta l e n t s . C re ati v i ty i s c ul ti vate d wi th i n you rself . No one e l s e ca n j u s t h a n d i t to yo u. O nl y yo urse l f .

Wh a t could I fi nd yo u d o i n g o n a n o r mal Tue sday aro und 2 pm ?

On a normal Tues d a y a fte r n o o n yo u w i l l fi nd m e sty l i ng m anne qui ns, fin din g product p l a ce m e n t a n d wo r k i n g wi th f l o o r l ayo uts. Re al wi l d, I kn ow. Or. . . if I h a p p e n to b e off t h a t day , yo u’ l l fi nd m e wande ri ng s ome place becau s e I l ove exp l o r i n g and c l i m bi ng m o untai ns and bre aking into des e r te d p l a ce s .

Wh a t fuels your cre a t i o n p ro ce s s ? Re d. W i ne . A sk al l of th e m .

T h ey’ ll tell you.

Last breath. . wh a t ’ s yo u r to m b s to n e g o i ng to say to th e wo rl d?

“Say hi to forever ”

I hate self-d escriptio n.

Nam ing ad j ectives to de sc rib e me wou ld n’t be accu ra te . I c a n tell you basic facts.

I am you ng and e a ge r to experience the world f or a l l of its beau ty and u gline ss.

I am cu riou s and lik e to l e a rn anything and everyt hing a l l a t once.

I think too m u ch and som e tim e s say very little.

I am d rawn to inte re sting a nd goofy people.

I lik e child ish things.

I am always changing a nd growing into the wo m a n I striv e to be.

- Melyk a Su cald ito L ead Vocals

I’m ou t go i n g , ful l o f en er g y a n d si l l ines s . I f I w as n ’ t i n th e ba ck pl a y ing d r um s I ’d pr o ba bly b e a good f r o n t m an .

I lik e be i n g b l un t , r a w, a n d unfil t ere d . I ’ m a w i ld ch i ld. I’ m tot a l l y d i r t y a n d i n a ppr o pr i a t e be c a u s e I t h i n k i t ’ s h i la r i o us . I li ke s u rp r i si n g p e o ple.

As a b a n d o ur v i b e i s g r ea t, w e al l f il l in d i ffe r e n t per s o n a li t y g aps a n d w e l o v e j us t h a n g i n g out or pa r t y i n g t o geth er .

- Sam Cohen Dr u ms

Yo u r p e rs o n a l s t y l e ? W h at m ake s S am , S am C o h e n?

R a d i ca l , w i l d , fu n k . I use d to be a punk wh e n I was i n m i d d le a nd h i g h s ch o o l , s o a raw e dg e c o m e s th ro ug h . I l ove wi l d p a t ter ns a n d co l o rs . Th e l oude r and m o re offe nsi ve th e bette r. I ’ ve recent ly g ot te n re a l l y i n to l o o ki ng l i ke an al i e n ro c kstar. O bv i o usl y I love t r i b a l p a t te r n s l i k e al l h i pste rs, al th o ug h I l i ke to th i nk th at I loved t h e m b efo re a l l t h e h i pste rs di d!

W h a t d o yo u d o to e nsure th e e l e c tri c bi l l i s pai d o n ti m e ?

I wo r k fo r a n e ng i ne e r c o nsul ti ng fi rm i n th e i r e nv i ro nment + i n fra s t r u ct u re g roup h e l pi ng de si g n l arg e - sc al e c i ty uti l i ties lik e wa te r , wa s te , a n d drai nag e .

D o yo u p a r ta k e i n any oth e r fo rm of arti sti c o utl et asi de from t he b a n d ? R i g h t n ow I ’ m o bse sse d wi th m aki ng c l oth i ng and w r it ing.

I exp l o re a l l fo r m s of c re ati ve ex pre ssi o n.

I n yo u r o p i n i o n , wh at i s yo ur defi ni ti o n of “ m aki ng i t” ? W h a t a b out t h e te r m , “ s e l l i n g o ut” ?

M a k i n g i t wo u l d m ean g o i ng o n to ur and g etti ng si g ne d o nto a la b el.

Se l l i n g o u t i s w h en th e band c are s m o re abo ut m aki ng m o ney t hen a b o u t m a k i n g m u s ic .

Te l l m e a ra n d o m m e m o ry fro m yo ur c h i l dh o o d.

Ta k i n g p i a n o l e s s ons wh e n I was 7 be c ause m y o l de r brother d id , a n d k n ow i n g t h e e nti re ti m e th at al l I wante d was to be pl aying t he drums.

If yo u h a d to p i ck yo ur to p 3 dre am s, g o al s, am bi ti o ns to p ut in a h a t w i t h t h e m e a ns of c h o o si ng o nl y 1 to wo rk toward. Wh a t would t h ey b e ?

I o n l y h a ve o n e , and I ’ m o n m y way th e re . It’ s to save and imp rove t h e wo r l d i n w h a teve r way I c an.

An y p a r t i cu l a r q u i rks? Ri squé se c rets? O ddbal l i nte re sts?

I h a ve to o m a n y i n appro pri ate se c rets to di sc l o se i n a publ i c for um.

I ’ m 2, 0 0 0 ye a rs ol d.

N ow , l et s s a y i t s yo ur l ast bre ath . . wh at’ s yo ur to m bsto ne going to s a y to t h e wo r l d ? “ It al l be g i ns wi th a dre am . ”

Do you beli eve i n t h e co n ce pt of a m u se ? D o yo u c urre ntl y h ave any mu sin gs ?

My current mus e s a re a l ot of m y m usi c i an fri e nds, th ey ’ re re al l y in spir i ng.

A n y parti cular q u i r k s ? R i s q u é s e cret s ? O ddbal l i nte re sts?

I love collecti ng re co rd s a n d ta p e s .

Mu sicians you as p i re ?

A n n ie Clark

Ji m O ’ R o u r k e, To dd Ri ttm an, Ti m K i nse l l a,

Do you partake i n a n y ot h e r fo r m of arti sti c o utl et asi de fro m th e ban d? Graphic d e s i g n a n d d o o d l i n g .

Favor ite part abou t b e i n g i n a b a n d ? Le ast favo ri te ?

Favor ite: Mus i cal e n e rg y . Le a s t ; G et t i n g fi ve pe o pl e al l o n th e sam e p age.

Bein g on the crea t i o n s i d e of m u s i c, wh at i s yo ur o pi ni o n o n i l l e g al d own loadi ng?

Th e mains tream, co r p o ra te m u s i c i n d ustry suc ks, th at’ s wh y i l l e g al d own loadi ng i s so ra m p a n t . Pe o p l e w h o re al l y l ove m usi c wi l l ex pl o re m u sic in thei r own wa ys a n d g i ve m o n ey to bands th ey re al l y l ove .

If yo u had to pick yo u r to p 3 d re a m s, g o al s, am bi ti o ns to put i n a hat w i th the mea n s of ch o o s i n g o n l y 1 to wo rk toward. Wh at wo ul d th ey be?

1. Get to s ee U. S M a p l e l i ve 2 . Get to play a h u g e m u s i c fe s t i va l wi th bands I re al l y adm i re 3. Open my own re co rd s to re A re you currently wo r k i n g o n a n y n ew pro je c ts? Wh at’ s i n sto re fo r Pu ta De Cava?

I play gui tar in Pa re n t i n g , G OVT, and T h i c kl y Pai nte d Wal l s. I ’ m wor k ing on a s ol o p ro j e ct . N ext fo r Puta. . . a to ur, we h o pe !

Now, lets s ay i ts yo u r l a s t b re a t h . . wh at’ s yo ur to m bsto ne g o i ng to say to the world? “ ___________”

I’m a graphic d esign m a j or.

My m om first ta u ght m e som e gu itar chord s w he n I was 9 . I got into roc k m u sic when I was 13 and ha v e w a nte d to be in a band ever sinc e .

Pu ta d e Cava is m y f irst re a l band .

- D awn Foster Gu itar

P U TA D E C AVA F u n e r a l Pa r a d e A r t i s t Fe a t u r e [in order of appearance] L i n d a C h e n He i d i Hu s s a

Guitar Bass

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AN ODE TO VENUS A Photo Diary Series.

P h o t o g r a ph e d by S h e e na S ny d e r Mo d e l e d by K r i s t e n Ra t c l i f f

zoĂŤ williams

Te l l m e a b i t a b o u t y o u & y o u r b a c kg ro u n d .

I was bor n an d r ai s ed i n N ew Orl e a n s, L A. I we n t t h r o u g h K a t r i n a i n 2 0 0 5 a n d whe n I was fo r ced to r el o cat e i n t h e a ft e r m a t h , I c h o se Se a t t l e eve n t h o u g h I had never been t her e b efo r e. I l i ve d i n Se a t t l e fo r a l m o s t s i x ye a r s, b u t i n August o f l as t year I m oved ag a i n – to N ew Yo r k Ci t y. W h e n I t h i n k b a c k o n my life befo r e K at r i n a, i t feel s fa r away, l i k e a d r e a m . N o t to o m a n y p e o p l e know this , b u t I act u al l y had w h a t I n ow b e l i eve wa s a p r e s c i e n t d r e a m a b o u t the flood a week o r so befo r e it h a p p e n e d . E ve n s o , I wa s sh o c k e d wh e n t h e leve e s br eached - t hat ’s how u nt h i n k a b l e i t a l l wa s. I t to o k m e seve r a l ye a r s to c ome back to m aki n g ar t af te r wa r d , b u t i t wa s o n l y wh e n I fi n a l l y d i d , t h a t I disc ove r ed n eedl e fel t i n g.

W h a t d o y o u fe e l a re t h e s t ro n g t r a i ts i n y o u r c h a r a c te r ? W h a t m a ke s y o u , Zo ë W i l l i a m s ?

I be lieve i n i n t r o s pect i o n : n o t i n a p a ss i ve se n se , b u t g e n u i n e l y wo r k i n g toward an u n d er s t an d i n g o f on e ’s t r u e se l f. I ’ m a b i g fa n o f C. G . Ju n g , probably becau se m y par en t s t a l k e d a b o u t h i m a l o t wh e n I wa s l i t t l e (arc he types , t he co l l ect i ve u n c o n sc i o u s, t h e sh a d ow fu n c t i o n – t h e se we r e house hol d wo r ds). I’ve al ways d r e a m e d v i v i d l y a n d I d r e a m a l m o st eve r y night, so i n a l o t o f ways t he d r e a m wo r l d fe e l s e q u a l to t h e r e a l wo r l d .

That’s no t to say t hat I feel an y l e ss e n g a g e d wi t h m y wa k i n g l i fe , q u i t e t h e c ontrary i n f act . Dr eam i n g en r i c h e s a n d i n fo r m s m y l i fe .

When did you begin your artistic journey?

I think I’ve al ways been o n t he a r t i st i c j o u r n ey. I d i d a l o t o f “ a r t s a n d c r a ft s” as a c hi l d an d I gu ess I n ever sto p p e d . I we n t to a r t c a m p , to o k eve r y a r t c lass I co u l d, I wen t to scho o l fo r a r t , a n d n ow I a m – su r p r i se – ( st i l l ) an artist. Of co u r se n ow I have a c o u p l e o f c r e d e n t i a l s - a B A i n F i n e Ar t from the U n i ver si t y o f N ew O r l e a n s a n d a Ce r t i fi c a t e i n F i b e r Ar t fr o m t h e Unive rsity o f Was hi n gto n , bu t I’ ve b e e n o n t h i s p a t h m y wh o l e l i fe a n d I c a n ’t se e that ever chan gi n g.

H ow d o y o u d e s c r i b e y o u r a r t i s t i c s t y l e ?

My style i s so f t , b u t ver y co n t ro l l e d . I fa vo r a m i n i m a l c o l o r p a l e t t e , b u t m y work is b y n o m ean s mi n i mal i st . I t i s r e p r e se n t a t i o n a l , a l l e g o r i c a l , b u t n o t stric tly r eal i st i c. It ’s pr o bab l y a l so wo r t h m e n t i o n i n g t h a t a l t h o u g h I wo r k mainly wi t h wo o l fel t , a m at er i a l t h a t h a s i t s own r i c h h i sto r y a n d c o n t e xt , my work i s n o mo r e abo u t f i b er t h a n a p a i n t e r ’s wo r k i s ( n e c e ssa r i l y) a b o u t the paint .

Ta l k to u s a b o u t t h e wo r l d o f fe l t i n g . H ow d i d y o u fa l l i n to i t ? W h a t wa s t h e a t t r a c t i o n ?

It was c o m pl et el y b y acci d en t . I wa s o n a t e m p a s si g n m e n t – I t h i n k t e m p i n g is pre tty gr eat an d I’ve d o n e i t s eve r a l t i m e s i n m y l i fe – a n d o n e d ay a c oworke r showed me a co u pl e o f l i t t l e b a l l - sh a p e d a n i m a l s sh e h a d j u st made out o f wo o l : a r o u n d yel l ow c h i c k o r a p i n k p i g l e t o r so m e t h i n g . I k n ew a little abo u t wet fel t i n g / f u l l i ng , b u t I h a d n eve r h e a r d o f n e e d l e fe l t i n g be fore . The i n i t i al at t r act i o n wa s c e r t a i n l y t h e n ove l t y o f i t , b u t a s I b e g a n to work w i t h t he t echn i qu e, I q u i c k l y b e c a m e c o n v i n c e d o f i t s e n o r m o u s pote ntial . A si n g l e n eed l e an d s o m e fi b e r p l u s a wh o l e l o t o f p a t i e n c e a n d you c an s cu l pt al m o s t an yt hi n g . M y fi r st p i e c e wa s a r a b b i t . Ac t u a l l y, a l l o f my e arly pi eces wer e r abb i t s.

W h a t s o r t o f m a te r i a l s d o y o u wo r k w i t h ?

Othe r than wo o l , I u se bead s, fe a t h e r s, p o l ym e r c l ay, a n d s o m e t i m e s fo u n d obje c ts. T he f r am es I u se ar e m o st l y fo u n d / sa l va g e d a n d e a c h p i e c e i s ac tually b u i l t di r ect l y i n to i t s f r a m e , so t h e fr a m e s a r e ve r y m u c h a p a r t o f the work i t sel f.

W h e re d o y o u d r a w i n s p i r a t i o n fro m ?

I draw i n spi r at i o n m ai n l y f r o m m y d r e a m s . So m e t i m e s I t r a n sl a t e m y ow n dre am vi si o n s d i r ect l y i n to s c u l p t u r e , o t h e r t i m e s I u t i l i z e d r e a m a n a l ys i s te c hniqu es to cr eat e m an i fe st a t i o n s o f c o n c e p t s a n d i d e a s t h a t a re me anin gf u l to me per so n al l y. I a l so d r aw h e a v i l y o n n a t u r e b e c a u se a l t h o u g h my c re at u r es ar e n o t r eal , I wa n t t h e m to a p p e a r a s i f t h ey c o u l d b e .

Te l l u s a b i t a b o u t w h a t y o u ’ re c u r re n t l y wo r k i n g o n .

I just fi n i s hed a pi ece t hat i s l o o se l y b a se d o n t h e sto r y o f t h e L i o n a n d t he Unic orn . I’ve b een t hi n ki n g a l o t a b o u t u n i c o r n s a n d r a r e c r e a t u r e s a n d a l so the ide a o f t wo o ppo s i t es b at t l i n g e a c h o t h e r. L a t e l y I ’ ve b e c o m e fa sc i n a t ed with the co n cept o f m an d o r l a, wh i c h i s a sym b o l o f e xa c t l y t h a t : t h e b a l a n c e of oppo si n g fo r ces, a par ado x. I n m y p i e c e , i n s t e a d o f t h e L i o n wi n n i n g o ut ove r the U n i co r n , t hey b eco me o n e .

F o r t h o s e a n n o y i n g m o m e n ts o f c re a t i v i t y b l o c k , h ow d o y o u g et t h ro u g h i t ?

Ke e p wo r ki n g. Wo r k o n so m et h i n g d i ffe r e n t . 9 0 p e r c e n t o f t h e t i m e i f I a m fe e ling bl o cked i t ’s becau se I ’ ve g o t s o m e o t h e r i d e a t h a t ’s to o i m p a t i e nt to ge t o u t . If I gi ve i n to i t a l i t t l e , m a k e s o m e sk e t c h e s o r wh a t eve r ; I c a n usually get back to t he t ask a t h a n d . I f a l l e l se fa i l s, “ sl e e p o n i t ” i s u su a l l y good ad vi ce.

H ow d o y o u g o a b o u t s ta r t i n g a n ew p i e c e ? W h a t i s y o u r p ro c e s s i n f i n d i n g d i re c t i o n fo r e a c h p i e c e ? H ow d o e s i t a l l b e g i n ?

