ISSUE 5 - F15
VINCE STAPLES LOWE R DE N S | K AT E T E M PE ST | F RANCE SCO YATE S | DAN DE ACO N A L L I E X | L E O N B R I D G E S | JUH A ARVID H E L MINE N | STACE Y MCKE NZIE S H A M I R | YO U NG FATH E RS | P I E R R E K W E N D E R S
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Georgie ISSUE 5 - F15
Editor-in-Chief & Creative Director NATHAN MARSHALL
Associate Editors AARON PEDERSEN + AMANDA PURDIE
Fashion Director MICHAEL MENEGHETTI
Copy Editor JUDE ZUPPIGER
Contributing Writers LISA BABIUK, NIKKI FOTHERINGHAM, GLEN LEAVITT, ERIN LOWERS, ROL AND PEMBERTON, JEFFREY POWELL, AMANDA PURDIE, JENNIFER SINTIME
Contributing Photographers TINA CHANG, L AFOND DOMINIQUE, KAT YA KOROSCIL, NEIL MOTA, MATHEW SMITH
Special Thanks BL AKE ARSENAULT, CAT BIJOU, JENELLE FORDE, VANESSA SANCHEZ, NIKOL A SYHATHEB, ERIC TAVARES
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Self published by Georgie Magazine Inc. Opinions expressed in this issue are the opinions of the authors and do not nessesarily reflect the opinions of Georgie Magainze. 2015Š Georgie Magazine. Reproduction without permission is prohibited. Printed in Canada.
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Features
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LOWER DENS
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SHAMIR
F R A N C E S C O YAT E S
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K AT E T E M P E S T
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YO U N G FAT H E R S
ALLIE X
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DAN DEACON
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PIERRE KWENDERS
LEON BRIDGES
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LOWER DENS
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Jeffrey Powell P H O T O
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Katya Koroscil
this notion is the story behind the album’s first single, “To Die in LA”, about which Hunter says: “Its original incarnation was really dark and we had enough internal darkness that we didn’t need our songs to reinforce it. So, [bandmate Geoff Graham] and I had a conversation about writing songs that did the opposite. And so, I went and wrote that keyboard part and changed it to major.” Following some initial recording sessions with John Congleton (St. Vincent, Cloud Nothings), the group turned to longtime friend and producer Chris Coady (Future Islands, Tobias Jesso Jr.) to ultimately helm final production on the album.
Baltimore-based indie pop band, Lower Dens, was born out of front person Jana Hunter’s emergence from her own solo work. The band’s first two albums – Twin-Hand Movement (2010) and Nootropics (2012) – garnered critical acclaim for an experimental sound described by many as “equal parts reverb-drenched folk and swirling ambience.” The group’s latest release, Escape from Evil (2015), is notable in its shift towards upbeat pop sensibilities. Reports of band turmoil in 2013 might help explain this shift, and listeners may interpret the new album as a therapeutic release of sorts for the group. Supporting
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Discussing the overall musical vision, Hunter says: “I wanted to make things simpler and clearer. With Nootropics we had more complex compositional ideas than we’d had with our previous record… I feel like we kinda started to lose something in what we were beginning to make available for people.” Now on tour, Hunter incorporates cuts from the new album into their nightly set list. “[The shows] have been just flat out joyful. I’ve never really had that kind of experience before. It’s pretty amazing.”
musician
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Amanda Purdie P H O T O
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Neil Mota
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KATE TEMPEST
When talking about artists, there’s often a need to label them as one thing or the other. But what happens when the artist in question is not only a Mercury Prize-nominated rapper, but also a critically acclaimed playwright, awardwinning poet and budding novelist? Meet Kate Tempest, a born and bred South Londoner who ticks all of these boxes (and then some), making it difficult to classify her as anything other than a storyteller extraordinaire. “Stories are what excite me,” she explains in speaking about Everybody Down, her debut album that focuses on the lives of two main characters, Becky and Harry. Produced by Dan Carey, the initial concept for Everybody Down started to unfold as Tempest was wrapping up her Brand New Ancients tour, which earned her the coveted Ted Hughes Award for innovation in poetry: “My brain was buzzing off narrative and characters. The single narrative idea wasn’t like a lightbulb decision moment, it was more the natural progression of where my writing was going, and it developed under the endless encouragement from Dan to keep pushing away at what was becoming a huge idea.”
With a North American tour well underway, fans across the Atlantic are queuing up to hear what Tempest has to say about the struggles facing her generation. Rapping with an unmistakable sense of urgency, Tempest paints a gritty picture of the realities of trying to stay afloat in a place like London – something even her North American fans can relate to. “Hopefully, because my writing is so local, and so specific to where I’m from, it can connect with people from very different places, and still carry some resonance about where they’re from. I find that the more exact a piece of writing is, the more universal it can be.” At just 29, Tempest seems wise beyond her years – hailed by some as the voice of her generation. One thing’s for certain: whatever the medium, Tempest has a story to tell. And we owe it to ourselves to listen up.
