HOOP DOOP MAGAZINE #5 by HOOP DOOP MAGAZINE

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ART DIRECTOR & DESIGN Attilio Brancaccio EDITOR Agnese Roda FASHION DIRECTOR & STYLING Marie Claire Liem FEATURED PHOTOGRAPHERS

Dorcas Borgers Attilio Brancaccio Jenny Boot Michela Nale CONTRIBUTING FEATURES EDITOR Peter Thorvaldsson Thomas Walker Fay Kim Tjoa Anna Kelhu Andrea Lanzilotto FEATURED MAKE-UP & HAIR STYLIST Charlotte van Beusekom

Claudia Malavasi Manuela Gerotti Radna @ HighonHairspray Esther @ HighonHairspray FEATURED ARTIST Fieno THANKS TO: Blupixel.it TIGA-TIGA L for LAZARUS ADVERTISING hoopdoop@hoopdoopmagazine.com

contents

P6 • MARIE CLAIRE LIEM • Cover Story

P66 • LIZZIE & THE YES MEN • interview

P20 • FRANCESCA GRILLI & GIORGIO ANDREOTTA CALO’• interview

P72• FAST ANIMALS & SLOW KIDS • interview

P32 • FOREST • by JENNY BOOT

P92 • SHOPPING BAG

P82 • DANCE FOREVER • interview

P44 • CHRISTINA GUSEVA • interview P54• MY SWEET GREEN HOME • fashion

cover story

MARIE CLAIRE LIEM A story of freelance style! Interview by: Agnese Roda Cover by: Dorcas Borgers Model:Hiukwan @ Modelution

Styling & accesssories design: Marie Claire liem Hair:Radna @ HighonHairspray Make-up:Esther @ HighonHairspray

photo: Dorcas Borgers

also have loads of Barbie’s; I had the attic of my house only for them. It was my Barbie Land, I had more than 50.

How did it start? When I was a young girl, I got from my parents, Modewijzer. I was drawing for everybody; it was a pretty stylish toy. During my old childhood, I was always fascinated by fashion. I was a lot into shopping and soon I realized I wanted to have a job to support my passion. Actually, I couldn’t wait to have job, and got the first one when I was 14, in a shoe store. I always dreamed about having a job in the fashion industry. I was playing in my room pretending I had my own clothing shop so I could style looks. I’ve also got loads of Barbie’s; I had the attic of my house only for them. It was my Barbie Land, I had more than 50. It was my fashion world. Later on, I got hooked up with styling thanks to a TV program, an interior design one with Jan De Bouvries. He had this show where he was saying to people he could have changed their house. I started practicing my drawings in front of the TV, waiting with pen and paper in my hands and drawing the best house styling with him. I was also pretty busy taking pictures of things that caught my attention. Improving and developing my eye, looking for details, learning to see things. Everywhere I could find something, from junky funky places, to very hip ones. I started collecting them too. How did you choose for your direction in studies? After high school, I had to choose what to study but all the school I visited wasn’t really convincing me, therefore I decided to work for a while and take time to clear my ideas. I worked as an Estate agent for 5 months, running everywhere with a big car, showing houses to possible customers. But there was a thing I really didn’t like. I had to

wear clothes representative for the company. I couldn’t be myself. I didn’t want that, so I quit. Later on, I discovered AMFI (Amsterdam Fashion Institute). I knew it was the right school in the moment I walked in the building. It just felt good! I choose to study International Fashion and Design, and after one year, I specialized in Forecasting, where you learn how to develop design concepts. What does “Forecasting,” mean in fashion? It means you have to be up to date with trends and what is going on in the world. I had to follow all news and forecast which direction the world was taking. Global warming, natural disasters, civil wars, social media… Then you need to look for inspiring images through books, newspaper, TV… to develop these happenings into a new future concept. Can you explain why you choose a picture? Which are the criteria’s? There are no criteria’s. I look at them and I feel if they are right. In school I had to work a lot with pictures, drawing, creating structures, making prints, developing concept… building up a theme, an inspiration.