I ske tch a l i t t l e b efo r e I s t art , b u t o n l y t h e b a r e m i n i m u m to g e t t h e i d e a down. I r eal l y pr efer to ju mp r i g h t i n a n d l e a r n a s I g o . I f s o m e t h i n g d o e sn ’t work, I t ake i t o u t an d t r y s o m e t h i n g e l se . Th e m a t e r i a l s a r e fa i r l y fo r g i v i ng in that way.

W h a t s o r t o f i m p re s s i o n a re y o u i n te n d i n g l e a ve v i ewe r s w i t h i n re fe re n c e to y o u r b o d y o f wo r k ?

“Pe rsonal Myt ho l o g y” i s t he t e r m I ’ ve c o m e u p wi t h fo r wh a t I a m t r yi n g to do with m y wo r k. Myt ho l o g y i s r e a l l y i n t e r e s t i n g to m e b e c a u s e o f t h e way i t e ndure s an d d ef i n es cu l t u r es . M y t h s r eve a l a so c i e t y’s c o r e va l u e s, b u t I think thi s happen s o n an i n d i v i d u a l l eve l i n o u r l i ve s a s we l l . I wa n t to unc ove r t he t hem es t hat ar e d eve l o p i n g i n m y own l i fe a n d u se t h e m to c re ate o bject s o t her s can ex pe r i e n c e . I wa n t to g i ve v i ewe r s t h e i m p r e ss i o n that they have peer ed i n to o n e o f m y d r e a m s.

D o y o u h a ve ot h e r p a s s i o n s ?

This pro bab l y co m es as n o su r p r i s e , b u t I l ove a n i m a l s. I ’ ve b e e n a su p p o r t e r of the Defen d er s o f W i l d l i fe i n p a r t i c u l a r fo r a g e s a n d I fe e l st r o n g l y a b o u t our impact o n t he en vi r o n men t a n d o u r fe l l ow c r e a t u r e s . M y d r e a m s a r e fu l l of anima l s an d t her efo r e so i s m y a r t wo r k , b u t I a l so h o p e t h a t b y u si n g animals as my su bject s I can r a i s e awa r e n e ss i n m y own sm a l l way. G o l d Rhino an d S ao l a ar e pi eces t h a t a d d r e ss t h i s c o n c e r n d i r e c t l y. Th e p l i g h t of the rhi n o i s pr et t y wel l pu bl i c i z e d , b u t h ow m a n y p e o p l e h a ve eve r eve n he ard of a sao l a? It ’s s o r ar e th a t i t ’s k n own a s t h e “ a si a n u n i c o r n ” . I t wa s only first d i scover ed i n 1992, l i ve s i n a r e m o t e p a r t o f Vi e t n a m , a n d c a n ’t surv ive in capt i vi t y. It w i l l pr o ba b l y b e e xt i n c t b e fo r e we ’ ve h a d a c h a n c e to re ally ge t to kn ow an yt hi n g abo u t i t .

A n y a d v i c e y o u ’ d l i ke to p a s s o n to ot h e r a s p i r i n g a r t i s ts ?

Challe ng e yo u r sel f. E ven i f yo u fe e l l i k e yo u a r e wo r k i n g h a r d , wo r k eve n harde r. Thr ow yo u r sel f i n to t he wo r k a n d se e wh a t h a p p e n s . Al so , t r y to t h i n k of othe rs as yo u r co mr ad es, n o t yo u r c o m p e t i t i o n .

To w r a p u p y o u r fe a t u re, l et ’ s s a y i t ’ s y o u r l a s t b re a t h , w h a t ’ s y o u r to m b s to n e g o i n g to s a y to t h e wo r l d ?

If I die d to m o r r ow... t hese fo u r sy m b o l s:

Z oE W illiams F u n e r a l Pa r a d e A r t i s t Fe a t u r e Ne w Yo r k C i t y b a s e d A r t i s t

Fo r m o r e Z o e Wi l l i a m s v i s i t : Z o e Wi l l i a m s . n e t L i k e on Fa c e b o o k . c om / Z o e . Wi l l i a m s . A r t C om m i s s i on s : M a i l @ Z o e Wi l l i a m s . ne t

I n t e r v i e we d by Ta i d e Ke n ne d y A r t wo r k Š Z o e Wi l l i a m s [ i n o r d e r o f a p p e a r a nc e ]

[ C ov e r P h o t o ]

"Milk+Chalk" "Proboscis"

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W hy mu si c ?

Yo u c o uld s ay th at music was my first love. I’ve b een in to t he c reat ives, like p ain t in g o r p h oto g ra p h y, s i n c e I was you n g. B ut ma king music, espe cially wit h t he co m p u ter o r m achin es, felt kin d of n atu ra l fro m t h e fi rst d ay. I remember playing arou n d wit h a very sim p le seq uen c er soft ware w h e n I was 14 o r 1 5 - s o m any possibilit ies a nd so much fu n . In t im es of mysp ace I got in c o n tac t w i th a r ti sts l ike Pawe l an d Pan t ha du Prince. They liked my t racks an d so m e weeks later I released my f i rst EP , “ A H u nd re d L i gh ts ” on Pawel’ s imprint Orp han ear. This was fo llowed by a c o u p le of s i n g l e s o n Or p h a ne ar u n ti l my cologne-based friends an d I estab lished K i Rec o rds.

Tel l us a b i t a b o ut Ki Re c ords .

K i was fo u n de d i n 2009 a nd since t hen we’ ve released 11 reco rds in clu din g my deb u t alb u m , “ A Fo re st” .

It a l l star te d wi th this idea of releasing our frien ds’ m u sic, as we t ho u ght it deserved a n au d i e n c e .

We ne ve r i m agi n e d it would be as hard as it was in t he b egin n in g. N ow, 3 years later, we ’ ve f i g u re d it o ut an d n ow h ave an idea as to how t his in dep en den t m u sic b u sin ess wo rks.

We a re n ot on ly releasing music of friends b u t also of b ig talen ts we’ve discovered ove r th e p ast ye a rs . Mon okle , for insta nce, released his L P “S ain ts” t his p ast N ovem b er. In t he fu t u re we a i m to wo r k wi th b an ds a nd singers rat her t han elect ro n ic m u sic p ro du c ers alo n e.

Yo ur d e b u t a l b u m, “ Fore s t ” h a s th is romant ic al l y et hereal vibe t o it wit h a some w h at e e r i e un der ton e ; w h a t wa s th e in s pir a tion f o r t his album?

A h u g e par t of my inspirat ion came from t his co astal fo rest clo se to where I live. A n at u re re s e r ve yo u c a n on ly re ach after a long hike. It ’ s su ch an in sp irin g p lace. Yo u have t he sea, deep wo o d s , w i l d be ac h es , an d u s u ally no one else a round. A lot of t he so u n ds yo u hear o n “A Fo rest ” are re c o rd e d fro m t hat place . To ca pt ure its roug h beaut y was b asic ally t he cru c ial t rigger.

C an you spe a k a b it in re g a rds to th e making of t his album? May be give us a bit o f i nsi gh t in to th e c re a t i on proc e s s ; e m otion a l l y as wel l as music al l y.

I rem e mb e r th e process of t he product ion of “B lin d”. I j am m ed o n t he p ian o u n in ten t io n ally a n d s o me how c ame u p wi th t his melody. I recorded it , cho p p ed it in to p arts, reversed it , an d reasse mb l e d i t o n t h e c o mpu te r . I h ad t hese lyrics t hat were act u ally determ in ed fo r an aco u st ic p ian o p iec e , w i th me .

I o nl y too k fragm e nts of it but it fit very well. All to get her I u n derlayed it wit h t he so u n d of r u stl i n g l eave s I h ad re co rded while I was out in t h e wo o ds. Yo u c an say t hat t his t rack is o n e of th e mo st imp o r ta n t o n “A Fo rest ” , because t he lyrics have a very p erso n al m ean in g to m e. The alb u m d e f i n i te l y re fers to s o m e pe rsona l experiences I had in t he p ast years. I t ried to u se it as a valve to l e t i t o u t.

W hat wa s yo u r f a vor ite pa r t a bout c re at ing, “ Forest ”? W hat about least favor it e?

M y favou r i te part was to work wit h M ohn a an d G ry. They are su ch in sp irin g art ists a n d th e i r in c re d i b ly b e au ti fu l voices made it easy fo r m e to create so m et hin g we were all hap py w i th qu i te fast .

Th e l e ast favou r i te pa rt a bout ma king “A Fo rest ” was like every ot her t im e I p ro du ce mu s i c . I t’ s f i ni s h i ng a s on g. The ma in idea is most ly wo rked o u t after j u st a few days, b u t to f in is h i t, to th e p o i nt of b e i n g com p letely sat isfied, takes m e weeks- so m et im es m o n t hs.

“ I don ’t h ave a specific idea of w hat peo p le should fe e l while listening to my set . I guess eve ryb o dy fe els somet hing different an d yo u n e ve r k n ow what might be going o n i n th e i r li fe at t he moment .

I ju st h ope t h ey h ave a g o o d t i m e . ”

“ Ele ve n” f e a t u r i n g M oh n a wa s ac tua l l y how I c ame int o cont act wit h your work . I h ad th at son g on re p e a t f or we e ks wh ile creat ing t he pre vious issue of Funer al Par ad e. H ow w as i t wo rk i n g with M oh n a a n d th is creat ion process?

I t was s u r pr i s i n gly easy to work w it h Mo hn a. I always had t he idea to c o llab o rate wit h h e r a n d “ A Fore st” was just t he rig ht context . I had t his sin e wave m elo dy yo u can hear in t he b e g i n n i n g of t h e s o n g which t he w hole t rack is b ased. I sen t it to Mo hn a an d she im m ediate l y h ad t h e r i gh t vo cals. I remember listening to her reco rdin gs, t hey f it p erfec t ly. My wo r k i n g p ro c e d u re i s to cut t he voca l recordings in several p arts an d overwo rk t hem wit h vario u s e ffe cts l i ke pi tch an d te mpo modificat ions to t hen sp read over t he who le t rack. B asically, “E leve n ” was wr i t te n i n on ly a few days, but it had a n in ten se im p ressio n fro m t he very b egin n in g.

W h o a re som e oth e r mus ic ia n s you hope t o work w it h e vent ual l y?

H o ne stly I don ’t rea lly t hink I’ m t he best team p layer, b u t of co u rse t here are so m e g re at m u si ci an s I adm i re a lot and t he idea of wo rkin g wit h t hem is am az in g. To have an in s i g h t i n to t h e p rodu cti on te chniq ues of art ists like Ap p arat o r Tren tem o ller wo u ld b e dream like. C o ns i d e r i n g I ’ m mai n ly li ste n i ng to band music right now, it wo u ld b e sp ecial to wo rk wit h art ists like I mo g e n H e a p or T h e A lb um Leaf.

O b v i o u sl y yo u r tr ue lo ve is mus ic , a re t here ot her mediums of ar t ist ic out let you e nj oy ?

A n es s e n ti al pas sion for me aside from mu sic is p ain t in g an d p hoto grap hy. Main ly, t he tr i g g e r i s t h e sam e b u t I ca n ha ndle and work up fee lin gs an d im p ressio n s in a c o m p letely differen t a n d mo re p h ysi cal way, wi t h pa int ing & photog raphy, t han m u sic alo n e.

S h are t h e f e e l i ng s you e xpe r ie n c e while per f or ming a live set . G ive us some insig h t i nt o yo ur m o st pre v ious tour th roug h out Europe.

I t ’ s u n b e li e vab le how much people enjoy my sets. I’ve n ever exp ected t his. Get t in g i n sta n t fee d b ack wh i le dropping sounds a nd melo dies p eo p le kn ow fro m “A Fo rest ”, is am az in g . I fe l t t h i s s pe ci al co n n ect ion w it h t he crow d while p layin g; t hese very in ten se m o m en ts I had n e ve r h ad be fore .

W h a t e m o t i on s do you h ope your a udience t o exper ience w hile list ening t o your mu si c?

Bas i c ally I h o pe t hey enjoy it , in which ever way. I do n ’t have a sp ec if ic idea of what p e o p l e s h o u ld fe e l wh i le listening to my set . I g uess everyb o dy feels so m et hin g differen t an d you n e ve r k n ow wh at m i gh t be g oing on in t heir life at t he m o m en t . I j u st ho p e t hey have a go o d t i me .

Gi ve u s som e i n s ig h t in to th e ma kin g of “ Monokle ’s – S aint s” LP. Any ups and d ow ns?

W h a t w a s t h e i ns pir a tion ?

T h e Ups we re definitely when M onokle agreed o n do in g t his wit h u s an d when we f irst l i ste n e d to “ Sai n ts ” as a whole piece. We’ ve been b ig fan s of his m u sic sin ce 20 0 9 when he rele as e d h i s “ Tes au r u s ” L P. I t was gre at to find out we are like minded in m any ways, m u sic ally b u t also p erso n a l l y. T h i s i s a b i g ad van tag e when doing a project like t his wit h so m eo n e yo u have n ever m et b e fo re a n d w h e n from a completely different cult ure. This alb u m has t he K i-so u n d I wo u ld say. If yo u l i ste n to o ur re le as e s you w ill recognize a cer tain so u n d o r at m o sp here t hro u gho u t . That ’s w h at we a re always s e arc hing for and M onokle has t his sp ec ial so u n d in his t racks.

Dow ns .. I wo u ld say t here weren’ t rea lly any. H owever, it was hard to co m m u n ic ate so m e ti me s .

Es p e ci ally for th e cover work, w hich was do n e by Argen t in ian grap hic design er Carolina Nino . Sh e d i d a gre at j ob and we’ ll definitely work wit h her again very so o n . We had to c o m m u n icate b ac k a nd forth from A rgent ina to Germa ny to Ru ssia an d b ac k again ; a o n e way distan ce over 8 , 2 00 mi .

Bu t , eve r yb o dy speaks E nglish ( in t heir own way) , so it wo rked o u t f in e in t he en d.

As a musician, producer, and founder of Ki Records, what would you say is the most challenging as p ec t t o su c c e ss ful l y liv in g mus ic ?

I t h i nk th e to u gh est pa rt is to do what yo u love an d what yo u wan t to do o n e hu n dred p e rc e n t; w h e th e r you are successful or not . It can get hard keep in g t rac k of everyt hin g; t he mu s i c , a r t wo r k, prom otion, a nd press. Running a lab el is a lot m o re wo rk t han we exp ected, e s p e c i a l l y i f yo u h ave a pret t y accurate vision of where yo u wan t to go n ext .

How d o yo u work th roug h th e in fa m ous inspir at ion bloc ks?

I rem e m b e r ti m e s I wa nted to ma ke mus ic even when I was totally u n in sp ired. N ow I kn ow th e i m p o r tan ce of taking a brea k. If I feel o u t of in sp irat io n t he b est t hin g to do , is to l e ave i t c o m ple te ly for a lit t le w hile. I just do somet hin g else.

S h are a c h i l d h ood daydre a m .

T h i s totally d o e s n’ t fit t he pict ure of a w it hdrawn art ist b u t when I was yo u n g I always wa n te d to be com e a race driver. Act ually it ’ s still a dream of m in e. [ lau ghin g] W h e re d o yo u s ee t he direc t ion of your mu s ic m o v in g ?

I t h i nk “A Fore st ” opened some doors fo r m e in m ean s of m akin g m u sic . I wo u ld like to g o fo r ward from h ere; take it to new leve ls, like c o llab o rat in g m o re o r wo rkin g m o re w i th re a l i n st r um e n ts . T h e songs, “B lind” and “E leven ” are t wo of my favo rites. I wo u ld like to g o mo re i n d e pth wi th th ese and I have ideas in bu ildin g n ew m u sic u p o n t hem already.

W h a t is in s tore f or Ki Records?

W hen promot ing M onokle’ s, “S ain ts” L P we rec eived m any dem o s an d we t ry to listen to t hem all. Two of t hem really c o u ght o u r at ten t io n .

T h e first one was from CO LO a du o fro m Lo n do n . N ic k an d B en are a big discovery for us. I a m really lo o kin g fo rward to releasin g t heir de but a lbum t his yea r on K i. An ot her b ig disc overy was Mu ram ic; a producer from New York w ho is cu rren t ly livin g in B erlin . H e p ro du c es H i p Hop act ua lly, but he has his m asters in classic p ian o an d his p assio n for Ja zz does somet hing to his p ro du ct io n which m akes it very s pecial.