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musician
WORDS
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Amanda Purdie P H O T O
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Neil Mota
GEORGIE
DAN DEACON Dan Deacon is a boundary-defying producer and composer whose music blurs the lines of electronic, indie, experimental and pop – all to weird and rather wonderful effect. Starting out in the early noughties as a prominent fixture on Baltimore’s EDM scene, Deacon went on to release nine albums. The latest of the lot, Glass Riffer, marks a pared back departure from the heavy instrumentation and multiple contributions from other musicians that went into 2012’s America. When asked about the change in approach, Deacon explains, “It really depends on what the piece calls for. I wanted this record to focus on synthetic textures so working alone fit well.” Glass Riffer is a welcome addition to Deacon’s expansive album catalogue, which expertly strikes a balance between introspective lyricism, meticulous arrangements and danceability – all while maintaining Deacon’s
signature exuberant aesthetic. The process of recording Glass Riffer brought about feelings of self-doubt for Deacon, who confesses to an incessant need to refine and perfect: “The second guessing and self doubt has its high water mark during the process rather than post finalization. I haven’t listened to the album since approving the masters, otherwise I would only hear the things I’d want to change.” But it also helped to bring him one step closer to understanding why it is he loves making music – although, thankfully, not too close. Deacon explains: “I don’t want to know why I love something in a formulaic way. What I love about music is that it’s a constantly changing puzzle that you can never finish or solve. By the time you figure out what you’re after, you’ve been changed by the experiences of the process and it’s time to move on.”
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FRANCESCO YATES WORDS
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Lisa Babiuk P H O T O
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Tina Chang
When you grow up wanting to be the next Michael Jackson, then have Pharrell Williams tell you you’re a lot like him, it isn’t a coincidence. For 19-year-old Toronto native Francesco Yates, it took a lot of determination, good advice and, most of all, passion. “Passion is what makes an artist an artist – not the talent. Because it’s the passion that creates the talent,” says Yates. Search his YouTube page and you’ll find everything from Leonard Cohen’s emotional “Hallelujah” to Marvin Gaye’s classic R&B hit, “What’s Going On”. Yates explains, “My sound is a mixture of old and new. There are quasimodern influences and also older throwback stuff.” His latest hit, “Better to be Loved”, can be heard all over the radio this summer, and his debut EP, co-produced by billboard topping “Happy” Pharrell Williams and Danish record producer Robin Hannibal, will be out August 21st. But that’s just the beginning for this emerging Canadian artist. And we can’t wait to see what’s next.
jacket - DOLCE & GABBANA (Harry Rossen) sweater - PUBLIC SCHOOL (Holt Renfrew) pants - ZANEROBE (The Bay)
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P H O T O G R A P H E R ’ S A S S I S TA N T Eric Tavares S T Y L I S T Vanessa Sanchez H A I R Blake Arsenault M A K E U P Jenelle Forde
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ALLIE X WORDS
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Nikki Fotheringham P H O T O
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Tina Chang
jacket - BCBG dress - NARCES top (worn underneath dress) - JIL SANDER NAVY (Gravity Pope) sunglasses - THE ROW X LINDA FARROW (Spectacle)
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As we meet and get to know each other, we’ll reveal more about ourselves and have a more vulnerable relationship. It is a dichotomy, though, because this project is about opening up your soul, but also remaining anonymous.
These days, it seems a pop artist must also be an artistic visionary to have an impact. A savant musician. A creator of interesting things. Case in point? Allie X, an emerging Canadian artist who exploded onto the scene with a 48-hour multimedia extravaganza at the Phi Center in Montreal, where she launched her first EP as Allie X, CollXtion I. Allie X started life as Alexandra Ashley Hughes, a regular on the Toronto music scene where she enjoyed a modicum of success with the release of two albums, Ladies and Gentleman and Waiting for the Prize. Dissatisfied with what she was producing, she went back to the drawing board. She studied sound design and music production and spent two years cocooned in her shoebox apartment, writing music and perfecting her sound before she emerged onto the LA music scene in 2013 – a butterfly complete. Her music is complemented by strong visual elements that include original artwork, boundarypushing videos and spinning GIFs. When asked what is fuelling this new age of music and art, she replies: “In a word, the internet. It’s turned the music world on its head in negative and positive ways – the positive being that there is a lot of artist empowerment. You can become a star in your bedroom on your own YouTube channel. I think
by putting more power into the artist’s hands, it’s changed the parameters of how weird you can be with the work you put out.” Although Allie X regularly converses with her fans online, she remains a fiercely cloistered person. Her eyes are usually hidden behind a pair of oversized sunglasses or her hair is draped across her face. Even her chosen name ‘X’ comes from the algebraic expression of the unknown: “I want people to take on X as their own identity and not to become a part of my identity.” How will she overcome the problem of wanting to have a more personal relationship with her fans while still maintaining boundaries and privacy? “I think of it as a relationship like any other,” she says. “As we meet and get to know each other, we’ll reveal more about ourselves and have a more vulnerable relationship. It is a dichotomy, though, because this project is about opening up your soul, but also remaining anonymous.” Perhaps the struggle for identity and anonymity is one that all artists go through as they transform, and are transformed by, the music world. But as we wait in anticipation for what comes next, let’s just hope that Allie X is able to keep her freak unique.
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P H O T O G R A P H E R ’ S A S S I S TA N T Eric Tavares S T Y L I S T Jaclyn Bonavota at Judy Inc. H A I R Blake Arsenault M A K E U P Jenelle Forde
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musician
LEON BRIDGES WORDS
BY
PHOTOGRAPHY
Many words could be used to describe Leon Bridges and his critically acclaimed debut album, Coming Home. Soulful. Retro. Stylish. But perhaps the most all-encompassing of these adjectives is “honest” – a word that not only speaks to Bridges’ earnest way with words, but also to his resoluteness to remain true to himself. Not so long ago, Bridges was bussing tables in his native Fort Worth, performing to coffee shop crowds of no more than 20 people. But after a chance meeting with Austin Jenkins, guitarist from White Denim – who was struck by Bridges’ classic style – a studio session was soon to follow. “It was cool seeing my vision come to life,” says Bridges. “It was just me on an acoustic guitar before, so to see it all come together in a studio was definitely surreal.”