How did you start working in fashion? For the school internship, I chose to work for Spice PR. They are the best ones in Amsterdam. They follow all the most promising Dutch designers and brands. They bring all collections to their agency. So, stylists lend it for their photo shoot for magazines like Elle, Avantgarde, Grazia. Basically, by lending out the newest collections they are promoting the designer, what means they make sure they are in the spotlights. I worked in their showroom and it was what every girl dreams about! See and feel all the new collections that will be in stores months later. Half year later, I worked for Elle Magazine. It was the day before my birthday. I had an interview at the magazine and it went well, but they told I had to wait for the result. For my birthday I received a phone call, it was one of Elle’s Fashion Chief Esther Coppoolse. She said, “Well, Happy Birthday, you can work with us!” It was the best time of my life! I had to contact all the famous designers like Miu Miu, Prada, Valentino, Chanel, and order their work. It was hard work, but it was worth it all.

I was seeing all those boxes coming, with all the newest styles and trends. It was an honor for me to work there! Later I worked for Bonnie Orleans Voss. We had an immediate click! I was also Head Assistant on Erwin Olaf’s production at Amstel Hotel. I learnt so much from those experiences, but at

that time I was still in school and really busy with assignments. Before graduating, I travelled to Indonesia, Thailand, Malaysia, and Singapore, taking pictures of everything that caught my eye. I mean, everything! I chose not to visit touristic place and I found my own adventurous path!

There I could finally meet a different culture, but also my culture, real people, I loved mixing with the atmosphere and feel part of the whole culture. Little stores, markets and locals where my daily source of inspiration. After graduation, I felt I was ready to work. I did loads of free work, collaboration in styling productions, with different photographers. That way I could see different perspectives and learn much more. From that experience, I decided to focus on freelance styling. So now, I am a freelance stylist with a part time job to pay the bills. But this is the life I chose and I am happy about it. I can choose to do what I want to do. I can be myself, impulsive, chaotic, and artistic… but I have this passion of doing things I am passionate about. I worked for Sacha’s international SS’11 campaign; different look books for brands as Tommy Hilfiger/Pepe Jeans/Scotch & Soda. I also did look books for Dutch jewelry brands. Also productions for magazines and assisting Bonnie Orleans Voss. And I started my online magazine with Attilio; Hoop Doop Magazine!!

Could you list your sources of inspiration and explain why they are important? - Underground scenes and movements; this is where it all starts - Books with inspiration images from cultures and nature all over the world: pureness -Jamel Shabazz art and photography: pureness, being there while there was a new subculture born -Trips and travelling: new experiences -Batik, a traditional Indonesian art craft of prints: my roots -Collecting: i collect everything that looks inspiring to me -Discovery channel and documentaries about wild animals or ancient subjects -Dancing: movement and freedom -Early hip-hop culture: I feel connected. This culture was born out of searching for a way out of the system. Then they started social gatherings

(block parties), love, creativity, and unity. -People: on the streets, in books, on TV, everywhere! What do you love? II love what is pure, what is different and noncommercial. Money doesn’t mean anything. Pure is something to develop with creativity to create the new, and where there is too much money, there is no inspiration because it’s too easy. You’re not forced to be creative. Just like the early days of Hip Hop in the late 70’s. It is social, it is soul, and it’s created. What is style? Style is who you are. It’s about what you wear, your mind state. It’s more then just clothes. It’s

you. It’s your creation of whom you stand for. Nobody has the right to judge style, because we are all different! And that is a beautiful gift. Every single person is unique.

www.cargocollective.com/emcee

Photo by: Dorcas Borgers Model: Kelli @ Jimmy Model Management

Styling: Marie Claire liem

Photo by: Dorcas Borgers Model: Jytte @ Max Models

Styling: Marie Claire liem Hair:Radna @ HighonHairspray Make-up: Randa@ HighonHairspray 15

Photo by: Dorcas Borgers Model: Jytte@MaxModels

Styling : Marie Claire liem Hair:Radna @ HighonHairspray Make-up:Esther @ HighonHairspray

â&#x20AC;&#x153;Nobody has the right to judge style, because we are all different! And that is a beautiful gift. Every single person is unique.â&#x20AC;?