A part from t hose t wo new b ies o n K i, we p lan to release p art t wo of my a lbum “A Forest ” , which is m o re of a m in i L P o r an exten ded EP if you like. There w ill be t wo rem ixes I did t hat have n ever b een re leased before.

A n ot her E p by M onokle will co m e o u t j u st b efo re su m m er.

F i na l que s tion , le t ’s s ay it ’s your last breat h, hy pot het ic al l y spea kin g, wh a t do you wish your t ombst one t o say t o t he wor ld?

“T he end’ s not nea r, it ’ s h ere. ”

CHRISTIAN LOFFLER

of

K i Re c o r d s

F u n e r a l Pa r a d e A r t i s t Fe a t u r e B e r l i n , G e r m a ny b a s e d Mu s i c i a n & P r o d u c e r

Fo r m o r e C h r i s t i a n L o f f l e r v i s i t C h r i s t i a n L o e f f l e r. n e t L i k e on Fa c e b o o k . c om / L o e f f l e r C h r i s t i a n - ALSO K i - Re c o r d s . c om L i k e on Fa c e b o o k . c om / K i C o l o gne

I n t e r v i e we d by S h e e na S ny d e r P h o t o g r a phy pr ov i d e d by C h r i s t i a n L o f f l e r

Who am I? I ’ m a s k i n g m y s e l f t h e s a m e t h i n g to o of te n .

A p i s c e s , tr a v e l e r of t h e wo r l d , a d d i cte d to t h e n ew , l o v e r of t h e p a st , a n d fo r e v e r l o st i n t h e p r e s e nt .

Da n i e l l e Ko wa l c z y k

our current muse.

WIC K E R PA R K , ILLINOI S

Mila n o , Ita ly on top o f the Du o mo . Photo by Po ntus Hanss o n

A normal day?

Daily life... well, wake up to make a coffee or snag a cup of juice my flat mate makes daily. Answer emails, blog, update my social sites. If I work, I then prepare for it. Otherwise, I’m sure to have a long list of to-do’s, as I am constantly making them. I think I’m addicted to the gratification of crossing a ‘to-do’ off.

T h e l i b e r at i n g wa y y o u l i v e i n s p i r e s e a c h of u s at F u n e r a l P a r a d e . To s a y y o u l i v e l i fe fu l l y wo u l d b e a n u n d e r state m e nt .

W h at fu e l s t h i s e n e r g y to c o nt i n u e g et t i n g o n p l a n e s ?

Life fuels me! We only live once, and as cheesy and cliche as it may very well be, it’s the truth. How do you want to spend it? I am lucky to have found something I am absolutely in love with, obsessed with, couldn’t stop doing, and that’s traveling. Why deprive yourself of what you love?

T h i s p a st y e a r y o u we r e l i v i n g i n S w i tz e r l a n d . H ow wa s t h e ex p e r i e n c e ? W h at we r e y o u d o i n g i n o r d e r to fu n d y o u r l i fe sty l e i n a c o u ntr y ot h e r t h a n t h e U S ?

Living in Switzerland was very interesting. I’ve been back a few months and have had time to reflect, so I can speak more objectively now. I grew a lot, and as always, learned a ton about myself. I was also introduced to what a “well ran country” is like. I kiss the feet of the Swiss standard for being on time. I moved there to pursue a job, so that was essentially my main income.

Aside from that I sold stuff online, modeled, and so on.

A t w h at a g e d i d y o u b e g i n tr a v e l i n g ? H ow m a n y c o u ntr i e s , tow n s , c i t i e s , h a v e y o u v i s i te d o n a v e r a g e ?

Well, I’ve never in my entire life lived in one place more than four years.

So essentially, I’ve been traveling my entire life. I’ve been to 21 countries so far. States/cities/towns....thats a tough one. Don’t think I would even be able to answer that!

Par i s , F ran ce photo by Sri ram Tallapragada

Barc e lo na , Spa in

Warsaw , Po lan d

PARIS, F RANCE

Sw i ss Al ps , Sw i tzer la nd

Cerv in i a, Italy

T u l ly Cr oss, Ireland

Bar c e lo na , S pain

Me d e l l i n, C o lo m b i a - S o uth A m ericA

Ta ke a , n ot n e c e s s a r i l y fa vo r i te p l a c e y o u ’ v e v i s i te d , b ut m o r e s o a b i t m o r e m e a n i n gfu l to y o u a n d ex p l a i n t h e ex p e r i e n c e .

Good question.. a hard one! I think it would be Ireland, when I first moved there. My move to Ireland was probably what re-ignited my love for traveling.

It was there, that move, that I realized where I was supposed to be, what I was supposed to be doing.

H ow d o y o u d o i t ?

My priorities are different. I would rather spend money on food and immerse myself into the culture than stay somewhere really clean or safe. I manage to stay free or with friends or some bargain pretty well. I also never check bags, only carry-ons. I just go and do. Travel is more important to me than stability of your own home or owning stuff. Why spend 500 on a designer leather jacket when I can buy a ticket to South America and stay for 2 weeks for the same amount...you know?

I k n ow y o u fr e e l a n c e m o d e l a l o n g y o u r tr a v e l s . H ow d i d y o u g et i nto t h i s ? E x p l a i n a n o r m a l s h o ot a n d h ow i t i n s p i r e s y o u .

Booking shoots abroad is made easy by my blog or online portfolio. Or I have friends who suggest me to photographers, like in Milan, where many are modeling already. Shooting varies on the project, place, photographer. I prefer not to be signed so I am able to do as I please and when I please. A lot of my shoots tend to be lifestyle or they would like me to be ..me? So my attire is usually pulled from my own wardrobe or inspired by it. It’s a compliment for sure, but sometimes I would prefer more dramatic-unlike me-shoots.

Working with creative minds is extremely toxic. I become more inspired to push myself or do new things or collaborate on other projects after a great shoot.

S p e a k i n g of i n s p i r at i o n , w h at i n s p i r e s y o u ?

W h at fu e l s y o u c r e at i v e l y ?

I get inspiration from other blogs, friends who are making moves and doing what they really love. I get inspired by great films, good food with good company, amazing books, and men’s wear. People like Marguax Lonneberg and Elin Kling, people who started in similar positions or lead an incredibly interesting life and then seeing them grow [via their blog, etc] ..it’s amazing.

PAR I S , F R ANC E . Ph oto BY S r i ra m Ta l lapragada

DOW N TOW N CHICAGO

A s a L i t M a j o r , w h e r e wo u l d y o u l i ke to s e e y o u r c a r e e r v e ntu r e ? W h y L i te r atu r e ?

I did study at DePaul and Aquinas for English, yes. I chose Literature because after initially pursuing what I realized later was the worst major for me...I had to ask myself, “what, in all my classes and assignments did I enjoy doing the most, or thrive in?” Researching, analyzing, comparing is what spoke loudly. I loved when 10 plus paged papers were assigned; but dreaded a 10 question exam.

I enjoy the liberty one has in literature; the objectiveness, the ability to do as you please and make your own rules or reasoning. Yet, still one medium.. words.

What I mean is that in art for example, there are tons of mediums (paint, sculpting, drawing, sewing..) but with literature it’s all with words. And, in that one medium comes a million different ways to say that one particular thing. And, there is no wrong way.

It’s incredible. As for a career, I’m getting there. I think it’s best to continue doing what I love but not grow lazy; try it all, and then honing in on one path. Get back to me in a few years...or less, I hope!

W h at d o e s a n o r m a l T u e s d a y a r o u n d 2 p m l o o k l i ke to y o u ?

W h at a b o ut a S atu r d a y a r o u n d 8 p m ?

I like to go dancing, try new restaurants with good friends, travel, discover new movies and music, ride around in cars. Taking walks at night is super awesome, you get to see a sliver into people’s homes and I like to imagine what my life might be like in that apartment. Strange?

My days are packed and vary greatly so there is not much a norm on a Tuesday or Saturday. Sorry!

A n y p l a c e s y o u h a v e y et to v i s i t t h at y o u p l a n to o r h o p e to i n t h e n e a r futu r e ?

Japan! Also Mexico, Costa Rica, Morocco, the French Rivera, Iceland, Finland, Norway, Slovenia, Turkey, most of Asia.. the Philippines, Thailand, Vietnam.. eventually Australia. My list is always changing every time I see somewhere new.

D o y o u b e l i e v e i n t h e c o n c e pt of a m u s e ?

I absolutely believe in the concept of a muse. It’s an honor to me to have been called such by different artists.

For myself, my muses change and it is not always a person.

W h ats c u r r e nt l y o n y o u r p l a y l i st a n d / o r r e a d i n g l i st ?

On my playlist right now is Kendrik Lamar’s The Recipe, Instrumental ft Dr Dre, a lot of Joy Division, Friends, College, Moonshine Got Me

by Daniel Norgren, I Want Your Love by the Chromatics, Cyril Hahn remixes, and Polica. I’m reading Subculture, & The Meaning of Style

by Dick Hebdige. I’m also reading poems often..

S h a r e a r a n d o m fa ct o r s o m e r a n d o m n o n s e n s e .

I always sneeze in threes. I’ve never been to Vegas. When I was little I wanted to be a boy, and refused to wear shirts anywhere. I’m learning Swedish.

Y o u r tat to o s ?

My tattoos are all very personal, so explaining them can be pretty difficult since they are more emotion based. It’s hard to explain a feeling to people, especially ones so personal and secret or delicate... they never understand nor could they.

The larger one on my forearm is of the world. Take it how you want, I am a child of the world. I come from no one particular place, and no one place is really home. The entire world is.

H y p ot h et i c a l l y , l ets s a y i ts y o u r l a st b r e at h . . w h ats y o u r to m b sto n e g o i n g to s a y to t h e wo r l d ?

My tombstone.... hmm, well off the top of my head, I would say, “Stay Hungry, Stay Foolish”...or something by Yeats. Depends what I was doing before my death, ha ha!

Ko nsta nz , G er m a ny

CHICAGO . P hoto by Edd i e Eng

DA N I E L L E KOWA L C ZY K F u n e r a l Pa r a d e Mu s i ng s Fe a t u r e

Fo r m o r e D a n i e l l e Kowa l c z y k D a n i M Ka y. t u m b l r. c om Fo l l ow on Tw i t t e r @ D a n i M Kay

I n t e r v i e we d by S h e e na S ny d e r P h o t o g r a phy C r e d i t L i s t a s fo l l ows : [ i n o r d e r o f a p p e a r a nc e ]

[ C ov e r P h o t o ]

C h i c a g o , I L . P h o t o by S e r g i o V

Wi ck e r Pa r k , I L . P h o t o by I s a a c To r r e s M i l a no , I t a l y on t o p o f t h e D u om o . P h o t o by Pon t u s H a n s s on Pa r i s , F r a nc e . P h o t o by S r i r a m Ta l l a pr a g a d a B a r c e l ona , S p a i n . P h o t o by a f r i end Pa r i s , F r a nc e . S e l f T i me r C e r v i n i a , I t a l y n e a r t h e Sw i s s A l p s . P h o t o by Pon t u s H a n s s on B a r c e l on a , S p a i n a s e c ond t i m e . P h o t o by a f r i end Wa r s aw, Po l a nd . P h o t o by a f r i end S now b o a r d i ng i n t h e Sw i s s A l p s , Sw i t z e r l a nd . S e l f sho t Tu l l y Mou n t a i n i n Tu l l y C r o s s , I r e l a nd . P h o t o by a f r i end Me d e l l i n , C o l om b i a - S ou t h A m e r i c a . S e l f sho t Pa r i s , F r a nc e . P h o t o by S r i r a m Ta l l a pr a g a d a D ow n t ow n C h i c a g o . P h o t o by a f r i end Kon s t a nz , G e r ma ny. P h o t o by A l e x Wa r d en C h i c a g o . P h o t o by E d d i e E ng

SOMETIMES,

T H ES E T HI NGS HAPPE N

BREATHE

P E RC E P T I ON S A C o l l a b o r a t i on S e r i e s

Fo r m o r e Mu s i ng s Ka i t l i n J e a n Ka i t l i n J e a n P h o t o g r a phy. c om L i k e on Fa c e b o o k . c om / Ka i t l i n J e a n P h o t o S t e ph a n i e L a u r e n S m i t h o f G o l d e n You t h L i k e on Fa c e b o o k . c om / O u r G o l d e n You t h

P h o t o g r a phy by Ka i t l i n J e a n Fe a t u r i ng : S t e ph a n i e L au r e n Sm i t h P h o t o E d i t i ng by S h e e na S ny d e r Wo r d s by Ta i d e Ke n ne d y

We have a very coercive aesthetic: Black and white only, precise shapes and a particular mo od.

Our label conveys a specific way of se eing things, especially regarding death.

We love when we me et people wearing our pieces, especially when they add their own personality to them.

Most of the time it is intangible, but we immediately se e if they know what the story behind Devaste e is.

Who is Dévastée and what inspired you two, to officially join minds and begin the collection?

Ophélie and I were born in 1982 and 1981. We met in 1999, we fell in love and decided to live together. Working together was not really an option. We find happiness in our own reality and our work is the extension of our private life.

I have followed Dévastée for years now. The dark whimsicality, with a tinge of humor is invigorating and unlike other fashions I’ve se en. Why the love of cemeteries, “being happy when dead”, and smiley face covered crosses and tombstones?

It is my way of se eing things. An obsessive vision I have had all of my life.

When I was about 5 years old, I remember having given all of my color pens to other children at scho ol because I thought colors were useless. I wanted to use only the black and grey pens. I was already drawing smiling tombstones.

My parents’ house was built on an ancient cemetery field, and some walls of the house were actually made of ancient tombstones. I was lo oking at the names on the walls and it se emed so beautiful and magical to me.

Dévastée shows in Paris Fashion We ek twice a year. Do you remember how it felt, witnessing your creations walk the runway for the first time? How does it compare to the fe eling you get to date?

We are not much into that kind of emotion. We never go to concerts, or any kind of live performance. Fashion shows have never be en fascinating to us.

We’re more into motionless things. And, we are so much more excited when we se e our clothing and prints for the first time rather than the day of the show.

We do catwalk shows only because it’s a way to communicate what we have in mind. But it does not provide any special fe eling to us.

That’s why for summer 2013 we have decided to make a bo ok. It goes with the show, but it’s motionless. It is a way to express how we perceive the collection.

With this being said, tell us a bit about your newest collection in regards to the thought, idea, and heart behind it. What was your motivation? Any particular favorites from the summer ‘13 line?

Our summer ‘13 collection is about perceptions. It is about landscapes we find beautiful, and how we perceive them.

Where do you gather your inspirations? Give us at Funeral Parade, a bit of insight into your creation process for the collections and even more so, for life in general.

We have organized our life to be as inspiring as possible. We live in the same place where we work. It’s not in Paris, but 40 kilometers away. We are in a 14th century house behind a beautiful cathedral in a town called Senlis. We have to be inspired by the place we’re in.

We also go to our hometown in the South West France regularly, and we walk, make pictures, discover abandoned houses, and go to our favorite cemeteries.

All our inspiration comes from there.

Share one of your favorite aspects of designing and creating art for a living.

What about your least favorite aspect?

Designing and creating for a living is beautiful because you are constantly connected to yourself and to your imagination. It makes us fe el very far from other people. I have a few cemeteries and several precise landscapes in my head. When in the real world something makes me fe el insecure or sad, I immediately go to my inner safe and beautiful places.

That’s what I love about being a creative, and more than that, about creating as a couple. We share the same imaginative space. I fe el like I live in a castle.

I like having the option of being only with Ophélie and speaking to no one else for days if I want.

Out of all of the collections you have designed and shared with the world, which one was, not necessarily your favorite but more so the most meaningful for you?

Our new collection, summer ‘13, is by far our favorite and the most meaningful we’ve ever done. It is like a path, every season we go de eper and de eper into the landscapes of our minds.

Do you, as an artist, believe in the concept of a muse? Do either of you currently have one?

We do not believe in it at all. It is so much of a cliché. I even think it is one of the specificity of our work in fashion: we start from a totally disembodied basis.

You recently branched into menswear with the launching of the unisex collection, Après la Mort. How has this adventure differed from that of Dévastée? Do you enjoy designing more so for men, or for women?

Designing for women is much more challenging. A big part of our work is about textile design. And, we fe el the womenswear market is more open to strange ideas than men.

You mentioned a very exciting bo ok & art collaboration with French based author, Chloé Delaume. What was this experience like?

It was an intense collaboration betwe en us during the past summer. Ophélie and I had this idea of a bo ok about perceptions for a while.

I started doing drawings, and I sent them to Chloé. We talked so much about them.

She wrote the text and sent it to us. From it, Ophélie conceptualized the bo ok and I made some new drawings to complete and finish the story.