Amanda Purdie BY
Dominique Lafond
In October 2014, “Coming Home” premiered on the cult new music blog, Gorilla vs. Bear, sparking a bidding frenzy among a number of major labels, with Columbia Records emerging triumphant. Since then, Bridges’ ascent to success has been dramatic, including a prizewinning performance at South by Southwest that captivated fans worldwide. At first glance, it might appear that Bridges is anything but genuine. With a sound uncannily reminiscent of ‘60s classic soul and the highwaisted trousers to match, he could be seen as posturing – a dilemma that isn’t lost on Bridges. In speaking about his style, he explains his love of vintage developed long before there was any talk of a record deal. “A lot of people look at me and say it’s a marketing thing. Of course I haven’t been dressing this way since I came out
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of the womb… but I didn’t have the confidence to really be consistent with it until I started making this kind of music.” While he admits his appreciation for soul came later in life – with ‘90s R&B dominating most of his playlists as a teen – his unwillingness to feign a lifelong devotion to the genre is what makes Bridges all the more believable. He explains: “A friend of mine asked me if Sam Cooke was an inspiration, and I had never listened to Sam Cooke – after that I really started to dig in. I knew that was the kind of music I needed to be writing.” When asked if he ever feels a responsibility to fill the shoes of soul music greats, he’s once again frank in his reply: “I don’t feel any pressure to do a certain thing – I’ll never be an Otis Redding or a Sam Cooke or any of those guys. Of course they’re the inspiration, but I can only be Leon Bridges.” The fact is, Bridges’ music speaks for itself. Take away the high-collared shirts and the black-and-white Instagram
musician
feed, and what’s left is a debut album that reveals nothing more than real, authentic soul – Bridges’ soul. Songs like “Lisa Sawyer” expose the deep love and admiration Bridges has for his mother, as he tenderly sings, “Heart warm like Louisiana sun / Voice like a symphony / Of the most beautiful instruments,” while the pared down “River” has Bridges yearning for redemption: “Oh I wanna come near and give you every part of me.” Coming Home is a stylish blend of doo-wop backups (“Better Man”), gospel harmonies (“River”) and sultriness (“Smooth Sailin’”), all sung with a charming vulnerability and vocals that range from velvety smooth to raw and longing. Describing his sound and approach to lyricism, Bridges muses, “My songs reflect the kind of person I am – very simple. I like to make songs that are very clear and easy to understand for the listener.” Bridges’ sound may be rooted in the past, but his aspirations as an artist go far beyond replication – he’s striving for authenticity. “I’m exited for people to see who I am and to see honesty.”
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JUHA ARVID HELMINEN
HIDDEN EMPIRE WORDS
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Glen Leavitt
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“Invisible Empire” was on my mind for many years... a few photographs grew into a whole narrative of humans’ incapability to learn from its mistakes throughout many centuries.
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Masks are fascinating because of their dualistic nature; they either cover up who we are or bring to light our true nature. Uniforms have this same nature.
Since 2008 the Finnish photographer Juha Arvid Helminen has been exploring humanity’s literal and metaphorical dark side with a photo series entitled The Invisible Empire, which explores the ways in which power, authority, and violence express themselves through fashion and visual iconography. Helminen dresses his subjects in uniforms and accessories which suggest fascist and authoritarian political movements, conservative religion and contemporary policing. “I have always been fascinated by uniforms, and when I had studied arts and photography for a few years in 2008 I wanted to create photos with a meaning. To be honest, at first I was only intrigued by the aesthetics, but a bit later I started to think about human behaviour and how we convey different ideologies and professions by our clothes – how traditions and beliefs dictate our behaviour. How we hide our true persona and create walls around us.” The title, Invisible Empire, refers to an alternative name used by the Ku Klux Klan, an organization “known for violence, racism and mystic rituals.” According to Helminen, “This name, ‘Invisible Empire’, was on my mind for many years. Little by little just a few photographs grew into a whole narrative of humans’ incapability to learn from its mistakes throughout many centuries.” Helminen is interested in the effects that masks and uniforms have on an individual’s sense of self – how they can magnify the self or make it disappear, subsumed within some larger whole.
A uniform can glorify an individual or strip an individual of his or her humanity. “Masks are fascinating because of their dualistic nature; they either cover up who we are or bring to light our true nature. Uniforms have this same nature. A prison inmate is forced to wear his outfit and a doctor wears his lab coat with honour. A soldier’s uniform distinguishes him from civilians and also takes much of his individuality away, so he is not singled out by the enemy. All of these things are present in some of the pictures of this series.” Helminen designs as much of the props and clothing in his work as possible: “The outfits are fully designed beforehand, to every small detail. Luckily I get art grants for the projects, which helps a lot with the expenses. I don’t like to borrow outfits or props because I usually like to modify them. Usually I sketch the photographto-be in detail and when the planned photo has been taken, I play around with the characters and props to take extra frames. The characters themselves are often so powerful that it inspires me, but I don’t like to take ideas from the models. “I’m a bit of a control freak when I’m photographing. The photographs that don’t deal directly with a certain country’s culture or situation tend to be more futuristic, in which case I ask if this really is the future.” Looking at Helminen’s photos, it is evident that he draws from a variety of sources: Nazi and communist uniforms, KKK uniforms, Catholic
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headdresses, Muslim niqab head coverings, schoolboy uniforms, paramilitary police armour. But Helminen avoids tying his work too tightly to real world examples. He believes his work has universal implications. We must recognize the potentially dangerous role that masks and uniforms play in all places, at all times.
reputation: it’s told to be hard to photograph, but it really isn’t in this digital age. Everything starts from styling and I avoid bad synthetic fabrics because they tend to look cheap. Leather, wool and plastic masks work well. And naturally light has a lot to do with it. I grew up watching ‘80s movies and I think you can see it in how I light up my images.”