17 5

Francesc Giorgio Andr Interview by: Agnese Roda

HOUSE WITH A V

ca Grilli & reotta Caloâ&#x20AC;&#x2122;

VIEW ON ART LIFE

Photography: Attilio Brancaccio

rancesca and I chose for a life where the art is very present. I hope this will become a privileged status for my daughter, an intense and happy presence, and an experience where there is no heaviness and pain.

How did you start thinking about being an artist? Is there a specific moment you realized that was the beginning of your career? It can be anything ... a meeting, a revelation, an inspiration ... Giorgio: When I moved to Holland I was able to work as a “full-time” artist. That was the only condition, because it allows you to think of yourself as a real artist. And it turns a dream, ambition, and aspiration into a fact. As a young kid, I wanted to be a fisherman. Francesca: I think it has always been a requirement for my well-being. Since childhood, I remember myself drawing, the effort I put in the first ones, into realizing them. I do not remember ever having thought you could have done anything else in life. Then, in order to make Art, I became a full time artist and it ‘took a little’ time to achieve it. I like to think life itself is the art form that accompanies me, and the final work is the result, the fruit of it. What do you like about your job? Giorgio: A vision becomes reality. I like being a spectator of any work and I can get excitement, energy, from it. I love challenges. Heavy, hard work is an experience that allows you to do any work, always different, always new. I have no risk of getting bored. Francesca: The feeling and the strength. Appearance, occult, talisman, coded messages, language, and what is indecipherable. People who know me think I can find all these things in my work. It is my intimate daily practice of finding myself. It ‘s my sport, the oxygen in my bones. As well as torture and punishment.

Do you work every day? Could you describe a typical day at work? Giorgio: I always work. My work is the result of a continuous time invested and never limited. It shapes from meditation and solitude, as well as sharing with others. I cannot separate my life from work. They are only one thing. Francesca: Since Agata, our baby, is born work rhythms are different. Before I was used to working disciplined, dedicated to it. Now I start my day with kindergarten and rhythms are dictated by life. In Amsterdam, I have a study in the Smart Project Space, but the real work is done elsewhere, outside, in different locations and ideas come at unexpected times. Your partner is an artist? How do you live a life of art? Giorgio: I really appreciate Francesca. To some, the condition of artistic life is very heavy. Painful, unbearable. Francesca and I chose for a life where the art is very present. I hope this will become a privileged status for my daughter, an intense and happy presence, and an experience where there is no heaviness and pain. Francesca: Art life can be reality, even though not always surrounded by an atmosphere of romance and absinthe. In fact, it is hard and pragmatic. There are clashes with yours and the other person’s ego and that is your mirror. You grow together, always trying to be true, to support and sustain each other. It requires patience and love. But it is also super fun, especially when Agata will be older, she will be swept away by our surreal projects, life, and work. I could not think of my life in a different way. What are your artistic influences? Giorgio: I am mainly influenced from artists who have operated in Between the 60’s and 70’s. Francesca: Maya Deren, Demetrio Stratos, Walerian Borowsky, and Laurie Anderson. What inspires you on a daily basis? Giorgio: You cannot be inspired daily, because inspiration is a state of exceptional depth, which comes from an impulse. One of the thousand you face every day. Francesca: Giorgio gives me the possibility to think deeply on the job and I thank him for this

â&#x20AC;&#x153;A vision becomes reality. I like being a spectator of any work and I can get excitement, energy, from it.â&#x20AC;? 23

â&#x20AC;&#x153;Agata is the purest and greatest thing I have ever made. In this moment of my life, family feeds my inspiration.â&#x20AC;?

kind of not easy, but essential exchange. Agata is the purest and greatest thing I have ever made. In this moment of my life, family feeds my inspiration. What music do you listen to? Giorgio: My musical knowledge is very limited. I also read very little. Probably because I invest too much time in listening, observing, feeling. Francesca: There were several musical phases in my life. I have listened to so many different things. Lately I have been researching lullabies, and I also try to use them in my work. I use sound in a wide and extensive way.

missing nowadays. Francesca: Our most intimate side is usually disconnected from real community life. It is our duty to try to reconnect our souls with the rest of the world. Art, in its widest sense, allows you to create this bridge to link yourself and society, even though it is a deep and painful experience. The artist in contemporary society covers the role the Wizard had in the past. Every community should have Art, to illuminate the path and identify new ways to follow it.