Pause for a moment to remember a daydream from your childho od. Tell us about it.

Has this dream come true, yet?

I’m very close to my childho od. I’m exactly the same now, then when I was 5. Some minor details have changed, but that’s all really. I was not dreaming about many things in particular. My only fear was to die young. I was terrified of war, possible earthquakes, diseases, car crashes, murder, and so on. Now that I am 31 years old, I fe el happy to have escaped from all of these eventualities.

If not fashion, what else might you both be doing?

We don’t do only fashion. I’m also doing drawings and illustrations. Ophélie conceptualizes objects and designs many items. We are currently developing several projects that are not about clothes. I think we might make bo oks and stationery.

The more well known your brand becomes, do you fe el there is a pressure to mold your style and design aesthetic? Where do you envision Dévastée going in relation to where it’s be en? What about your life as artists in general?

We don’t want to become business leaders. We want Dévastée to stay an artistic project.

It is easier now than a few years ago, because we’ve found business partners with de ep understanding of our specific ideas and aesthetic who know how to make money with it. It is very comfortable.

If a stranger were to stop you today, this moment even, in the middle of the stre ets of France and ask you, “What is your meaning of life? What do you live for?” What answer might you respond?

I hate when this kind of thing happens. You would be surprised to know how often it happens to me. When I’m with Ophélie, I never have any problems, but as so on as I am alone, I am a crazy people magnet, especially women. They stop me and tell me strange things; I don’t know how to reply and start running away.

Ophélie always laughs at me for this reason.

Who are some other artists and creatives you appreciate?

Our friend Chloé Delaume, she has written the text of our bo ok, Perceptions.

We are also amazed by the work of Michel and Sebastien Bras, they are chefs with a beautiful creative process.

To close up your feature, I’d like to ask you both a question we ask all of our artist features [which just so happens to be a perfect fit for the creators of Dévastée].

Let’s say it’s your last and final breath, what’s your tombstone going to say to the world?

“Heureusement que je suis là.”

Translation: “Fortunately, I’m here.”

F R A N Ç O I S A L A R Y E T O P H É L I E K L E R E D E D É VA S T É E

F R A NC O I S A L A RY o f D é vast é e F u n e r a l Pa r a d e A r t i s t Fe a t u r e S e n l i s , F r a n c e b a s e d D e s i gn Hou s e

Fo r m o r e D éva s t é e v i s i t D e va s t e e . c om L i k e on Fa c e b o o k . c om / D e va s t e e - ALSO F r a n c o i s A l a r y. c om

I n t e r v i e we d by S h e e na S ny d e r P h o t o g r a phy p r ov i d e d by F r a nç o i s A l a r y & O ph é l i e K l è r e

Fe a t u r e d S u m me r 2 0 1 3 C o l l e c t i on A l l P h o t o s © D éva s t é e

A

K

W

.

“I find my inspiration in those I surround myself with. I tend to look way beyond what one would normally expect, and try solving another’s complexity. Even if it doesn’t resolve for them, I find myself feeling that I understand something I’ve never understood before when digging deep to find what this someone is actually feeling. It can act as a curse because I think I’ve broken my own heart way too many times doing just this.

It’s compassion though. I want people to feel understood. This is all I want my art to do.”

I love t h e p o etic influence you generate wit h in eac h on e of you r c reat ion s. You tr ul y m a ke “ fe e l g ood” m usic. Where do you fin d in spirat ion ? If you c ou ld take u s t hro ug h a vi s u al exp e r ience of your creatio n proc ess, h ow wou ld it look an d feel to yo u?

My creation process is spastic- it hits me like a thunderous wave at unexpected times. I’ll have an idea, feel the adrenaline rush, and not sleep or eat until at least a first draft is created. I’ll either be at a piano humming or I’ll be in my car rattling off sections to a song.

My favorite thing to do is drive long distances and record myself talking or singing for unlimited amounts of time. A lot of good stuff has come out that. I do a lot better and get a bit smarter when I’m alone.

I f yo u c o u l d d escr ibe the sensation you ’d h ope t h ose to experien c e wh ile listeni ng to yo u r m u s i c, w hat would it be?

I would want someone to get lost in it. To listen to it and feel like they’ve finally been able to say what they’ve always wanted to say. My favorite response is chills. If someone gets chills listening to something you’ve made, you know you’ve changed them in some way. It’s a comforting mystery. There’s something more there than just sounds and a pair of ears. There’s a wavelength being tapped into that is intangible.

Sha re an i n s ecur ity you ex per ience in volved wit h you r art .

An insecurity- ah, I could write a book about insecurities. The biggest insecurity I have is I tend to speak my mind too freely and sometimes feel naked. It’s like those dreams when you forgot to put your clothes on. I’ll write or sing something that may be too honest. I’d say I fight for honesty.

I’ve learned true confidence comes from being blunt with your actions and thoughts- yet I fear there is so much facade in this world I’ll get crushed and shut down by someone who has built theirs up perfectly.

W h at i s yo u r favor ite par t of the creat ion proc ess?

My favorite part is the beginning. New beginnings are always exciting. I can’t say how many times I’ve squealed because of a new idea (Adam and Daniel- my bandmates- may go deaf soon). I can’t say exactly why except that when you create something where there was nothing, it tends to give you this life you weren’t aware you had inside of you. Having a chance to pour that life into something until it’s an actuality will never get old.

As q u ote d fro m your blog, “While we grow u p, we b ec ome ac c u stomed to b e i ng a sp o n ge . We soak ex per ience, ideas, ru les an d learn to b elieve ot h ers’ limitati o ns .

Ris i n g fro m t hat, I’ve been wrench in g myself- t wist in g an d t u rn in g-on ly to f i nd a ne w s e t of pores.”

W h at wo u l d you say have been some limitat ion s you ’ve pu sh ed t h rou gh , d u ring th e ma k i n g of “ S ilent War ”?

I have been recording my own demos and pieces for years, but I never considered them final drafts of anything. I have hard drives full of, what I would call, fleeting thoughts. I decided to take on producing the EP myself. This meant Adam and I would gather our things and drive up the coast a bit, situate ourselves in a beautiful house on a creek and go at it. It was just him and I. It was magical.

We didn’t talk much other than the acknowledgment that sounds were right or not. I remember that well. It was like nothing else existed other than the future. The future held the EP and it was time to step outside of our comfort zone & get it right.

Metaphorically, Silent War is just as it’s called.

I’ve always questioned. I’ve never fully felt a part of anything. When I was younger, there was this disconnect with the people around me. It wasn’t that I didn’t like anyone, it was more I spent time trying to understand their actions rather appreciate their presence. I’d be silently plotting in my head as to how I was going to help or change the world around me. You may only be able to change those who want to change themselves, but I beg to differ when it comes to art. Art has a magical way of changing your mind with just the right note, the perfectly-timed build, shapes, just the right color, sound, or lyric.

I recently experienced heartbreak. I wasn’t the victim of it, I don’t agree with the idea of “victim”, but I broke my own heart by crushing my belief in someone because of their actions. I’ll be honest and say the songs are about my own battle within myself on this subject. “...and now dismantling after all of this time” (from “Hello”) was the battle.

The name “Silent War” came from this quote from one of my favorite books:

“I have begun my own quiet war. Simple. Sure. I am the one who leaves the table like a man, without putting back the chair or picking up the plate.” - The book “House on Mango Street”

Re ference a song from , “ Silen t War” an d explain to u s what it m eans to you.

“I don’t even know why we’ve been tying these ropes to an eversinking boat on a river that just splits” - Sinking Boat It’s about sitting in a love when you know it’s gone wrong, but for some reason you thrive off of the wrong. You are sitting in a boat with a big hole at the bottom that’s filling up and there’s obviously two routes to take- continuance to an end or a quick one. This song isn’t about one specific person. I wrote it while thinking about where I felt I had gone wrong in love. This was always the case. “ I s n’t it strange to think t h at t h e world is spin n in g on an axi s and we’re all on it? You forget somet imes.”

What are a few things you ’ve forgot ten t h rou gh t h e bu s iness/ busyness of l ife an d possib ly rememb ered as of recent?

Something I remembered recently, which isn’t as scientific or worldly, is that I’ve forever, since I’ve known, seen faces & animals in things. I’ll be staring at the clouds, a wall, a tree and I’ll see a shape form. I was sitting with a friend over coffee the other day and I kept catching myself staring at an old man in the wall behind her. It was very distracting. I felt somewhat rude. It was just so prevalent and alive to me; I couldn’t take my eyes off of him.

I guess it’s that innocence that I re-encounter often & speculate.

I love it. I’ve always wished to remain twelve years old for the rest of my life- asking questions, demanding answers.

I f n ot m usic, what else migh t you b e d oin g wit h you r life?

If I wasn’t making music, I don’t know where I’d be. I’ve revolved my life around music for the last 11 years. I’ve thought about it before though. I started thinking about teaching. When I was very young, I wanted to design cars because I always thought cars were pretty ugly and they needed some help. Then I learned about aerodynamics and realized there were too many rules. I think that’s why I chose music; You make your own.

I ’ve re ad yo u are co- founder and prod u c er of, “ At t h e Hop P rod u c t ion s” - tell u s a b i t a bo u t t h i s p roduction com pany.

I had written something on the lines of a rant about the state of our planet and the inability of people to fight back to oppression. As the Occupy Wall Street movement struck up, it inspired an idea. We decided to take this rant and lay it over a piece Chris Null had been working on for our Rooms composing library. I recorded my voice reciting this thing over it and Adam and I gathered our friends over one night to be in a video we hoped to make for it.

We stayed up all night and went to the hills at sunrise. We filmed ourselves wandering with blank protest signs and made a sort of introspective piece of art that leaned toward supporting the Occupy movement. This then became one of the top 10 Occupy Wall Street films, was aired on their Livestream daily, and presented every day at the Occupy Wall Street tent at the Sundance Film Festival. We had no idea how far and wide this thing would go, but it obviously struck a chord and I am happy for it.

Since then, we’ve made several music videos, short snippets and currently working on an edit of a short film about witches.

As K i ckstar ter enabled a fan- funded projec t for you r alb u m, “ For No On e” , you must have e n joye d the freedom of creat ion . Wh at was it like, emot ion ally, ph ys i c a l l y, men ta l l y s e l f producing this album from start to fin ish ?

It was beautiful!

I wasn’t sure how supportive people would be of something they’ve never heard or even had a clue as to how it would turn out, but the support was surprisingly there. It took 10 days to fundraise for this album.

It’s interesting putting yourself out there in front of everyone you know; your fans, your family, friends, and asking for financial help for art. Art always feels like it should be self-sufficient. You don’t want to ask for anyone’s help. It’s your art, it’s your communication, it’s your spark of life and it doesn’t feel like anyone else needs to be a part of the foundation, but we do live on earth.

What blew my mind more than anything was the generous donations from fans in other countries, who I’d never met. I remember when I received a donation from a girl in Switzerland; my jaw dropped.

Overall, it eased my mind on the concept of art not being worth a dime to anyone anymore.

That’s an easy mindset to fall into because of the “decline of the music industry”, but no- it’s not true. Music will be forever. Who else will so outspokenly say they understand you?

Yo u ’ re c u r re n tly tour ing Iceland. How is t h is experien c e?

The second you walk off that plane, you feel transported. This country is unlike any other I’ve ever been to. It almost feels like a far-distant planet. I imagine it being what a civilization would be like after some world-catastrophe; simplicity and love being the new in order to restore.

The Iceland Airwaves music festival is held in several different venues spread throughout the main city of Reyjavik. They range from small, wooden churches to massive and modern complexes.

The first day (after a short night of sleep), my friend, Diana and I walked outside with our suitcases as we were switching from something called a “guest house” to a regular hotel. We weren’t prepared for this, but as we walked out, 100 MPH winds came blasting from what felt like nowhere. We were swept to the ground and couldn’t get up! Both our hats blew off and were lost into the sky! The wind was so constant we actually couldn’t move our bodies. Diana was flat on her back holding onto her suitcase for weight support and I tried to get up only to be slammed against a chain-linked fence! A man driving by saw us and pulled over. He ran up, picked us up, and brought us into our hotel’s lobby. Everyone was stuck inside that day during the windstorm.

Finally the night came and the wind calmed- we set out and watched a few bands from Canada at a cafe called Hresso. Great bands, in fact. Really admired a band called The Barr Brothers.

The next show that sticks in my mind was Daughter, at this small church. If you can, imagine hundreds of people in the puffiest of coats all bunched up in a dim, candle-lit room listening to Daughter as her voice resonated through what could only be a church hall- it was beautiful.

We saw amazing performances by bands like, Of Monsters and Men, Sigur Ros, Gus Gus; and Adam said Phantogram was incredible live.

One morning, we grabbed the guitar and a camera and walked down to the harbor. We had Diana film as Adam and I stood by the water and performed. It’s gorgeous, we’ll be posting the footage soon.

As we were doing a song, I noticed these two little kids walking by with their mom up above the rocks. The kids were nudging her to let them walk down the rocks. She handed them something and they climbed down. They sat and listened, while we finished the song the little boy nervously came up to hand us a krona!

On the way to the airport, we stopped at the Blue Lagoon. If you want to see another planet this lifetime, this place would suffice. You’re standing in 30 degree weather, feeling 90 degree steam warm your face, staring at nothing but greys, greens, and blues. This vast landscape of volcanic rocks, murky white, and turquoise water and steam. There’s nothing else like it.

I find myself at home here. Whether it’s right or wrong, I’ve never felt at home in Los Angeles.

You’d think I would. It’s hard to be an individual artist in a city over-saturated with people trying to do the same thing. I appreciate others, I just find myself always looking for space.

Iceland feels new, innocent and interested.

H ow d o you spend a usual night ou t wit h frien d s?

This all depends. If I’m at home, Adam and I are usually either writing or in our separate rooms making something out of nothing. I have two very close friends who I tend to wander wildly with.

We either go out and put ourselves in the most awkward situations possible just for experience or we explore some wilderness while I film and we all go to my apartment afterwards to edit. I don’t have any usual night out with friends. I find myself alone unless creating with others.

Q u ote d fro m your wr iting, “U neasy” , “ Th ere are parts of me t h at d emen t th e re st.

T h e s e p ar ts, they know- and they c on fess. Wh o’s fau lt b u t min e to c all a me s s to a tabl e t h at knows m e best? W h o’s lin e d o I d raw an d q u ic k ly follow? Wh o ’ s s i de d o I take a nd slowly swallow? Min e or t h eirs? It d rown s me in won d er. It c o nf l i c ts i n te gr i t y and creates hunger .” – Wh at are some t h in gs you are h u n gry for ?

Referring to that poem, I am hungry for resolution of self.

In life, I’m hungry for riveting others with music so they feel understood and a part of something they’ve never found anywhere else.

If I can help or change someone in any way with art, I’ve lived.

There’s not much else.

Wh at i s i n store for AKW? Currently we’re working on a new EP. We’re still in the writing process and plan to record by the beginning of 2013.

In the meantime, we’ve played some shows at the House of Blues, Paramount Studios, and a few other venues in Los Angeles. We’re going to continue playing shows out here throughout the end of the year.

2013 will be a mixture of playing as many shows as we can, promoting the new EP and planning some special sort of touring. I’ve personally always wanted to do a house tour. I’m aiming to have that set up by next summer.

Fi n al q ue stion. S ay it’s your last b reat h on t h is eart h , wh at ’s you r to mb sto ne go i n g to say to the wor ld?

“Wake up, please.”

A l e x Wi s n e r o f A KW F u n e r a l Pa r a d e A r t i s t Fe a t u r e L o s A ng e l e s b a s e d Mu s i c i a n

Fo r m o r e A KW v i s i t A KWs ou n d . b a n d c a m p . c om L i k e on Fa c e b o o k . c om /A KWmu s i c - ALSO A l e x KWi s n e r. t u m b l r. c om You Tub e . c om /A KWm e d i a

I n t e r v i e we d by S h e e na S ny d e r P h o t o g r a phy C r e d i t L i s t a s fo l l ows : [ i n o r d e r o f a p p e a r a nc e ]

C r e d i t : J a m i e L e s avoy "A KW i n CO L OR " C r e d i t : D i a na Ma n t i s "A L i gh t S c r e a m " " Wo o d en L eg s " " Wo o d e n D a nc e " C r e d i t : A l e x Wi s ne r "ICELAND" " L I V E AC RE " P h o t o g r a phy © A l e x Wi s ne r

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Fro m an early age I found c omfor t i n the ac t of c r eati n g.

I ha d a n active mind, and one of the w ay s I c ou l d s top my thou ghts fro m w andering from one ac ti vi ty to the n ex t w as thr ou gh ar t.