“The human species has more face muscles than any other species on this planet and we use them to communicate. In my opinion any outfit that covers the face, be it balaclava or a niqab, is problematic. I think the reason why the Invisible Empire series has been successful is because I’ve taken influences from different cultures and have removed ethnicity – this way it’s easy to identify with the characters in the series. My topics and themes are universal.”
The unrelenting blackness of Helminen’s photos seems to serve two purposes. First, it underscores the ominous, oppressive nature of the subject matter. But it also implies that universality for which Helminen strives. The chromatic uniformity of the images suggests to us that this could be anyone, anywhere, at anytime. We only need to fill in the blanks.
And then there is the black. Virtually every element of clothing and set design in Helminen’s photos is black. He insists this aesthetic choice presents no special technical challenges. “I often get asked this since black has a
One photo in the series, called “Optimism”, depicts a black train at night, waiting at a black station. It is an ambiguous image. Is the title ironic? Who is on that train, and where are they going? “I think that from all of my photos, ‘Optimism’ depicts me as a person the best. I am an eternal optimist and pessimist when it comes to the human condition.”
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“Optimism” depicts me as a person the best. I am an eternal optimist and pessimist when it comes to the human condition.
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model
STACEY MCKENZIE WORDS
BY
Erin Lowers P H O T O G R A P H Y
There’s only a handful of black models that have hit the runways and become household names in the West, but Stacey McKenzie is not just a black model – she’s a veteran Canadian supermodel who has upheld notions of beauty often ignored by the complex and sometimes monotone modeling industry. Beyond her tall, lean stature, McKenzie stands out with a crown of natural blonde curls and freckles. “When I started my career, it is true that there was only a handful of black models on the international scene in high fashion,” she says. “Transitioning into today, I do not see much of a change overall in the industry,” she carries on. “Because of my lighter skin complexion, freckles and natural blonde hair, there was no category that I fit into. It wasn’t until Jean Paul Gaultier booked me when I became a symbol of a new and very unique category, which ultimately led to my success.” However, regardless of her successes, the modeling playing field is still a jagged journey for models of colour. “When a designer such as Junya Watanabe chooses no black models for a collection based off varying African cultures, it doesn’t surprise me. Fashion is a business, [so] what’s most important
BY
Tina Chang
to him is who he is selling [his] clothes to,” McKenzie says of the Japanese designer who appropriated African cultures for his spring/summer 2016 menswear collection. “What I would like to see is – regardless of the theme of a collection – an increase in the amount of black models on the runways and in fashion campaigns because it helps to promote black beauty.” Black beauty has always had a tumultuous relationship with mainstream media, and despite “more models, more designers, more runway shows, more fashion campaigns, more modeling agencies, more photographers [and] more magazines,” McKenzie laments, “I am not confident that the ration of work (advertising campaigns, high fashion runway shows etc.) for models of colour has changed.” The issues surrounding models of colour hasn’t just challenged Stacey McKenzie, but also new models such as Joan Smalls. Earlier this year, controversy broke out over a Cosmopolitan article titled “21 Beauty Trends That Need to Die in 2015.” Every woman of colour was deemed to be out of style – their photos stamped with an “R.I.P.” caption. Joan Smalls was
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earrings - ELIZA KOZURNO coat - MOSCHINO (Milli) shorts - BAND OF OUTSIDERS (Gravity Pope) stockings - STYLIST OWN shoes - MARNI (Gravity Pope)
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jacket - BAND OF OUTSIDERS (gravitypope) top - MOSCHINO (Milli) pants - FORTE FORTE (gravitypope) rings - NICOLA CHONG, STEPHAN MACDOWELL
one of the few models to speak out regarding the article, leading McKenzie to say, “That takes courage and I applaud her, and she’s also setting an example for other models to follow.” McKenzie goes on to describe the privilege of being in a position of power, and how to counteract the subtle, yet challenging racial divides. “It is true that capitalizing on the black culture (and others) has been made into a money-making industry. If a model/entertainer has experienced enough success where they have influence, then one of the ways of challenging media outlets is to show the same courage as Joan Smalls and speak out. As an individual, we all have an even more powerful way of challenging such things and that’s the power to choose where to spend our money.”
This passion has guided McKenzie to create Walk This Way Workshops, a series of confidencebuilding workshops geared at young men and women. “The mission of Walk This Way Workshops is to empower and educate young people to value their uniqueness and inspire them to find their individual voice. I created this program as a way to give back to the community and it reflects my personal journey,” she states. Though her journey as an outspoken, unique and black model has presented its challenges, Walk This Way Workshops have provided the ultimate reward. “The kids that I work with inspire me. Also, I have made meaningful connections with numerous celebrity mentors and industry experts, and I’ve learned that many people want to do good and make the world a better place.”