Favorite movie? Giorgio: Tarkovsky created 7 masterpieces. Francesca: Picnic at Hanging Rock, Peter Weir, 1975 If you weren’t an artist, what would your job be? Giorgio: I have never thought about it. I did a lot of jobs in the past. Maybe I would have been a doctor, like my father. It would have been a good way to understand him better and try to live in a completely different way. Francesca: The life is art; I would do everything I could get from it.

“I cannot separate my life from work”

Why making art today is important? Giorgio: Today valuable and important things are measured in economic terms, in market terms. If you do not exist in the market, you do not exist as an artist. Of course, this has nothing to do with the value of the work itself, because making art does not strictly mean generating financial gain. It does not necessarily refer to the product of a cultural industry. The question might then be, why is it today that producing profit (making money) is important? Why does Economy decide about aesthetic value (defined as the convergence and synthesis of higher values, “the Beautiful” as a whole)? To be able to answer these questions I should go far in writing. Reality remains then as a response to this situation, the artist today can become a form of resistance and commitment, even in defense of a social role and values, which are completely

“It ‘s my sport, the oxygen in my bones. As well as torture and punishment.”

and resistance of form a can become values, and today role artist â&#x20AC;&#x153;the of a social .â&#x20AC;? defense in nowadays , even missing commitment completely are which

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Jenny

Photography: Jenny Boot

enny Boot

â&#x20AC;˘ Model: Meike Hoppel

CHRISTINA GUSEVA fashion designer “ My collection is based on the fact that you don’t have to be ashamed of yourself when you want to look different than the others. You dare to be yourself and combine! ”

Photo & text: Attilio Brancaccio Editing: Anna Kelhu Styling: Christina Guseva Model: Samantha Jackson Make-up & hair: Charlotte van Beusekom

May y o u introduce yourself? My name is Christina Guseva and I am twenty-one years old. I was born in Russia and at the age of three I moved to Holland, and I’m still living here. I really like Holland and can’t really imagine how my life could be different. Currently I am studying at the HKU (Hogeschool voor de Kunsten Utrecht) and I’m in my third year of Fashion Design/Communication. Before I got my HAVO diplom I studied at the ABKM (Academy voor Beeldende Kunsten Maastricht) for a year. I got my propaedeutics in Maastricht and after that decided to study Fashion Design in Utrecht instead of in Maastricht. The reason for this is that I thought it was all too handicrafty in Maastricht whereas in Utrecht the study is more focused on design.

When did you decide to beCOME a Fashion designer and why? Actually, I decided to become educated for fashion designing in my last year of college. When I was younger I was interested in fashion, looking fashionable and reading fashion magazines but I didn’t make my own clothes yet. To be honest, before I began my study I had never worked with a sewingmachine before! It was mainly my passion and my ideas for fashion that encouraged me to do this schooling. Dress: Christina Guseva Shoes: Tiga-Tiga

CAN You describe your style? Top: Christina Guseva

I am still looking for my own style... I try a lot of different things, like incorporating artwork in my designs. I also get inspiration from my Russian background. I’ve noticed that many of my designs are feminine but tough at the same time.

Hat: L for LAZARUS

Any other factors which influence your style? What are you looking to express through your collections? My style gets a lot of influences from designers like Gareth Pugh, Alexander McQueen and Givenchy. I really like their feminine, tough and slightly arty style. The atmosphere in photoshoots for magazines like Vogue or 125magazine influences me as well. It’s in the way a stylist thinks about a piece of clothing. My collection is based on not having to be ashamed of yourself when you want to look different from others. You dare to be yourself and combine! And in this series, you see how I’ve combined three of my previous collections into one collection which forms a unanimity.

Dress & bra: Christina Guseva

What is fashion for you? For me, fashion is your own ‘translation’ of what you see on the streets, catwalks and in magazines, creating your own style without having to be ashamed for being different. Fashion is personal as well because if you look at people on the streets you can see their personalities through the way they dress themselves, and that’s what’s special! Fashion is the fashion you make it.