Whe n I w as coloring, painti n g or model i n g c l ay , I c ou l d s i t s ti l l fo r ho urs and feel cent ere d an d c al m, al l w hi l e c han n el i n g the i d e a s th at flooded my mind .

My co nnect ion w ith art fol l ow ed me thr ou ghou t my l i fe, an d a ltho u gh my int erest s diverged an d took me dow n di f f er en t paths , I a lwa ys came back t o it. Thr ou gh the good ti mes , as w el l as the b a d , a rt w as alw ays th ere f or me, both fami l i ar an d s afe, i t had b e co m e my t h erapy.

What is your medium of choice?

My medium of choice at the moment is ink, more specifically, black ink. However, I’m comfortable with a wide variety of mediums, anything from paint to wood. Much of an artist’s battle stems from the tools they choose to use. It was just by chance that I came into my own, pairing two materials that wouldn’t necessarily work together - canvas with pen. Nevertheless, the outcome was aesthetically pleasing to me. I’ve seemed to have found the perfect balance, and that relationship provides me with the confidence I need to create more.

It’s like a love affair, once you find the right person the flames of desire start to burn and you don’t ever want to let them go, it’s the same with an artist and their medium.

If you could describe the sensation you’d hope those to experience while viewing your artwork, what would it be?

Art is a personal experience; it’s subjective in the sense that it’s going to mean something different to everyone that interprets it. You can’t hold any preconceived notions about how you’d like your audience to perceive your work. If I concerned myself with the sensations of others, I’d likely fall into the trap of having to explain my work in detail, describing the symbolism that I’ve chosen to use, all in the hopes that they’d understand the message I was trying to convey and feel appropriately. Therefore, it is not my objective to elicit a specific response in someone who views my work. People feel what they see, and they interpret those sensations based on their perceptions. Everyone’s perception is different.

I learn more about my audience through the interpretations of my work than they often learn from me.

I love the black and white theme you keep throughout your work. What is the infatuation with the monochromatic imagery?

I could say I’m keeping it simple, but that would only be partially true. If you look at the true essence of my style, you’ll find that’s it’s anything but simple. The content is often chaotic, with a large range of motion incorporated throughout. The details would be lost if I focused more on a color scheme than on structure and symbolism. The two colors, black and white, work in direct contrast with another, allowing the audience to look past the surface of the picture and into the content of the piece itself. By doing this, I’ve been able to achieve art that attracts one on a psychological and intellectual level. In a sense, it’s forcing you to look past aesthetics and analyze the meaning.

Share a few random thoughts that might just be going through your mind on a normal Tuesday. What about a Friday?

Well, it’s Tuesday and my thoughts are careening through multiple cerebral channels. I am working on a clothing line that will incorporate my artwork, so that is at the forefront of my thoughts. People are waiting for the launch and still so much needs to be done. I’m doing everything myself; from website, to screen-printing, and it’s been keeping me busy.

A typical Friday in the past would include some form of entertainment, but now that day is devoted to my niece and nephew, and at night I’m working on my art.

What is your outlook on the “artist / muse relationship”? Do you currently have a muse?

Many people are influenced by another person’s energy. I don’t think anyone can deny that through love and encouragement all things are possible. Someone who is influencing you in a positive direction is a muse you should keep in your life. However, if your muse is in the form of a drug, then you’re likely to self-destruct before you get very far. People can be like drugs too, and if you become too dependent on someone for your inspiration, then you’ll surely be lost without them.

I am my own muse. I derive my strength and inspiration from within and not through outside influences. I feel it’s the only way to maintain a level of consistency. People will come and go, drugs will lift you up and bring you down. You are the one thing that will remain truly constant in your life. If you’re better at your craft when you’re alone and without a substance to influence your creativity, you’ve succeeded in being your own muse, and nothing or no one can ever take that away. You have all the power. All you have to do is look within and get right with yourself.

Share an insecurity you experience involved with your art.

Every artist experiences insecurities while creating. If we didn’t have them, we’d never push ourselves further. An artist that does not hold themselves to a standard, do not hold themselves in high regard. Staying a humble artist fosters a space where growth can be achieved. After all, one can always be better. I’d go so far as to say that some people will stop the process of creating entirely if they compare their work to the masters of a specific genre.

The problem is not everyone can paint like Michelangelo, nor do they have the time to devote their life to making a Sistine Chapel. If you’re comparing yourself to the legends, then you’re setting yourself up to fail. I’ve learned throughout the years not to compare my work to the work of others. You should always inspire to a standard, but you have to trust instincts.

There’s inspiration everywhere you look.

Our senses are constantly absorbing information and stimuli even on an unconscious level through sights, sounds, touch and taste. Most of the time, we’re not aware of the sensory world around us, but artists tap into it and use the stimuli as a catalyst for motivation.

For me, that can be achieved simply by watching a movie or reading a book; listening to music, being around a loved one; eating foods I crave. The interesting thing about tapping into your senses, is that they inevitably lead to your past where your memories are stored.

The past is a good source of inspiration for me.

I think as children, we are much more in tune with our environment because we’re still learning and many things we perceive is new information. Since we’re just figuring out our environments, our first experiences become powerful influences that shape our personalities. The foundation for who we become as adults is built in those early years.

I grew up Catholic and all the theology, aesthetics, principles and struggles that make up Catholicism are imprinted upon my mind and readily appear in my art. How could it not?

Those things become embedded in the core of who we are whether you agree with them or not, they’re still a part of you. Every child starts off an artist. We are all asked to interpret the world around us through our mind’s eye, and express it for another person to see and feel emotionally. The best way to do that as an adult, is to go back to the place where it all started and re-experience who you are. You’ll be amazed at the wealth of inspiration you can find inside yourself.

What is your favorite part of the creation process?

Each phase of the creative process is a unique experience for me. The beginning phase of any project is the most alluring, because the catalyst is always immersed in inspiration and comes with so many possibilities. The “in-between” phase is therapeutic. This is where I let my ego go and allow myself to enjoy the experience of creating. If you’ve ever had that sensation of driving on the open road where brief moments of your mind wander off, leaving you on autopilot, that’s what happens here. I just let go and my subconscious takes hold. I become hypnotized by the experience.

The end is bittersweet. I feel an enormous sense of accomplishment when I finish a piece, but there’s always this sense of incompleteness that arises. For me, there really is never an endpoint. Before I finish one piece, another is always there lingering in the shadows, waiting for life.

If not art, then what?

I think most people grow up with the notion that art is more a hobby than a successful career path to pursue. My Father got a full scholarship to the The Art Institute of Chicago and didn’t find out until years later because his Mother never told him. She bypassed the mail, hid the acceptance letter and persuaded him to attend the University of Minnesota to become a doctor instead. Although he first felt betrayed and disgusted with her actions, he grew to hold similar beliefs about being an artist. Like my Father, I wanted to go to art school and I was always told, get a “normal job,” you can still be an artist “on the side.” Needless to say, I didn’t go to art school either. I bought into the notion that stability equaled success and could only be achieved with a four-year education, followed by a 9-5 job that came with benefits.

When I arrived on campus, I was hopeful. I enrolled in my first semester with a full load of general ed. courses that ranged from English to Anthropology. One of the classes I took was a psychology course, which inevitably spurred a new interest and became the catalyst for much of my educational endeavors. Eventually I got a degree in psychology and worked in behavioral therapy, but it wasn’t an easy path for me and I still wasn’t content.

I still longed for the arts, so I decided to combine my interests in psychology with a relatively new field called Art Therapy. I went back to school to fulfill my art prerequisites for the graduate program, and finally found going to class a pleasure, rather than an obligation. Something happened to me in that time period, I liken it to an awakening of sorts, but whatever it was, it changed me for the better. For the first time in my life, I felt centered and grounded. I was truly happy.

And I haven’t stopped since.

Thinking back into childhood, share a daydream you experienced which might still be fixated in your mind.

Well, Freud... daydreaming was my forte. I did a lot of daydreaming while growing up and it’s still one of my favorite pastimes. Daydreaming and dreaming in general, is a way of cognitively channeling your wish fulfillments. When I used to write stories, I’d always visualize them happening in my mind before I’d write them down.

The best way to foresee the future is to first visualize yourself doing whatever it is that you want. You’re putting out into the universe and making those dreams more concrete, at least in your unconscious mind. Your unconscious mind is very powerful; it dictates how we think. When I was a child, I used to think about being an artist when I was older. After all, it was something I liked to do. As an adult, those images have to be more concrete, and I have to act out the desires and do less thinking and more doing.

Give us insight into what might be going through your mind the mere moments before starting a new piece. Every artist experiences that tinge of “something or other” right before the pen hits the paper, what is yours?

To answer that accurately, I really have to slow the act of creation down in my mind so that it’s a slow moving process, when it really sometimes isn’t for me. My hand moves over the paper like a lightning bolt. I don’t use rulers to make any of my abstract designs, contrary to what people may think. I’m not really thinking, it’s more of an impulse and an action. About two strokes into it, I start to see what my unconscious mind has seen all along.

Explain your surroundings while beginning and working on a new piece. Music, energy, light...

I’m usually alone while creating a new piece, and most of the time; I’m listening to music.

I’m light sensitive, so I don’t need much light to work in, although I always clean up a piece in the light or else there are flaws. I’ve learned that the hard way while seeing my work the night before a show under “gallery light.” My energy varies, while I’m creating. Some days I just can’t work at all, but I like working when I’m not feeling so great because it puts me in a better mood. Most of the time I’m creating when I’m very content.

Share with us one of your favorite pieces you’ve created and give us some insight into why this is your favorite or maybe most meaningful.

I did a piece several years ago on New Year’s Eve. Like so many other people, I too was wrestling with New Year’s resolutions, and one of those was to create more. I just hadn’t felt comfortable yet with my style, although it constantly resurfaced in everything I did.

That night I started working on a piece on autopilot, and I wasn’t trying to psychoanalyze my work before it was done, I was just trying to enjoy myself. I got a text from a friend who asked me what I was doing. I said, ‘I was working on some art.’ Because I had plans to hang out with him that evening, I sent him the piece to prove I was almost done. I had this overwhelming compulsion to finish it that night. I was surprised by the response I got.

I expected to hear, “Hurry up,” but I received flattery instead. He thought it was amazing and I thought he was lying; especially coming from a successful artist. I wasn’t buying it.

I went full throttle into the New Year with my new philosophy about creating. In a few months, I had so much work completed I could easily fill a small gallery. I was posting a lot of these pieces on the Internet to get feedback and I was getting noticed.

A gallery asked to see my work, so I took my portfolio down one day, expecting the worse.

I still wasn’t confident but I knew I had a style that was unique to myself. The owner greeted me and before long we were discussing my work. I stuck the piece I had made New Year’s Eve at the end of the portfolio, and it wasn’t because I was saving the best for last. In my mind, it was the easiest for me to create, so I thought it couldn’t be that good. Surprisingly, that was the piece he liked the best. I was shocked, and even more so by the positive comments other people in the gallery were giving me. The owner was so impressed he began sharing my work with everyone, and people seemed genuinely interested.

That piece changed things for me; it gave me confidence in my own intrinsic value as an artist. I would never sell it; it’s meaning has far exceeded any monetary value I could ever gain from selling.

For our final question, let’s say its your last breath, what’s your tombstone going to say to the world?

Vissi d’arte, vissi d’amore...

Translation: I lived for art, I lived for love.

A NG E L A E L L E F S ON F u n e r a l Pa r a d e A r t i s t Fe a t u r e L o s A ng e l e s b a s e d C on t e m p o r a r y A r t i s t

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Ra i s e d i n B l a c k . c om

I n t e r v i e we d by S h e e na S ny d e r A r t wo r k Š A ng e l a Ly n t h i a E l l e f s on

[ C ov e r P h o t o ] " F r i e nd l y G ho s t s " " S e c ond S k i n : " P l ay ma t e " "Crosses: Study #1" " I n no c en t e " " C om pl i c a t e d Women " "A p p a r i t i on " " I n S h a d ows : 2 " - s c u l p t u r e on c a nva s A ng e l a E l l e f s on S e l f Po r t r a i t

M e m orI E S f uc k wit h my h ead

B ec a us e I c a n 't r em em ber Wh a t I l ea rn ed fr o m t he p ast I f A n yt h in g .

A n d I'm no t s u r e how m uc h damag e w as do ne By a l l t h e fu n y o u s ay w e h a d.

M E M O R I E S F UC K W I T H M Y H E A D A C o l l a b o r a t i on S e r i e s

Wo r d s by Ta i d e Ke n ne d y A r t wo r k © Ta i d e Ke n ne d y A r t wo r k © S h e e na S ny d e r [ i n o r d e r o f a p p e a r a nc e ] “ L a sh e s ” “ Mu s i ng s ” “Starry” “A M i s s c om mu n i c a t i on ” “ C i ne m a ” “ T h r ow U p ” “ M i ck e y ”

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Ta i d e Ke n ne d y S h e e na S ny d e r Ta i d e Ke n ne d y S h e e na S ny d e r Ta i d e Ke n ne d y S h e e na S ny d e r Ta i d e Ke n ne d y

Kadie

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I was born and raised in Kansas. My family started out in a small town and moved to Kansas City when I was in middle school. My Mom played the part of both parents and took care of my little sister and I. My life has been by no means hard, but I have had plenty of challenges that taught me to appreciate every one and everything I’ve been blessed with.

W h at d o y o u fe e l a r e t h e str o n g tr a i ts i n y o u r c h a r a cte r ?

W h at m a ke s y o u , K a d i e ?

I’m stubborn and honest with a comedic flair. I’m driven to work hard, and I really like making people laugh. A coworker at a fast food restaurant told me I could do stand up comedy. That was basically the best compliment ever, despite the fact that maybe he wasn’t the best judge of things other than how to make milkshakes the correct thickness.

I’m not afraid to be joyful about the life I have, no matter the situation.

W h e n a n d h ow d i d y o u g et i nto p h oto g r a p h y ?

I started shooting in sixth or seventh grade with my family’s digital camera. It was a dinky Nikon Coolpix with probably less than 8 megapixels. I was hooked. I started shooting my sister’s sports games and my backyard. You know, the cool middle school stuff. In high school I took as many photo courses I could fit into my schedule and started shooting portraits to make a little money.

H ow wo u l d y o u d e s c r i b e y o u r sty l e of p h oto g r a p h y ?

My work is mostly coincidental. While I do plan some details ahead of time, I welcome surprises. Especially when I’m exposing film multiple times, when there’s so much room for a varied outcome, I try to be impulsive when shooting.

W h at s o rt of e q u i p m e nt d o y o u wo r k w i t h ?

I shoot with two 35mm Canon AE-1’s, a Canon 50d dslr, and various point and shoot cameras. My 35mms are my favorite to shoot with. I can’t get enough of light leaks, discoloration, and overlapping of images. The 35mm can shoot portraits with such clarity, and the colors have a vibrancy I just can’t seem to capture with my digital. I do enjoy shooting with my digital because of how easy it is to edit images as you’re shooting, but that doesn’t come close to the anticipation of waiting for film to be developed.

W h e r e d o y o u d r a w i n s p i r at i o n ?

Most of my inspiration comes from nature and the form of the human body. Their ability and tendency to change are so intriguing to me.

W h at a r e y o u l o o k i n g fo r w h e n s h o ot i n g a p h oto ? W h at i s y o u r p r o c e s s i n fi n d i n g d i r e ct i o n fo r e a c h c a ptu r e ? H ow d o e s i t a l l b e g i n ?

I enjoy discovering things. Usually I start vague with the location of the photo and a mood I want to create. After that, I see where it goes. Lately I’ve been photographing lots of water, primarily local lakes. There are just so many aspects of water. The way it moves when looking at it from a distance, or the way it moves up close; the color, how reflective it is, depth, the temperature, I could go on forever. Maybe I should call my work, studies?

T e l l u s a b i t a b o ut w h at y o u ’ r e c u r r e nt l y wo r k i n g o n .

Right now I’m working almost daily in my sketchbook and trying to hold myself to at least one “organized” shoot with models and/or other photographers each week. The sketchbook is really key for me. It’s how I unravel my brain and just breathe.

W h at wo u l d y o u s a y i s a fa vo r i te p h oto g r a p h y y o u ’ v e s h ot ? T e l l u s a b i t a b o ut i t .

In Chicago I snapped a shot of a man’s reflection in a bus stop. The cool coloring came out perfect on the rainy afternoon I took it. I felt the photo had something to say. I also find it ironic that the mood of the photo has absolutely no correlation to the way I felt when I took it. I was exhausted and irritated and the guy would not stop talking, what most people would consider yelling, obnoxiously to another person at the stop.