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blazer - SMYTHE top - ANDREW MATENJYI shorts - VINTAGE tights - H&M rings - NICOLA CHONG shoes - ALEXANDER WANG
necklace - KELLY BLAIR cardigan + Skirt - MOSCHINO (Milli) gloves - KARL LAGERFELD tights - THE BAY shoes - BIBLIOTEK (gravitypope)
jacket - JIL SANDER NAVY (gravitypope) scarf - CHANEL shorts - ACNE STUDIOS
M A K E U P Nikola Syhatheb using MAC Cosmetics, Yaby Cosmetics and Tweezerman M O D E L Stacey McKenzie at Plutino Models
P H O T O G R A P H E R ’ S A S S I S TA N T Eric Tavares S T Y L I S T Vanessa Sanchez H A I R Blake Arsenault
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VINCE STAPLES Roland Pemberton P H O T O G R A P H Y B Y Neil Mota WORDS
BY
“We all have things that we’re supposed to live up to that have nothing to do with us,” says Vince Staples. Even though he’s only 22 years old, it seems he knows a thing or two about outsized expectations. The emcee hails from Long Beach, California, the same Los Angeles-skirting city that produced Snoop Dogg, Warren G and Nate Dogg. One of the many artists unspooling out of the orbit of Odd Future’s big bang, he gained notoriety from appearances on Earl Sweatshirt’s selftitled mixtape and a collaborative album with Mac Miller called Stolen Youth. On the eve of several highly anticipated NXNE performances, I spoke to Vince Staples at his hotel in Toronto about his Def Jam debut, Summertime ’06.
“[The title of the album] wasn’t really a specific instance, it’s more of an emotion, more of a feel because the way we connect to music isn’t through the instance, it’s through the way it makes us feel. I try to convey a certain mood [from] the production to the way the songs are laid out.” More fleshed out and dynamic than his 2014 EP, Hell Can Wait, Summertime ’06 carries the torch for overlooked ‘90s major label Californian lyricists like Freestyle Fellowship and Ras Kass with the watery boom bap of tracks like “Birds & Bees” and “Street Punks”. But it’s all done with a modern flair and a charismatic self-awareness that sets him apart from his predecessors.
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If you’re starting a project and you know what you’re going to do already and it’s easy to find, then it’s probably not coming from a very unique place. We try to make our music come from a more personal place
“We try to make our music come from very personal situations and very personal experience. Nowadays, especially in today’s music climate, people aren’t buying music, they’re buying moments, they’re buying into you. So what makes you an Aerosmith, what makes you a Led Zeppelin, what makes you Prince or someone like that? And that’s the uniqueness in your story.” Summertime ‘06 is burnished by Staples’ diverse knowledge of music. The cover is a reference to Joy Division’s famous Unknown Pleasures sleeve featuring Peter Saville’s image of radio waves. When Staples first released the cover on Instagram, he started the post’s caption with “Love will tear us apart.” He’s exhibited a preternatural understanding of the burden of making substantial music and the possibility that his music may not be widely appreciated while he’s still alive. “It took 50 years for the Ramones to go gold once,” Staples explains. “Ian Curtis didn’t get acclaim until he died; the dudes in Sublime didn’t get acclaim until Bradley [Nowell] died. If you look throughout history, of course George Washington was amazing when he was alive. Abraham Lincoln, Martin Luther King – these were all amazing people. But when time allowed us to really dissect who they were as people and what they brought to our culture, that’s when they came to be appreciated even more. That’s what I want to do in the sense of music.” Almost entirely produced by Kanye West mentor and
Chicago beat legend, No I.D., Summertime ‘06 sounds like it’s coming from a different California than the monophonic DJ Mustard beats that dominate American pop radio. Clattering percussion and submerged basslines haunt the proceedings on songs like “Jump off the Roof” and “Get Paid”, recalling Junkanoo from the Bahamas. “Ramona Park Legend, Pt. 2” doesn’t evoke West Coast rap so much as the druggy blues hop of Willis Earl Beal. It makes the album an unpredictable journey that can be tuneful and exciting but occasionally difficult to classify. “If you’re starting a project and you know what you’re going to do already and it’s easy to find, then it’s probably not coming from a very unique place. We try to make our music come from a more personal place,” says Staples. “It’s supposed to be here forever. If you get the music in the first two weeks, then we’ve failed.” This attention to detail makes Summertime ‘06 a particularly dense listening experience. Guest vocalists like Jhené Aiko, Future and Earl Sweatshirt are deeply woven into tracks in a way that subtly emboldens the songs without diminishing their contributions. Distant howls, birdcalls and sirens are stitched into the album’s fabric. Staples has a wisdom beyond his years, eschewing today’s trends in an attempt to create something timeless. But does the modern music listener’s focus on singles, instant gratification and online streaming concern him?