Dress: Christina Guseva Shoes: Tiga-Tiga

Hat: L for LAZARUS Top: Christina Guseva Shoes: Tiga-Tiga

What is your o p i n i o n about the Dutch fashion scene? I think Dutch fashion still has many things to learn. The industry could take a look at, for instance, Japan and China because in those countries people wear what they want to wear, while in Holland people tend to look at you strangely if you wear something different from others, and I think this should change! On the other hand, I think the Dutch designers Iris van Herpen and Jan Taminiau are awesome because they enrich the Dutch fashion. As a final note, I want to say to everyone reading: be yourself and dare to be different!

LOTTAROX AGENCY is a professional booking, event and promotion company based in London (UK), Florence (Italy) and Stockholm (Sweden) whose first aim is to introduce the best emergent and unsigned UK artists to the Italian Indie Market by booking the best Club Nights, In-Store shows and Exhibitions of the various countries it works in, soon in Amsterdam as well.

check out the roster and the info here :

www.lottarox.com

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Photographer: Michela Nale Stylist: Angelica Torelli Make up: Claudia Malavasi Hair stylist: Manuela Gerotti Model: Paula @Elite models Milan Backstage video: Giovanni Tesauro (http://vimeo.com/28627686) Thanks to: Isotta Mitsue Zanoli

Cardigan: M Missoni Sunglasses: Super

Cardigan: Paul Smith Shorts: M Missoni Earrings and ring: Vernissage

Dress: Strenesse Earrings and ring: Vernissage

Top: M Missoni Turban: Muehlbauer Earrings and ring: Vernissage

Jumpsuit: M Missoni

Jersey: Paul Smith Pants: M Missioni Earrings and ring: Vernissage

Jacket & stringate: Paul Smith Cardigan & shorts: M Missioni Earrings and ring: Vernissage

Dress: M Missoni Earrings and ring: Vernissage

lizzie & the yes men Interview by: Anna Kelhu

wanted a surf band, with the sounds of the Ramones and the Ronettes and vocals like the Beach Boys. But the sound you want and the sound you make can sometimes be very different. How did you guys come together and how do the dynamics work in a band of three fellas and one lady? It took me about a week to find the members to form Lizzie and the Yes Men. This surprised me as I had imagined this process would take at least a year. The name speaks for itself, they all said “Yes” when I asked them if they’d like to join my new band! As for dynamics, I think we have a very healthy one. All projects need a leader, someone with direction and this is very much my role. This allows the boys to be creative and not worry about the other stuff that comes with being in a band. In the rehearsal room we are a collective and we bounce ideas off each other, but we all follow the same vision. It’s my job to keep us focused, it’s their job to creatively and musically allow this to be realized. I guess I’m the boss, the joke is that they say yes to everything I ask, which is kind of true, but that’s because they understand the bigger picture and I never ask something that doesn’t have our best interests at heart. On a lighter note, working with boys, they take the piss out of me a lot ( and each other) and I really enjoy this kind of banter. I hear a lot of 60s-, 70s- and even 80s sounds in your music, polished with mod-

ern vibes and a raw liveliness. How did this sound come together and what do you mean to express through it? It’s an accident. I wanted a surf band with the sounds of the Ramones and the Ronettes and vocals like the Beach Boys. But the sound you want and the sound you make can sometimes be two very different things. I believe the sound that comes out of a group is all their influences coming together, from what their parents played them when they were children to what was popular music in the town where they grew up to the artists that inspire them. So I guess that’s what happened with us. We are children of the 80s so

that comes through in our sound, I sing with an English punk style a la Siouxsie and the Banshees but the boys bring in something else with their backing vocals. Brendan is from Ireland and I think even this influences our sound from time to time. You’ve previously mentioned Tarantino as one of your influences. What exactly is a Tarantino sound? Quentin Tarantino chooses great music for his films. From the iconic scene where Uma Thurman dances to Urge Overkills’ “Girl you’ll be a Woman Soon” to Dick Dales’ “Misirlou” in Pulp Fiction or