W h e n n ot s h o ot i n g o r wo r k i n g , w h at a r e y o u d o i n g ?

I try to be outside as much as possible. Lately I’ve started disc golfing with some friends.

I think I’ve only made par once, but I dig it. I’ve also begun putting more of an effort into cooking and exercising because I’m hoping to defeat the lazies next semester when studio hours are crazy again.

W h at d o y o u l o v e m o st a b o ut y o u r wo r k & c r e at i n g ? T h e l e a st ?

I love when it’s done. I make work because I’m aching. I don’t spend my time on things I don’t feel passionate about. The ache can be positive though. I can be in love with a new idea or a field off of highway 10, or it can be negative because I feel directionless or bored or lost in my head. It’s hard to preserver through the making, but the feeling of contentment and accomplishment is so worth it.

W h at d i r e ct i o n , i f a n y , d o y o u s e e y o u r sty l e o r te c h n i q u e g o i n g ?

I want to keep experimenting. I am studying to receive a BFA in Fiber from KCAI, and I want to use my photography to inspire the works I make. I feel as if I have direction, but what direction that will ultimately end up being is still a surprise to me.

F o r t h o s e a n n o y i n g m o m e nts of c r e at i v i ty b l o c k , h ow d o y o u g et through?

I work in my sketchbook like a lunatic. I’ve learned to let myself do whatever I need to do in there. It doesn’t need to be “good” or make any sense. Sometimes I make myself free-write to organize or find thoughts. I’ll just scrawl whatever I think until I find some footing. Then I might start sketching. For me, actively working and processing is the only way I find solutions.

W h at s o rt of i m p r e s s i o n a r e y o u i nte n d i n g to l e a v e v i ewe r s w i t h i n r e g a r d s to y o u r b o d y of wo r k ?

I want people to think about themselves. I want them to find a moment they may have experienced that felt the same way my image does.

W h o a r e s o m e p h oto g r a p h e r s y o u a r e fo n d of ? W h at i s t h e at tr a ct i o n ?

Dorothea Lange was one of the first photographers I learned about, and I’m still drawn to her work. Her cause and dedication inspires me. David Hockney’s photographic collages are mesmerizing. The way he creates a whole out of fragments is poetic. Vivian Maier is another inspiration. Photography was just a hobby for her, she was a nanny for a wealthy family, and she took these incredible images of the people on the streets of Chicago from the 1950’s to the 1990’s. Another favorite is Ralph Eugene Meatyard. Seriously eerie work! He’s definitely someone I wish I could go back in time and be pals with.

A n y a d v i c e y o u ’ d l i ke to p a s s o n to ot h e r a s p i r i n g p h oto g r a p h e r s ?

Shoot what you want to shoot, because you’re the only person with your point of view.

Don’t create for approval. Also, don’t let your access to tools keep you from shooting.

You don’t have to buy the most expensive camera to be able to shoot images you find to be meaningful. Be resourceful, and work with what you have until you can afford new toys.

A n d fo r F u n e r a l P a r a d e ’ s i nfa m o u s q u e st i o n , “ W h at ’ s y o u r to m b sto n e g o i n g to s a y to t h e wo r l d ? ” “Love, and be loved.”

K A D I E N UG E N T F u n e r a l Pa r a d e A r t i s t Fe a t u r e Ka n s a s C i t y b a s e d A r t & P h o t o g r a phy S t u d e n t

Fo r m o r e Ka d i e Nug e n t v i s i t F l i c k r. c om / Ka d i e Nug e n t Fo l l ow on

Fa c e b o o k . c om / Ka d i e

I n t e r v i e we d by Ta i d e Ke n ne d y P h o t o g r a phy Š Ka d i e Nug en t [ i n o r d e r o f a p p e a r a nc e ]

[ C ov e r P h o t o ]

D r e s s Up Me l a t on i n

To G r ow O l d Wi t h ou t You Man At The Bus Stop C om fo r t i n t h e C u r v e o f You r Ne ck I'm Lost Wa i t i ng

l am e n t i ng s p irit of

the

f o r e st.

the chase and its impervious glow breathe in DEEP e n j oy t h e m o m e n t f r ee . i’d save all of this and never look back i f i t m e a n t fe e l i n g c o n t e n t w i t h a m o t i v e

content, a word i’ve hated. y e s t e r d a y s c l i n g i n g to m o r r o w s , nothing but nonsense these days

“where had i been,” she wondered,

“how did i get here?”

L A M E N T I NG S P I R I T o f t h e F OR E S T A C o l l a b o r a t i on S e r i e s

P h o t o g r a phy by L i nd a [ E l l e ] C h en Mo d e l fe a t u r e d : Mck e nz i e D e l a ney Wo r d s by S h e e na S ny d e r

If not art, I’d most likely be pursuing a career in the field of occult sciences and medicine.

The world is void of any truly diabolical genius or mad scientist hell bent on global domination.

I think that’s a niche I could fit into quite nicely.

Jo h nny

Fox

T e l l m e a b i t a b o ut y o u r s e l f , a n d a b i t a b o ut w h e r e y o u ’ v e b e e n .

Well, I’m originally from Charlottetown Prince Edward Island, Canada and moved around quite a bit as a kid. I suppose thats why I get restless living in one place for too long. I’m nomadic at heart, so I tend to bounce around from place to place until I find something that feels right. Southern California seems to fill that void in me for the time being.

Art has always been the one constant in my life and I have my sister Jessica to thank for that. I always wanted to be just like her (still do), and art was one of the many things she exposed me to; along with my eclectic taste in music and a love of djing. She passed away last year from B-Cell Lymphoma (complications from a long battle with multiple autoimmune disorders). Jessica was always such a huge support and influence on everything in my life. My constant pursuit to grow and expand as an artist is keeping a promise I made to her.

W h at i s y o u r m e d i u m of c h o i c e ? W h at ot h e r m e d i u m s a r e y o u c o mfo rta b l e using?

I enjoy working with all sorts of different mediums, anything and everything is fair game for me when it comes to art. Assemblage, painting and printmaking are my fortes, but I have a tendency to be comfortable using whatever elements I need in order to complete a piece.

I f y o u c o u l d d e s c r i b e t h e s e n s at i o n y o u ’ d h o p e t h o s e to ex p e r i e n c e w h i l e v i ew i n g y o u r a rtwo r k , w h at m i g h t i t b e ?

The rejection of reason and logic: where nonsense, irrationality, and intuition take over.

B a s q u i at i s a h u g e i nf l u e n c e i nto y o u r a rtwo r k . W h at i s t h e at tr a ct i o n to h i s wo r k ? W h o a r e s o m e ot h e r a rt i sts y o u r e s p e ct ?

My sister Jessica turned me on to Rene Ricard’s article, “The Radiant Child” from an old issue of artforum magazine when I was in Jr.High. That article changed my life. There’s this level of intelligence when it comes to Basquiat’s work, the subtlety in which various eras and artists throughout history are referenced within his work is insane. He defined a new generation of artists.

The other artists at the top of my list as far as influences go are Edward Kienholz, Marcel Duchamp, Rene Magritte, Robert Rauschenberg, Pablo Picasso, Edgar Degas, Francisco Goya, and Paul Gauguin.

S h a r e a n i n s e c u r i ty y o u ex p e r i e n c e i n vo l v e d w i t h y o u r a rt .

I never think a piece is finished or quite good enough. I feel as if there is always something else I can do to it that will make it that much better.

A s a fo r e i g n ex c h a n g e stu d e nt , g i v e u s s o m e i n s i g h t i nto t h e p r o c e s s of a rt s c h o o l i n t h e state s i n c o m p a r i s o n to t h at i n C a n a d a .

There weren’t a whole lot of options for art schools in Canada and the faculty members within the art programs in California are considered to be amongst the best there are, so the decision for me to study in Southern California was an easy one to make.

W h at i s y o u r fa vo r i te p a rt of t h e c r e at i o n p r o c e s s ? B e g i n n i n g , e n d , i n b etwe e n ? W h y i s t h i s a fa vo r i te ?

I think my favorite part of the process is figuring out how to get the idea from my head into a tangible piece of art. I like the challenge of making my ideas come to fruition; what materials to use, composition, scale, what process and technique...

E x p l a i n t h e e m ot i o n y o u fe l t w h i l e ex p e r i e n c i n g o n e of y o u r m o r e r e c e nt a rt s h ows i n c o m p a r i s o n to o n e of y o u r fi r st a rt s h ows . H ow h a s t h e fe e l i n g m utate d a n d p o s s i b l y g r ow n ?

My art exhibitions have always been a very strange and interesting experience for me.

I still prefer to be sitting alone quietly off to the side watching people’s reactions to the work and listening to their interpretations rather than having to explain my own. I find it far more interesting and entertaining hearing people dissect your work and trying to figure out what they think your interpretation is.

W h e r e d o y o u fi n d i n s p i r at i o n ?

I find inspiration everywhere and nowhere. Music, film, literature, history, television, various works of art. It hits me at any time.

S h a r e w i t h u s o n e of y o u r fa vo r i te p i e c e s y o u ’ v e c r e ate d a n d g i v e s o m e i n s i g h t i nto w h y t h i s i s y o u r fa vo r i te o r m a y b e m o st m e a n i n gfu l .

Currently I have two favorites, “J’ai depece un Picasso (I butchered a Picasso)” and, “Plan B (the coke whore)”. Both are Dadaistic revisions of Picasso’s, “Bull Plate Number Five” and Rauschenberg’s “Coca Cola Plan” that pay homage to two of my biggest influences.

H ow wo u l d y o u c o m p a r e t h e a rt s c e n e i n t h e state s i n r e l at i o n to t h at i n C a n a d a o r e v e n E u r o p e ? D o y o u fe e l o n e i s “ b et te r ” t h a n t h e ot h e r ?

I think the art scene here in the U.S. is quite a bit more established than that of Canada’s emerging scene. There are some really great artists receiving international exposure coming out of Canada right now and I’m looking forward to seeing how things take off. Europe and the United States have had a better history when it comes to art and the artists it produces. It will be awhile before the rest of the world catches up to the amount of notoriety the European and U.S. scenes have, but it’s getting there.

W h ats t h e e n e r g y a n d s u r r o u n d i n g s l i ke w h i l e b e g i n n i n g a n ew p i e c e ?

Well, as of late the majority of the work I have been doing is within the confines of my studio at the university. I do, however, try to spend as much of my time outside of school working in my space at Studio 870 in Altadena with Andrew Robinson and Hayward Butler. Its a very laid back environment where friends come and go, input is shared openly and freely, records playing in the background, and a glass of wine in hand.

W h at a r e s o m e of y o u r ot h e r i nte r e sts a s i d e fr o m a rt ?

Music, film, literature; anything that expands the mind are huge interests. Art and school take up the majority of my time, but I’m currently working on a jungle/drum and bass album for release with Wartime Records as well as some literary endeavors.

Y o u g r a d u ate t h i s y e a r c o r r e ct ? W h e r e to n ext ? W h ats i n sto r e fo r J o h n n y F ox ?

Foregoing any unforeseen circumstances, I’ll be done with my BA in June. As of right now I’m looking into programs for my MFA, possibly studying abroad in Italy or France.

It’s all about focusing on my art and progressing to that next level.

D o y o u b e l i e v e t h e r e i s s u c h a t h i n g a s “ b a d a rt ” ?

I don’t necessarily think there’s such a thing as “bad art” just varying opinions and tastes.

Art is a very individual and personal experience, what isn’t relevant to one person, could provide a deeply personal and moving experience in another.

W h e r e d o y o u s e e y o u r a rtwo r k h e a d i n g ?

As of right now, I’m exploring and experimenting a lot with all the different mediums I use (collage, found objects, graffiti, printmaking, painting, sculpture) and looking to use them in new and interesting ways that haven’t been seen before.

A n d fo r F u n e r a l P a r a d e ’ s fi n a l h y p ot h et i c a l q u e st i o n . . L ets s a y i t ’ s y o u r l a st b r e at h , w h at ’ s y o u r to m b sto n e g o i n g to s a y to t h e wo r l d ?

“R. Mutt 1917”

J OH N N Y F OX F u n e r a l Pa r a d e A r t i s t Fe a t u r e L o s A ng e l e s b a s e d A r t i s t

Fo r m o r e J o h n ny Fox Fo l l ow on Fa c e b o o k . c om / Ra d i a n t C h i l d C om m i s s i on I nq u i r i e s J o h nd j Fox @ gma i l . c om

I n t e r v i e we d by S h e e na S ny d e r A r t wo r k © J o h n ny Fox [ i n o r d e r o f a p p e a r a nc e ]

[ C ov e r P h o t o ] " M r. B l ond e " : : m i x e d me d i a p a i n t i ng / c o l l a g e " R r o s e S é l av y " : : s t one l i t h o g r a ph "A S u i c i d e i n C e n t r a l Pa r k " : : pr on t o pl a t e l i t h o g r a ph " T h e E m p i r e S t a t e " : : s i l k s c r e e n on c a nva s " P l a n b ( t h e c o k e wh o r e ) A s s e m b l a g e " : : m i x e d me d i a "A Ta s t e O f You r O w n Me d i c i ne " : : a c r y l i c on c a nva s " B e l l a Mo r t é " : : m i x e d m e d i a p a i n t i ng / c o l l a g e

Julia Walck

To g e t t h e in t er view st ar t ed , t ell me a bi t a bout how you got i nto a rt.

I’ve done art my entire life. I took a couple classes for it o n M a i n i n H u n t i n g t o n B e a c h . I t w a s b a s i c s t u ff ; d r a w i n g a n d s t u ff . I w a s a l w a y s r e a l l y i n t o p l a y i n g s p o r t s , a f t e r a it would be best if I stopped and gave myself a break. room drawing and creating things.

when I was 10 at the Art Center beanie babies, cubes and blocks couple serious injuries I decided I slowly found myself up in my

Drawing lines is a great form of meditation for me; a way to free my mind. There’s always so much going on in there. I guess that’s become one of my signature styles, all of these patterns and shapes and what not.

A r o u n d t h e t ime y ou g ot y ou r i njury, you’d s a y you got more s e ri ous a bou t your art?

Ye a h , I t o o k a r t a l l 4 y e a r s i n h i g h s c h o o l . I t w a s a c t u a l l y t h e 5 - y e a r a n n i v e r s a r y o f m y i n j u r y y e s t e r d a y.

Yo u s a y y ou d o lines, so y ou u se more i ndi a i nk?

I do a lot with india ink and sharpie pen. These line shapes are kind of cognitive –controlled c h a o s . T h a t ’ s k i n d o f h o w m y m i n d i s ; a j u m b l e o f t h i n g s o r g a n i z e d i n s o m e s t r a n g e w a y.

A s l o n g a s I k n o w w h e r e e v e r y t h i n g i s , i t ’ s a l l o k . Wo r k i n g w i t h r e a l l y i n t r i c a t e l i n e s , h e l p s me free my mind.

W h a t ’s y ou r m edium of ch oice? Othe r me di ums you work wi th?

I l i k e w o r k i n g w i t h a n y t h i n g I c a n g e t m y h a n d s o n . I u s e w a t e r c o l o r, a c r y l i c s , g o u a c h e , blue pen, colored pencil, regular pencil; I haven’t used oils but I really want to. I’d like to do portraits with them. Hopefully I’ll do that sometime soon. I really like working with watercolors, they just take a lot of time. I do a lot of portraits and I work with a lot of layers, so they take me 20 plus hours to do. I’ll finish a portrait in the course of maybe a month. The problem is remembering to get back to finishing them… I have a couple of unfinished pieces at home, a couple meaning 10 or more.

There’s one unfinished piece on floppy disks. As in, the floppy disks are my canvas. I think its like 6ft high and 5 wide or something. My moms a court reporter so it’s a way to recycle them and also to connect with my past. I’m doing a nude portrait on that, which in a weird way reminds me of my childhood.

W h a t d o y ou m ean ?

Just, things that have happened in the past involving that. I’ts kind of the reason I draw s o m a n y n u d e w o m e n w i t h t h e i r f a c e s s p l a t t e r e d o u t c o m p l e t e l y. I t s n o t n e c e s s a r i l y a n embarrassment, but, something that could be translated as uncomfortable. It’s an interpretation o f a n i m a g e I s a w. A l o t o f h a r s h i m a g e r y a n d s h a d o w s . N o t m y r e g u l a r s t y l e , a b i t d a r k e r.

A b i t m o r e per so nal? Ye a h .

Wh e r e d o y o u find inspir at io n?