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“Not at all because that’s never been what I’m about. It’s not really a hard thing because I don’t care about singles. That’s never been me as a person,” says Staples. “I know my approach to it might never make me the most popular and it might never make me the richest, but that’s not really what I care about. I care about being able to affect lives with a unique perspective and kinda change the way people look at where I come from. The fact that people are surprised that I talk the way that I do or that I’m able to say what I’m able to say is sad to me because it says, ‘So, what am I supposed to be?’” Throughout Summertime ‘06, Vince Staples explores the duality of the black male in America. On “Lift Me Up”, he says, “I need to fight the power but I need that new Ferrari.” He follows up “Dopeman”, a song that initially appears to be a straightforward drug dealing anthem, with “Jump off the Roof”, a song detailing his own addictions and vices. Throughout the album, Staples depicts a complex, often contradictory moral figure to his audience. “The problem with things like that is we’ve removed humanity from certain situations. For instance, everyone loves a Lil Boosie character or a Gucci Mane character or a T.I. character. They’re telling you their problems
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but as soon as they go to jail, they’re stupid, they’re dumb. He was telling you this entire time what his life consists of. Instead of reaching out a hand, you looked through that piece of fuckin’ glass and you gawked at him. So what happens when the lion escapes the zoo? Nine times out of ten, they hurt somebody.” Summertime ‘06 has subtle echoes of the Michael Brown shooting and the fear of death at the hands of law enforcement that follows young African-American men. Unlike someone like Kendrick Lamar, Staples rarely tackles the issue directly in his lyrics. Young black artists like Staples are placed in the unenviable position of being expected to speak for an entire generation of people, whether they want to or not. “The problem in this country is that we don’t value humanity. Doesn’t matter what colour the person is, we don’t care about each other because a man kills nine people and the first thing we think is, ‘He needs to die.’ “We have to be looked at as if we’re humans. If you think it’s going to stop by showing people, ‘Hey, you killed another black person,’ it’s never going to end. But if you can lead [people] to believe that they just killed [themselves], that’s when change can come.”
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SHAMIR WORDS
BY
Amanda Purdie
PHOTOGRAPHY
In astrology, Scorpios are known for their keen intuition and curious disposition. Considered the most magnetic of the signs, they have a mysterious charm and a thoughtful approach to conversation that naturally draws people in. But their emotions run deep, and can veer from one extreme to the other. Whether you buy into astrology or not, there’s no denying that 20-year-old, November-born Shamir Bailey – known simply as Shamir – befits the classic definition of a Scorpio. His infectious 2014 single, “On the Regular”, set music blogs alight, intriguing listeners worldwide with its disco-rap aesthetic – think pulsing synths, sassy lyrics and yes, even some cowbell. And just when we thought we had Shamir figured out (he’s that rapper with the high-pitched voice, right?), he goes and puts out a debut album so dynamic, so thoughtfully written, and so sonically wide-ranging, that it turns out the Shamir we thought we knew was all that and so, so much more. Add in a don’t-give-a-fuck attitude, a refusal to identify with a specific gender and a certain pizazz you can’t help but
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Neil Mota
be attracted to, and there you have it – a Scorpio through and through. Growing up in a suburban neighbourhood on the outskirts of Las Vegas, Shamir’s love of music started from an early age when he taught himself to play guitar (how else?) upside down. Never one to follow convention, Shamir acknowledges the role Vegas played in shaping his individuality: “You kind of have to find your own identity as a resident of Vegas, [because] you live in a place that caters to everyone who doesn’t live there. I learned at a very early age that I can create the world I want to live in.” In June of last year, Shamir released Northtown, a five-track EP that paid homage to his suburban roots, and included a tender version of Lindi Ortega’s “Lived and Died Alone”. While the EP was released to favourable reviews, its true marker of success came in the form of landing a record deal with the formidable XL Recordings. “It all happened so very naturally,” says Shamir of his rapid rise to success. “After the EP got released I had a few offers, but XL was a no-
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We’re all the same on the inside. [Being] born male or female is such a small part of who we are as people.
brainer. All of their artists are visionaries, and I felt they probably gave their artists a certain amount of breathing space artistically, and they have. It’s been great.” In conversation, Shamir is friendly, exuberant and approachable. But, much like his music, there’s more than meets the eye. He has a unique way of talking about deeply personal and important matters while still remaining upbeat, and the same goes for his music. “There’s a lot of messages in my songs,” he explains. “But it probably isn’t until people actually sit down and really listen that they actually notice it, which is kind of what I want. Sometimes in order for people to listen you have to be a little more lighthearted and relatable.” It’s all part of the Shamir appeal. He’s the guy who makes you want to get up and dance while simultaneously giving you pause to reflect on the complexities of growing up. He says, “I think the album itself is a very coming-of-age story – about that weird age between 18 and 21 in America where you’re an adult but not really.” He’s also the guy who – just by virtue of being himself – has unwittingly become a role model for youth grappling with conventional ideas of gender. After declaring on Twitter that he had “no gender, no sexuality and no fucks to give,” he instantly became part of a global conversation surrounding gender
fluidity. “We’re all the same on the inside,” he says. “[Being] born male or female is such a small part of who we are as people. We live in a society where things are black and white, male or female, and it can be very traumatizing when you’re young and you don’t understand that the world doesn’t necessarily work like that. At the very least, I want to show people that – and the best way I can do that is by being myself.” It’s words like these that portray Shamir as someone wise beyond his years. The mature lens through which he views the world could be partly chalked up to that signature Scorpio perceptiveness, but Shamir says his mother had a lot to do with it. In describing her, he says: “She’s really young – she’s not even 40 yet – so I think because of that I learned at a very early age that adults are humans too. I realized early on that adults have flaws and they’re pretty much just like us. She’s seen me change and I’ve seen her change, so that’s been really great for me – it’s helped me to see the world the way it really is before most people.” He may be ahead of his time, but Shamir is poised for success right here, right now, at a time when we could all stand to be reminded of one simple message: “We’re all human beings and we will stand out by being completely ourselves.”
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YOUNG FATHERS WORDS
BY
Roland Pemberton P H O T O G R A P H Y
BY
Mathew Smith
Genre-bending Scottish trio Young Fathers won the Mercury Prize for their 2014 debut effort Dead. Rather than heading back to their native Edinburgh to take some time before following up their crowning achievement, the band immediately decamped to a freezing cold basement in Berlin to record their sophomore effort White Men Are Black Men Too, released by Big Dada Records a mere six months after receiving the Mercury Prize.