I listen to a lot of music. I think rhythm is a big thing. Repetitiveness. Doing things over a n d o v e r. I s h a d e a l o t , a n d d o a l o t o f p r i n t s a n d p a t t e r n s . I t h i n k t h e r e p e t i t i v e m o m e n t o f t h e b r u s h i n s p i r e s m e . I t s a l w a y s s u c h a n i n t r i c a t e q u e s t i o n . E v e r y t h i n g r e a l l y.

I think circumstance is really inspiring. How things fall into place. Happy little mistakes.

Everything happening for a reason. Sometimes things are out of your control, like working w i t h d i ff e r e n t m e d i u m … i n d i a i n k s p l a t t e r s a n d y o u h a v e t o w o r k w i t h i t a n d i t c r e a t e s s o m e t h i n g e n t i r e l y d i ff e r e n t a n d n e w.

E x p la i n y o u r c r eat ive p r ocess. W hat type of mood do you ha ve to be i n, i n o rd e r t o g e t in t o a new piece?

I just have to be in a mood where I want to create something. I can’t really describe it.

I t s n o t r e a l l y a h a p p y o r s a d t h i n g , i t ’ s t h i s g u t t h i n g . I g e t t h i s f e e l i n g o f , “ Yo u h a v e t o do this.” Once I’m like that I just can’t stop. I don’t want anyone to interrupt me or talk to me, I’m strictly in my zone.

Whenever I’m drawing with india ink, for example, I have to have 6 paper towels and I fold them over so it makes a good padding. It’s always to the right of me and I have my ink right here, and my pen right there, my drawing right here. Whenever I use india ink I h a v e t o d i p i t i n t h e i n k , d r a w o n t h e p a p e r, a n d t h e n I w i p e i t o ff . I d o t h a t t w i c e , u p a n d d o w n o n t h e p a p e r t o w e l , d i p i t a g a i n a n d t h e n d r a w. I t ’ s n o t n e c e s s a r i l y b e f o r e e v e r y line, but it’s something I have to do within time frames to keep myself sane in some weird O C D w a y. I t ’ s t h e s a m e w h e n I ’ m p a i n t i n g . M y p a l e t t e i s a l w a y s t o t h e r i g h t , m y w a t e r c u p i s f i l l e d t o a b o u t h e r e . . n o t t o o h i g h a n d n o t t o o l o w. I j u s t h a v e t o f e e l c o m f o r t a b l e w i t h that same thing.

S o , w o u l d y o u say com fo r t is w h at y ou l ook for? Ye s.

Te l l u s a b o u t t h is 3 65 Day p r oject y ou’re doi ng.

I did this project last year and it was a spur of the moment thing. I started it at the b e g i n n i n g o f 2 0 11 . I d e c i d e d i n J a n u a r y t h a t I n e e d e d t o d o s o m e t h i n g f o r m y s e l f , j u s t t o b e t t e r m y d r a w i n g s k i l l s a n d t o s t a y o n t o p o f b e i n g c r e a t i v e a t l e a s t o n c e a d a y. B a c k t h e n I d i d n ’ t s e t a n y r u l e s f o r m y s e l f , w h a t e v e r I f e l t l i k e d r a w i n g I w o u l d d r a w. A s l o n g a s i t w a s o n e d r a w i n g a d a y, I w a s g o o d . N o l i m i t s a n d n o r e s t r i c t i o n s .

At the beginning of this year I didn’t do the project right away because I was still in school and it was super crazy taking 6 classes, barely any sleep, more like none, drinking a t o n o f c o ff e e … I a c t u a l l y s t a r t e d m y 3 6 5 p r o j e c t i n t h e m i d s t o f f i n a l s w e e k b e c a u s e I missed doing things for myself and being creative aside from school and assigned projects.

Yo u ’r e c r a z y. Ma ny peopl e t ol d m e I w as in san e . It was j u st so me th in g I f e lt I n e e d e d to d o .

T h e f i r s t m o n t h I c h o s e a w o r d m y s e l f b e c a u s e I d o a d i ff e r e n t w o r d e v e r y m o n t h a n d I draw my interpretation of that word everyday for a month. I started in the middle of the month so that month was a little short but, I did birds. I have my tumblr and facebookfriends & followers submit words for the project and I pick them out of a hat the first day of each month. I don’t know what the word is going to be until the first day of that month.

I’ve found it hard to do the same thing everyday for a month. I wish I chose a shorter time span but I’m halfway through, I think like 6-7 months in. If I do this project again I m i g h t c h a n g e u p t h e t i m e f r a m e , I t h i n k I w i l l a c t u a l l y. . o n c e y o u g e t g o i n g i t s h a r d t o s t o p .

W h a t w o r d ar e y ou cur r ent ly dra wi ng?

H a i r. I ’ v e d o n e b i r d s , f l o w e r s , f a c e s , h a n d s , w h a t e l s e … t h e r e s o n e m o r e t h a t I ’ m t o t a l l y b l a n k i n g o n . O h , a n d m o v i e s ! T h a t w a s p r o b a b l y m y l e a s t f a v o r i t e m o n t h s o f a r, j u s t because I got a full time graphic design job, my projects on the side, trying to keep a social l i f e . B a l a n c i n g e v e r y t h i n g c a n b e h a r d . M o v i e m o n t h t u r n e d i n t o D i s n e y m o n t h u n e x p e c t e d l y. . j u s t b e c a u s e i t w a s a l o t e a s i e r t o d r a w.

W h e n exper iencin g t h e cr eat ive bl oc k, e s pe c i a l l y whe n i nvol ve d wi th your 36 5 p r o j e c t , h ow do y ou k eep t he e ne rgy to s ta y de di c a te d?

I t ’ s h a r d . W h e n y o u ’ r e s u p e r e x h a u s t e d a n d y o u g e t h o m e a t 11 : 3 0 p m a n d y o u a s k y o u r s e l f , “ D o I r e a l l y h a v e t o d r a w t o n i g h t ? ” I j u s t f o r c e m y s e l f . I ’ v e g o t t e n t h i s f a r I c a n ’ t s t o p n o w.

E s p e c i a lly wh en yo u h ave followe rs to hol d you a c c ounta bl e . Ye a h . I t ’ s a l m o s t l i k e I’m pressuring myself to do it, which I kind of dislike but it’s necessary to keep going. I keep a library of images that inspire me. Sometimes I’ll draw from those and other times I’ll use bits and pieces of them and do my own spin. That and Jackson, my boyfriend, he plays a big part into keeping me going. He pushes me to continue and reminds me of how important it is to me to continue.

I s t h e r e a t ime allot ment fo r your da i l y dra wi ngs ?

I try to allot at least 30 minutes to them but it depends on how tired I am and how much t i m e I h a v e t o d r a w. Ye s t e r d a y I d r e w a s e p a r a t e i m a g e t h a t t o o k m e a b o u t 5 h o u r s , a n d then I had to draw another one for the project that took me less than a minute. It all varies.

A s f ar a s o t h e r pr o ject s, t h is isn’t t h e onl y one you ha ve goi ng on, wha t a re some of those?

I h a v e a c o u p l e o f b l u e p e n p i e c e s I ’ v e s t o p p e d m i d w a y. T h e f l o p p y d i s k p a i n t i n g i s p r e t t y big. I don’t really do large-scale pieces because my drawings are so detailed that the idea of doing a large-scale piece, intimidates me. A part of me wants to get this huge sheet of paper and just throw myself into it, return back to it over time. That’s a part of my future plans.

I do have this piece that’s about 25x30” – its an acrylic and gouache painting on canvas of this two-headed girl with antlers. When I first started painting it, I didn’t sketch it, I just took two images and meshed them together and started painting. I painted the outline of her face and it was really abstract but I came back to it about a month ago and its starting to come to life. I have a couple other little canvases I’m working on but I honestly don’t know when I’m going to get back to them.

D o y o u h a v e a n y favor it e p ieces yo u’ve c re a te d?

I do. My favorites are pretty much the ones on my business cards. I do a lot of girls with splattered faces and the first one of them was my favorite one. It was kind of a happy accident where the ink splattered. I blew on it and it fanned out. I did a watercolor portrait of a man with a chest piece. It took me over 22 hours to finish. I was happy with how r e a l i s t i c i t c a m e o u t . I t s a t A o S A r i g h t n o w a c t u a l l y.

H o w w a s t h e A o SA Sh ow ?

It’s not the best location because not many people know about it but a lot of people w e n t . T h e r e w a s a f o o d t a s t i n g b y t h i s r e s t a u r a n t c a l l e d Ve g g i e l i c i o u s . T h e y t r y t o s t a y locally minded. All of the brands there give back to the community in one way or another so it was really cool to be a part of a project like that. I sold one of my line drawings, which was nice. It was to this guy I had never met, which is even better because when this happens there’s a connection being made not necessarily to you, but to your art. He made a comment about how it reminded him of architecture. Considering I wanted to be an architect, I thought that was cool, [when I found out how much math was involved I said never mind].

Wi t h do in g a r t s h ows, h ow do y ou feel, ha vi ng your work up for e ve ryone to s ee a n d c r i t i q u e ?

I t m a k e s m e f e e l v u l n e r a b l e a n d v e r y u n c o m f o r t a b l e h o n e s t l y. I t s c o o l t o g e t f e e d b a c k from people and other artists though. Encouragement. I’m rarely happy with the things I produce so it is nice to hear positive feedback. When you draw and create something in general it’s putting a piece of yourself out there, on a stage, for everyone to see; if that’s w h a t y o u c h o o s e . Yo u ’ r e c o m p l e t e l y v u l n e r a b l e .

S h a r e a r an do m dayd r eam fr om c hi l dhood.

H m m . . [ l o n g p a u s e ] - I d o n ’ t k n o w. Wa nt to c ome ba c k to i t? M a y b e . M y c h i l d h o o d . . I don’t think I ever really had a childhood; just because of the things that happened growing up. My parents divorced when I was 4 and one of my first memories was my dad being t a k e n a w a y f r o m m e . Th at ’s h ar d. Ma ybe tha t’s whe re a l ot of your a rt s te m s fr o m ? D e f i n i t e l y .

Wh a t w o uld yo u say yo u’r e w o rki ng towa rd a s a n a rti s t?

Hmm.. I think being more comfortable working with mediums in a larger format. That’s one of the main things. It’s more a personal goal, not necessarily art show in the future or anything. Bettering myself. That’s kind of the point of the 365 project, it’s a form of self discipline and a reminder to stay creative. I don’t have a specific plan but I know there’s something I’m aiming toward. I’d like to make a book involving my art from the 365 Project f r o m t h i s p a s t y e a r.

A s a g r a ph ic design er, wh at , in your opi ni on, a re the ma i n di ffe re nc e s wi thin a r t v s d e sign ?

I t h i n k t h e r e ’ s s o m e t h i n g a b o u t h a n d d r a w n a r t t h a t y o u c a n ’ t a c h i e v e w i t h a c o m p u t e r. Yo u can translate it with a tablet but you can’t get that roughness and those happy accidents with graphics that you do with drawing by hand. That’s why I like to draw something, scan it in, and incorporate it with my graphic work. It takes more effort to draw directly with t h e c o m p u t e r, i n s o m e s t r a n g e w a y t h a n b y d o i n g i t o r i g i n a l l y b y h a n d . H o w e v e r, w i t h h a n d drawn art, control Z is not an option and sometimes I wish it were.

A s i d e f r o m d r aw ing , ar e yo u in t o othe r forms of a rt?

I used to write but it was mostly just rambling of teen angst. I don’t think I have any of it a n y m o r e r e a l l y. I ’ m p r e t t y s u r e i t s a l l g o n e n o w. I d o t h i s j o u r n a l w i t h m y f r i e n d K e l l y w h o lives in Wisconsin.It’s a Japanese moleskin we send back and forth and is a great way to keep in touch because we don’t get to see each other often. We keep in contact through art. Everything is connected in the journal. Wherever I leave off, say I draw a strand or a rope and it hits the other page, that’s the point she starts her drawing. There’s no specific style when drawing, it’s completely free.

To w r a p up t his feat u r e, let ’s say i t’s your l a s t bre a th! Wha t’s your tombs tone g o i n g t o read t o t he w o r ld ?

“Don’t let your past haunt you; let it inspire you”

J U L I A WA L C K F u n e r a l Pa r a d e A r t i s t Fe a t u r e O r a ng e C ou n t y b a s e d A r t i s t

Fo r m o r e J u l i a Wa l c k Fo l l ow on J u l i a Wa l c k . t u m b l r. c om Fo r P u r c h a s e J u l i a Wa l c k . e t s y. c om I n s t a g r a m @ J u l i a Wa l c k

I n t e r v i e we d by S h e e na S ny d e r A r t wo r k Š J u l i a Wa l ck [ i n o r d e r o f a p p e a r a nc e ]

Re d Ro s e s Tr a p p e d

Un k now n G i r l Wi t h C r o s s

B a ng B a ng L o o s e E nd s D o o d l i ng i n Class Roug h G em O r g a n i z e d Me s s L e t You r s e l f G o L i fe Okay Exhale Fe a t h e r s Elle Aw S h i p

R i ng Cathedral Vu l ne r a b l e Wa t e r c o l o r G u y

we talk in music we we talk in music we we we talk in mu sound rhythm speak sound rhythm speak volumes rhyme sound real rhythm volumes rhyme real speak we talk in music we turntable emotion volumes rhym turntable emotion lumes rhyme real sound rhythm speak love scratch diamond turntable em love scratch diamond urntable emotionvolumes rhyme real love scratch love scratch turntable emotion sentences so confining we ta diamondso confining sentences love scratch diamond we seek better sentences sound so we seek better can’t misunderstand we seekvolum bett can’t misunderstand entences so concan’t misunde turn a beat can’t distrusta beat can’t distrust fining a melody never aa song beat love can’tscd a melody we seek benever tter a song w e ta lk in mu s i c w e didn’t greet Namaste a melody neve sound rhyt h m Namaste s pea k didn’tmisundergreet can’t volum es r hy me rea l didn’t sentenc greet N turntabl e emo t iwe on talk in music we s ltand ove scratch d i a mo n d sound rhythm speakworth picture’s we beat sentences can’tworth dispicture’s s o co nfinin g w e se ek bet t ervolumesmeasure rhyme real in words picture’s wor can’t trust measure can’t miin sun dwords ers ta n d a beat can ’ t d i s t r u s t turntable emotion millions and scream measurea beat in w melody never m el od y nev er a sa ong and sacream millions d id n’t g re et N a ma s t e love scratch diamond and scream m a melod song pi cture’ s wo r t h didn’t didn’t greet m ea sure in wo rd s music holds chakras music aholds chakras nd screa m milli ons Namaste sentences so confining music holds c floats essence m usic holds ch a k ra s oats e s s en ce we seek better floats essenc pict doesn’t fldoesn’ know t k n ow how to li e. meas how to lie. can’t misunderstand doesn’t know

usic we m speak me real otion diamond alk in music we d confining rhythm speak mes ter rhyme real erstand table emotion distrust cratch diamond er a song Namaste ces so confining

seek better rth misunderstand wor ds distrust t can’t millions dy never a song greet Namaste chakras ce ture’s worth wsure in words

e . a m a to writer p e r fo r m e r filmm a ke r dire c to r p ro m o t e r artist

Who is E. A ma t o a nd wha t or i g i n al l y sp ark ed y o u r i n terest fo r th e b eauty of w or ds? ( m ake s g r umbling noise ) I don’ t kn ow. I don ’t think I defin e E. Amato. I think t h at ’ s a j o b for othe r pe ople . I wan t to grow, s o definition is ac tuall y a limiting circu m s tance of that goal.

I re ad co nstantly as a child, and I n ever h ad en ough bo oks ! I was al way s try ing to get m o re , and was in and ou t of th e s ch o ol library all th e time. Wh en I wa s 12, my g randmothe r gave me a blank bo ok. I s tarted writin g in it – mos tl y to h ave a pr i v a t e space . Bu t I always loved fallin g in to s tories an d l earnin g about n ew pe o pl e a nd cultu re s. I think the fe elin g of plun gin g in to oth er ps ych es to ok m e towa rd pe rformance . Bu t I always wrote.

If not w r i t ing, wha t e ls e might y o u b e d o i n g ?

H av ing t e a ? Cle aning? Doing laun dry ? Watchin g a movie? Han gin g with frien d s ?

Trav e ling?

O r d o yo u me an if I couldn’ t write? I do s o many thin gs as it is , it’s h ard to think a b o u t yet anothe r thing I might do if n ot writin g! May be makin g of more movies , o r d ire c t ing more live pe rformances , or promotin g more even ts .

Wher e do you f ind ins pir a t ion? D o y o u b el i ev e i n th e co n cep t o f a m u se ?

If so, do y ou c ur r e nt ly ha v e o n e?

N o . B u t I do have one . Fu nny how th at works .

Ins pira t i o n is lite rally bre athing in . In s piration is s omethin g any h uman ca n cul t i v a t e ove r time . It is not random; it is n ot s poradic . I t is n ot vol atil e. I t s t e m s f ro m the se nse of wonde r, curios ity , in quis itiven es s , an d reveren ce in s id e .

Cul t i v a t ing those and similar qualities , as well as l o okin g outs ide yours e l f h a bi t u a ll y make s inspiration u biquitous an d pl en tiful .

I w as pr iv ile ge d e nough t o he ar y o u sp eak at a sp o k en w o rd ev en t th is past year. T hink a bout t he f ir st ti m e y o u p arto o k i n su ch an ev en t. W h at w as i t l ike ? H ow ha d it inf luen ced y o u r v i ew o n p erfo rm an ce p o etry & spoken w o r d?

I firs t re ad ou t in 2 002 , at the Midnight Special bo oks tore in San ta Monica. A f r i e nd h a d e ncou rage d me to re a d, an d I th ought th at was th e craz ies t idea! I fo u nd t hi s ope n mic ne arby – low commitmen t l evel . I wen t by on a Friday nig ht , h u ng in t h e back , and fe lt alright about it. Th e peopl e wh o got up to read were … w e ll , no t t h at gre at.

Th e nex t we e k , I came back . I si gn ed up. I s at with a coupl e of oth er n ewbie s .

Th e re w e re ove r 3 0 pe ople on t h e lis t. Rev. D ave Wh e el er was th e h os t, and h e pull e d nu mbe rs at random. As I lis ten ed to each pers on , I s ank l ower in to my s e at . Ev e ryone was gre at. Not at all like th e previous we ek! I wan ted to ru n, b u t t h e 3 of u s ju st he lpe d e ach oth er n ot be n ervous . Th ey wen t up before m e a nd w e re wonde rful. I finally got call ed an d I was s o n ot ready ! I read 2 pieces , a nd my lips w e re shak ing. I got th rough it an d s at down . At th e en d of th e nig ht , I wa s offe re d my first fe atu re d performan ce – I didn ’t kn ow wh at a feature wa s co ming f ro m film, I thou ght it was a movie! I didn ’t even h ave en ough material fo r a fe at u re – I had to w rite more poems .

I w as int r oduc e d t o t he s poken w o rd & p o etry w o rl d i n L A a few y ea rs back. I had no ide a of t he be au ty p eo p l e th ro w th em sel v es i n to u n ti l m y fi r st night a t D a ’Poe t r y L ounge i n 2 0 0 7. W h at i s i t ab o u t sp o k en w o rd th at keeps you c oming ba c k f or mo re?

I t hink I h a ve a love / hate re lations hip with s poken word. I t can be th e mos t bruta ll y h o ne s t fo r m of the atre , and that is a won derful thin g. I t can al s o be a wh ol e l o t of po s t u r ing , and that is mu ch le ss go od. As an artis t, I h ave to guard again s t th e po s t u r ing in myse lf and also in my immediate community , I h ave to be res pon s ibl e to t h e a r t i s ts who are close to me as a reality ch eck – we are th at for each othe r.

W h e n s po ke n word is at its be st, it is th e kin d of truth th at dan ce is – th ere i s no t hing to hide be hind. It’ s a craft or it’s an art – s ometimes it’s both . I t i s e nt e r tainm e nt, make no mistake , b ut it h as th e ability to be enlighten ed, in s piring , ev e n cat h a rtic e nte rtainme nt. Thi s in s piration thin g – oh it is s o dan gerous ! You’ ll g et a h a ngove r from it! Like che ap liquor! In s piration addic tion is on every corn e r in S o u t h e r n California – from the Cel ebrity Cen ter to DPL to Agape – we all wa nt a q ui ck fi x . You mu st find you r purpos e within th os e momen ts an d th en act on i t .

I f yo u d o n’ t, you e nd u p lost and s earchin g for th e n ext buz z .

As a full t ime c r e a t iv e , giv e us a b i t o f i n si g h t i n to a n o rm al d ay i n th e l if e of E. Am a t o.

Coffe e . All things start w ith coffe e. O r very occas ion all y tea – En glis h or Iri s h B re akfa s t or PG Tips – and the n coffe e. Th en mornin g pages . Th en meditatio n o r m a nt ra s de pe nding on my mo od. Th en ch eck email , an s wer roun ds of ema il , a t t e nd s o cial me dia, do annoying s el f-promotion . Th en it’s like th e aftern o o n s o m e h ow h alf the time ! Um, so t h ere’s all th at s tuff you do like s tretchin g and s h ow e r ing, and forgetting to e at, th en rememberin g you s h ould eat. Th en th ere’ s t hi s ni ce s w e et spot in the afte rn o on , wh ere, if you don ’t h ave a wh ol e l ot of d e ad line s and pe ople waiting for res pon s es , you can jus t s ettl e in to th e zon e a nd w r i t e o r e d it or hash ou t the detail s for a n ew projec t or an even t. Th at’s th e be s t .

I h av e a che ck -in bu ddy, so whe n I get frus trated or s tuck or overwh elmed or fe e l my s e l f pro crastinating, I’ m progra mmed to call h er immediatel y . We h ave a de a l w h e re w e p ick u p the phone for each oth er an d lis ten to wh atever’s goin g on fo r t h e o t h e r p e rson. Ofte n I’ m ju st about to call h er to s ay s omethin g like “I can’ t d o t hi s , ” and the phone rings and it’s h er s ay in g, “I h ave zero motivation to work to d a y . ” S o w e talk e ach othe r down or th rough it an d get back to work. I t’s our v e rs i o n of the wate r co ole r! It’ s h ard to compl ain about th e bos s , wh en you a re the boss!

How w ould you diff e r e nt ia t e t h e feel i n g o f sp o k en w o rd i n co m p ari so n to w r it t en?

Gro s s l y ove r-simplifie d back story jus t to make s ure we’re all on th e s ame pag e : hi s to r i ca ll y, poetry was spoke n. Homer s an g for his s upper an d his win e a nd ev e nt u all y those storie s got w ritten down an d became th e cl as s ic s . Sh akes pea re w ro t e pl a ys e sse ntially made of poetry . Th rough out his tory un til th e marvel ous inv e nt i o n of the printing pre ss, poetry was a livel y art.

My fe e ling is this: if you ’ re stand in g up on a s tage recitin g, s ay in g, or readin g a po e m , t h e n it’ s spoke n word. You could h ave s tayed in your ro om with your h a ir b r u s h a nd a mirror. You could have l eft it in th e bo ok an d n ot gotten in fron t of a n a u d i e nce . So, whateve r the piece is , an d if it’s memorized or n ot, if you’re up o n s tage de live ring it, you owe an experien ce to th e audien ce. Wh eth er you’ re a n aca d e mic poet or a page poet or th e In die Sl am winn er, you owe th e audience s o m et hing t hey can take away.

Thi s a r t – a ny art – it’ s a gift. You owe s omethin g for h avin g it. Time, bl o od, s wea t , re l ev ance , cou rage , and re ach. It is part of th e job to reach th e audien ce.

Tre e

W hen I h a ppe n u p on you yo u da z zl e m e th en I ke ep co ming b a ck to you o n p ur p o s e Wo uld yo u b e my t re e o ut my w ind ow I wa n t to k now yo u bette r lo o k up f ro m page w ell, key b o ard se e you s tand ing st ra i g ht , tall fan -li ke rad i a nce p ea co ck sha ktip a t of t re e s I li ke yo u k ind of a lot th ere co uld b e o t he r tre e s but I ca n ’t im agine o ne bette r for me Thi s o n e s naps h o t of you le a fles s sun ra d i a t ing yes but wh at ab o u t you w ith dust in g of s now in you r branche s w ha t a b o u t t h e b u dding th e leafing th e full bl o o m I do n ’ t wa nt to mi ss that

Imagin e your ro ots groun din g your cen turies you will h ave cen turies you will s e e more th an me but I will be diligen t in my obs ervation s to make up for time I trus t you to s tay away from lightnin g you will n ever burn n o acciden t befall s your gran deur n o bulldozer razes your expectation s you remain a breath for all wh o s e e you I would like you to be my every day get to kn ow you l et you tell me h ow time pas s es your s l own es s con s tan tl y s hiftin g movin g with out movin g s tilln es s with out s tilln es s n ature’s butoh dan cer Would you be my tre e Did I as k you this I will move to you I will atten d your every day in th e cours e of min e we will grow togeth er an d s eparatel y I will s it an d watch s it an d ign ore you s ometimes th en l o ok up an d s mil e Sometimes may be wh en th e weath er’s nice I will s it again s t you eat my s an dwich or ch erries jus t come out to pl ace h an ds on bark may be tell you a s ecret s tory

M ostly I will be grateful witne ss to you r simply be ing there a sk ing nothing bu t a view of your wis dom an d majes ty reve ling in you r solid noting you r sway impe rce ptibly syncing to your s eas on s You make me want to ro ot.

I want to grow my life with you.

Pe ople don’ t think this about me t hey think abou t move men t a nd traipsing citie s b ut what was it all for b ut to find the right sit t he right tre e for ou t my w indow s o eve ry time I lo ok u p I smile

c . 2 012 e . amato

s h aktipat = transfe r of divin e en ergy (from teach er to stu de nt) (ofte n de scrib ed as in s tan tan eous e nlighte nme nt)

Gi ve us a bit of ins ight int o you r featu red p o em , “ Tree” . A s i n , w h at fu el e d thi s piece, wha t we nt t hr ough y o u r m i n d w h i l e w ri ti n g i t, w h at d o es i t m ean to you?

I t s tar t e d b e cau se my frie nd se nt me a picture of th e view outs ide his win dow. Ta ll t re e b a cklit by a su nny sky. It wa s s o beautiful . I t gave me breath . We al wa ys s a y t hing s take ou r bre ath away, b ut is th at reall y th e object? I s n ’t it more brea t h w e wa nt ?

I o pe ne d i t and the n left it ope n a n d th en s ometimes I ’d s ort of bump in to it wh e n I o pe ne d anothe r photo or would acciden tall y click on it. Every time I s aw i t , I wo uld b re athe . The n I’ d start to go to it on purpos e. Th en I realized th at I ’ d d ev e l o pe d a k ind of cru sh on the tre e.

On a no t h e r path altogethe r, I’ d on ce read this word th at was akin to in s ta nt e nli g ht e nm ent – like a shot to the third eye. I ’d read it in a Buddhis t magaz in e, o r yo ga m a gazine . I thou ght it was s uch an amaz in g con cept an d I began to wa nt t h a t wo rd . Bu t I forgot it almost as s o on as I read it. I wen t back to fin d it, b ut nev e r d id . I think maybe 8 ye ars wen t by . I tried go oglin g an d as kin g, but n o one s e e m e d to k now w hat I was talk ing about. I s ort of gave up. Th en s uddenl y , I’ m re ad ing LA Yoga and this article by Lorin Roch e an d th ere it is – th e con cept and t h e wo rd ! Ju st like that. It’ s re a l ! An d it exis ts . Th at made me s uper h appy , I h ad n’ t m a de it u p and now the word was th ere. Many times I ’d wan ted to expl ore t h e co nce pt or u se the word in t h e poem, but I didn ’t h ave it. Now I h ad it. I t h o u g ht of what the poe m would b e th at would us e this word.

Oh , t h e word, you want to k now th at! Sh aktipat. I t mean s (l o os el y of cours e ) t ra ns fe r of divine e ne rgy, ofte n from teach er to s tuden t. I ’ve al s o s e en i t d e s cr i b e d as instant e nlighte nme n t. Pretty amaz in g. (Th e peacock image was in t h a t a r t i cl e , to o, bu t the n, the tre e fan s like a peacock’s tail – s o th at’s h ow th a t go t in t h e re . ) S o I wa s s aving that word u p, or s o I th ought. But th en a few h ours l ater, I s tarte d t h e po e m to the Tre e . I was in love by n ow an d th ere it turn ed up. Spen t alread y!

Aft e r wa i t ing so long for it. Bu t it wan ts to be h ere. Becaus e th e tre e, or t h e pi c t u re of it, was ju st that k ind of wake up. I ’m a differen t pers on becaus e of i t , t h a t h as to be w hat the word is mean t to des cribe.

Ro d e to Joy

Thi s re clamation take s work 80 0 k ilomete rs on fo ot as example w e h a ve ways of te lling the s pirits w e h a ve arrive d t h ey h ave ways of mak ing u s fe el wel come o r t e lling u s w e a re not yet done all t h ose te ars all of t he lachrymae m u s t b e wru ng t h e j o urney no t perishe d u nt il t he re are cre ase s in t h e corne rs of m o u t h and eye s and t he light from the soul s hine s the ro om in f ro nt of you .

Un titl ed ( Sil e nce ) I s topped m e d i ta t ing wh en I re a lize d I was us in g it a s a crutch for n ot doin g oth e r t hing s ( Al s o I h ate s i t t ing s t ill ) I s topped s ay in g m a nt ra s wh en I re a lize d it mean t I was n’ t s ing ing I s topped b re a t hing wh en I re a lize d I was n ’t b re a t hing I s topped my s il e nce wh en I re a lize d n o on e h e a rd m e .

Lets s a y it s your la s t br e ath ! W h ats y o u r [ h y p o th eti cal ] to m b sto n e g oing to say to t he wor ld?

Yo u know , I saw Alle n Ginsberg in Berkel ey . He did a readin g at G aia B o o ks , w hi ch was a gre at bo ok store in North Berkel ey . He read an d s an g, an d t hi s wa s no t ve ry long before he pas s ed, h e did a s ignin g. Th e pl ace was packe d , b ut h e s i g ne d eve ry bo ok . I e nd ed up with a s tack of th em. Wh en h e s ign ed t h e firs t b o o k , he w rote something, not his n ame or initial s , h e wrote “AH” – I think i t wa s in a circle . And he lo oke d at me, an d s aid, “D o you kn ow wh at th at is ?” I s a id no .

H e l o oke d u p at me , and he open ed his mouth wide, an d s aid, “Ahhhh …..” I t wa s a b o u t bre athing, for him. M editation an d breath .

I t hink I wante d my bo ok to s ay All en Gin s berg. I didn ’t get AH. Not in t h e wa y h e m eant it or the way I would h ave th ought th at I s h ould h ave gotten it.

I g et it now.

I t ’ s all abou t the bre ath.

Th e s low , the fast, the rhyth m we ke ep, th e time we s pen d, th e ton e w e s et . I t a ll come s back to the bre at h . Wh en you’re in dan ce cl as s , or yoga, or s w imming , t h e re ’ s always a te ache r sa y in g, “Don ’t forget to breath e! ” An d you th en re a lize yo u ’ ve be e n holding you r breath . Wh en I perform, an d I think I got this fro m o ne of my favorite te ache rs (and h uman s ) J udith Wes ton , I s tart on an exh al e. If yo u d o t h at , the n the re ’ s an effortles s n ature to th e s pe ech ; th e words tumbl e out ins t e a d of b eing pu she d. The re is a rel axation you can give to th e audien ce.

S o , t his tombstone of which you s peak, an d yes , I will be cremated – I wo uld n’ t mind having a be nch somewh ere in a gre en s pace in a city wh ere peop l e co uld co m e and sit for a spe ll. An d th at littl e pl aque on th at, it does n ’t even n e e d my na m e . I think it should ju st simpl y s ay :

“ B re athe ”

E . A M AT O F u n e r a l Pa r a d e A r t i s t Fe a t u r e L o s A ng e l e s b a s e d Au t ho r, A r t i s t , E x t r a o r d i na i r e

Fo r m o r e E . A m a t o E A m a t o . c om A m a z on . c om /Au t h o r / E A m a t o

Interviewed by Sheena Snyder Photography provided by E. Amato All featured pieces Š E. Amato

I HOPE YOU

ITS

i’ve spent more time waiting ; holding breathes hoping; strang ling daydreams w ishing; c raving any other form of nostalg ia, waiting . i’ve spent more time waiting; & i’m tired of waiting ! tire d of waitin, wishin’ hopin’ hol din’ on to a something i never truly understood to beg in with.

I HO P E I T S YO U A C o l l a b o r a t i on S e r i e s

F i l m by J ov i E s q u ive l Wo r d s by S h e e na S ny d e r Ta k e n a t t h e S a l t on S e a , C a l i fo r n i a Wr i t t e n a fe w y e a r s b a ck

P HOTOs BY Bin dy O’Kelly

UNTIL WE

MEET AGAIN

F UN E R AL P AR ADE . COM