“Winning the award was like a relief because you kinda just think, ‘Well, now what[ever] we do, people will hear it so let’s make it even better, let’s top ourselves again,’ ” says Graham ‘G’ Hastings over the phone during a lull in the East Coast stretch of their American tour. “I think if you feel the pressure in that situation, you can really succumb to it. It can really bring you down. We’re not like that.
such a seemingly unclassifiable band, they find themselves dodging comparison at every turn. “You just have to try and combat it,” says G. “That’s what we’ve been trying to do with this album – we’ve been calling it rock and pop, trying to denounce any kind of loyalty to any genre or any band. I’ve never heard one band that anyone’s ever mentioned that we’ve actually listened to in their comparisons.
For us, you just have to take advantage of it and that’s what we wanted to do. That’s why as soon as we won the award, the next day we went off to finish the album.”
“We’re a pop group. We just want people to know that, ‘cause that’s the fairest thing to do. It’s the broadest spectrum in music. We never wanted to associate with any kind of group, whether it be underground or shiny pop.”
Following the lead of their debut, White Men Are Black Men Too is another lean set of minimal stunners. Alternately recalling bands as disparate as TV On The Radio, Massive Attack, Fun Boy Three and The Clash, Young Fathers rip through this record with aplomb, relying on an uncommon chemistry between their three members that makes every song burst with life. And as you might expect from
This single-minded nature is in line with the spirit of their new album. The songs on White Men Are Black Men Too are short bursts of kinetic fury, punkish in length and intent. On vocals, Alloysious Massaquoi and Kayus Bankole are a two-headed monster with about ten voices between them. “Still Running” and
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“Shame” have the frenetic churning rhythm of a runaway train with vocal intensity verging on that of a gospel hymn. “The thought behind the album was inspired by a little trip to America last year where all we had done was listen to the radio stations while traveling. And you listen to some great radio stations – some great religious stations – and they have some great one-liners where they repeat themselves and repeat themselves and repeat themselves. “This record was definitely ‘less is more’. [Fewer] words but make sure the words are strong and then just repeat them. Direct and simplified – let the rhythms drive rather than stop and start and being too smart ass about it.” Despite their occasionally cryptic lyrics, there’s still a subtle sociopolitical consciousness just beneath the surface of their music. Existential dread bubbles up throughout the album, with the line “Tonight I don’t love God” functioning as a singalong chorus. “Sirens” is an
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esoteric lament about gun violence in America. “Old Rock n Roll” is a ramshackle banger with provocative lyrics about “living life like a bubble-wrapped ape” and being “tired of playing the good black.” The album title itself can be perceived as confrontational or inclusive, depending on how the listener chooses to take it. “We went over it for like three weeks and asked different people from different parts of the world and different backgrounds what [the title] meant to them,” says G. “The main thing was that people were fairly intrigued and spoke about it. Whether they like it or whether they don’t like, it’s not really the point. It was actually the fact that if they didn’t like it, they would speak and say why they didn’t like it. “I hope it could be a de-fizzler. Especially now with what’s happening in this country, in America. Someone said on Twitter, ‘Oh, I bet you wish you never named your album that now,” whereas we just replied, ‘There’s no better time for people to come together.’ ”
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GEORGIE
WORDS
BY
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Jennifer Sintime P H O T O B Y Neil Mota B Y Cat Bijou
I L L U S T R AT I O N
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PIERRE KWENDERS Born in the Congo – but living in Montreal – the jovial Pierre Kwenders is an up-and-coming contributor to Afrofuturism, an emerging genre that blends African roots music with electro artistry. When characterizing the complex sound, even Kwenders struggles with forming the appropriate vernacular. “To be honest, I don’t really know how to describe my own music,” he laughs. “There’s no point in trying to describe something that is meant to be felt.” Finding his musical origin and inspirations in Congolese Rumba, songs like “Mardi Gras”, from his album Le Dernier Empereur Bantou (2014), highlight the genesis of his sound. However, the obvious electro-futurist element can hardly be ignored. Heavily saturated with Congolese rhythms and electronic influences, he explains: “It’s very weird, what I do. I like to consider it as a Sci-fi type of genre. It’s fiction. And the thing with fiction is that it’s a mix of many worlds – many visions of the future and the past – and you end up in a world where you don’t understand anything.” This enterprising genre has a wide fan base, but his shows lack a prominent African audience. Kwenders chalks this up to a fear of unfamiliarity. “You can’t ask a Country Boy to get out of the country… If a cowboy has always loved listening
to country music, sometimes it can be hard for him to get out there and listen to pop or electro – he has to change his mindset.” However, Kwenders’ goal isn’t to reach his fellow Africans, nor is it to teach cultural lessons to those unversed in African cultures. “I’m doing this to make myself feel good, and if while I’m making myself feel good I can make other people feel good, then mission accomplished.” Nevertheless, the idea of prodding those who are unfamiliar with the Afrocentric beats and foreign lyrics to dig a little deeper into African history is, of course, an associated benefit. So, who’s paving the way for this genre? Kwenders recommends listening to Shabazz Palaces, Spoek Mathambo, or Petite Noir. “There are so many of us out there doing our own thing in so many different ways, giving a new light on Africa, and giving a new definition of African music and African life. […] There are many others, especially my generation, doing this type of music. Well, not this type of music, because there’s not really a type of music. But, we’re bringing something new. We’re bringing a breath of fresh air into the music industry. People are listening to it and opening their ears to discover what’s new and what’s coming out of Africa right now.”
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ESCAPE PHOTOGRAPHY
BY
Tina Chang S T Y L I N G
BY
VANESSA SANCHEZ
Aluad - dress - MARNI (gravitypope) tights + rings - H&M bracelets - ALDO socks - AMERICAN APPAREL shoes - CLARKS (gravitypope) Kassandra + Mical top - MARNI (gravitypope) skirt - STELLA JEAN rings - H&M bracelets - ALDO socks - AMERICAN APPAREL shoes - CLARKS (gravitypope)
coat - HAYLEY ELSAESSER dress - CARVEN (gravitypope) skirtHelm) - MARNI (gravitypope) (worn as belt) shoes - MAVEN WYLDE JOHN RICH & BROS Boy left - vest - AMI (the Helm) cardigan - RALPH LAUREN (the jeans - DRIES VANscarf NOTEN (Simons) - WOOLRICH bangles CAROLE TANENBAUM COLLECTION shoes CHLOE Max - shirt - DRIES VAN NOTEN (Simons) jeans - VERSACE (Simons) shoes - DOC MARTENS (gravitypope) Boy right - jacket - BALMAIN (Simons) turtleneck - JIL SANDER (Simons) JEANS - AMI (the Helm) shoes - HUGO BOSS (the Helm)
Aluad coat - PETER PILOTTO (Milli) dress - H&M clutch - ALDO Kassandra coat - TOPSHOP (The Bay) dress - PETER PILOTTO (Milli) clutch - ALDO
Kassandra earrings - AMIEE KENNEDY necklace - MOTH scarf - SONIA RYKIEL (Milli) top - ELAN + CASTOR skirt - MISSIONI (Winners) Aluad earrings - AMIEE KENNEDY necklace - MOTH scarf - SONIA RYKIEL (Milli) dress - MISSIONI (Winners) skirt - ELAN + CASTOR
sweater - BCBG MAX AZRIA (The Bay) top - COOPER & ELLA pants - H&M necklace - ALDO bangles - CAROLE TANENBAUM COLLECTION shoes - JIMMY CHOO
Mical dress and sweater - TOPSHOP (The Bay) bangles - KELLY BLAIR, RIKKI BLITT, TANYA TKACZ Kassandra dress and sweater - TOPSHOP (The Bay) bangles - KELLY BLAIR, RIKKI BLITT, TANYA TKACZ
Aluad earrings - MOONROX jacket - H&M top - JILL SANDER (gravitypope) pants - NAVABI cuff - FREYJA shoes - WINNERS Mical jacket - H&M top - JILL SANDER (gravitypope) pants - TOPSHOP cuff - FREYJA shoes - WINNERS
Mical top - ETRO (Milli) skirt - TOPSHOP bangles - ALDO Aluad top - ETRO (Milli) vest - TOPSHOP pants - H&M bangles - ALDO Kassandra top - ETRO (Milli) skirt - TOPSHOP
shirt - TOPSHOP dress - APUNTOB (gravitypope) socks - TOPSHOP earrings - STYLIST OWN bangles - H&M shoes - WINNERS
Mical top - ETRO (Milli) skirt - TOPSHOP bangles - ALDO Aluad top - ETRO (Milli) vest - TOPSHOP bangles (Milli) - ALDOskirt - MARNI (gravitypope) bangles - MAVEN WYLDE Kassandra earrings - AMIEE KENNEDY pants jacket- -H&M MOSCHINO Emily - jeans - -ACNE (Simons) shoes - DOC MARTENS (gravitypope) top VERSACE (Simons) Una - leather coat - ACNE (Simons) pleated skirt - MALORIE Kassandra top ETRO (Milli) skirt TOPSHOP Mical top - MARNI (gravitypope) dress - KAREN MILLEN bangles - MAVEN WYLDE URBANOVITCH shoes - DOC MARTENS (gravitypope) Boy - suit - COMME DES GARCONS (Simons) tshirt - ACNE (Simons) shoes - HUGO BOSS (gravitypope) Kendall - top - A.L.C (Simons) shorts - 3.1 PHILLIP LIM (Simons) shoes - GRAVITPOPE BRAND (gravitypope)
Aluad necklace - ALDO tunic - MAVEN WYLDE pants - TOPSHOP bangles - DEBORAH SANDERSON, REUVEN KASSAI shoes - BARBARA BUI
Mical necklaces - MOONROX, ALISON DAWSON robe - H&M top - HAYLEY ELSAESSER skirt - MARNI (gravitypope) bangles - ALISON
DAWSON shoes - GIANVITO ROSSI Kassandra necklace - ALDO tunic - MAVEN WYLDE pants - H&M bangles - ALISON DAWSON
shoes - TORY BURCH
M O D E L S Aluad Anei at Lang, Kassandra Gray at Plutino, Mical Bokru at Elite Model Model Management Toronto
M A K E U P Angie Di Battista at Plutino Group using MAC Cosmetics, Josie Maran and Face Atelier
H A I R B Y Ricardo (Blunt Salon) M A K E U P B Y Katie Matson P H O T O G R A P H E R ’ S A S S I S TA N T Eric Tavares H A I R Blake Arsenault M O D E L S Kendall, Ava, Anica, Steph, Mikayla, Emily, Lorree, Chad, Max, Graham and Una
ISSUE 5 - F15