The 5678’’s “Woo Hoo” in Kill Bill Volume 1. I find his music taste to lean toward the retro but there are always strong identities to the songs he uses, they always have good pop melodies. Sounds of the desert, Mexicana, Punk, Pop and Surf. This is what Tarantino sounds are to me. And I think we have many of these qualities in our music. How do the songs get written? In the rehearsal room together. It’s a very organic process, lighthearted in the beginning then serious towards the end when we are polishing the song. We spend a lot of time on our close harmony work, this can be quite laborious but always worth it in the end as I feel it’s such an important part of our sound and really sets us apart from our peers. If a song doesn’t work by the end of a rehearsal we either leave it completely or come back to it months later. I believe if a song doesn’t work straight away it probably never will, you know when you are on to a good thing. But then again sometimes things just take time and fresh ears and another listen can bring a whole new direction to a song. Do you know of any previous British surf pop-pioneers or are you paving the way for all future dare devils? I think many British bands have surf elements. From new comer “Spector” to older bands like “The Tornados” and “The Dakotas”. I can hear surf in many British bands, even if this is not their genre. We are not trying to pave the way for a British movement, surf was a way for us to focus our sound in a direction and roll with it until it became its own thing. Surf music after all is mainly the guitar sound. It’s supposed to sound like “The waves of the sea” so what you do with the other instruments can really twist the genre into something else. Surf is definitely an Ameri

can thing and British bands have never been at the forefront of this genre. We like that quality of the surf sound, the repetitiveness of the drums and fast strums and solos of the guitars. But we also like other genres, so it all gets twisted in the end.

got booking requests). So after our next official release of “ Broadwalk Ep” we’d be very happy to extend our itinerary to Holland and particularly to Amsterdam, which has a very good reputation for live nights and good rock gigs!

Lizzie, how do you maintain your strong voice? And men: do you always say yes? Well, I take really good care of it with cigarettes, whiskey and late nights. To be honest, it’s something I need to start looking after more as it is my instrument and I don’t treat it very nicely... I’m often a bit croaky but then I guess that whole Janis thang can really work. The men aren’t here right now, so I’ll speak on their behalf, do they say “yes” to everything? Not everything.

http://www.myspace.com/lizzieandtheyesmen http://lottarox.com/bands/lizzie-andthe-yes-men

You’ve recently playedd Italy a tour. Was this your first international spin and why was Italy chosen? Any moments from along the road you’d like to share with us? It was indeed our first time abroad as a band. We toured Italy because we joined the Lottarox Agency and they have strong links in Italy and organize great tours there. We saw Rome, Venice, Milan and Florence in one week! It was a very special experience. As for ‘moments’ on tour there are many but the stories never translate very well to people who were not there. Bands develop their own private jokes and banter when touring, and what becomes hilarious to us wouldn’t be to someone else. There are no “rock and roll” stories where TVs get thrown out of windows but that’s not to say we were in bed by midnight each night either. We are very serious about performing well at shows so we take it easy beforehand. But if we have a day off then you see the other side, the silly drunken antics and debauched behavior. Have you plans to come around the Netherlands any time soon? We have never been to Holland before. We’ve done a lot of good shows in Italy, as mentioned, where we were impressed by how easy it was for the Italian audience to start to get along with us and sing and dance to our most popular songs “Broadwalk” and “ You And I both know “. We are planning with our management Lottarox Agency to go further in Europe soon, schedules are being set up for Sweden and Spain (where we already

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fASTanimals Interview by: Andrea Lanzilotto

Editing & Traslation by: Anna Kelhu and Agnese Roda

and their p

s & SLOW KIDS

playground

Potography: Attilio Brancaccio Set design & illustration: Fieno

e’ve heard it a thousand times: “if you do not write of love or politics.......... what else do you write about?”

Once again, the Italian province of Perugia pulls out of its magical hat of musical products a band that is forecasted to be the next success story. The new, young, and fresh musical work involves band members Romizi Aimone (voice and guitar), James Gigliotti (bass), Alexander Guercini (guitar) and Alessio Mingoli (drums). In their album “Questo e’ un cioccolatino”1 FASK have written their critical thoughts into music with a dose of healthy irony, and showed they really know what is happening in the world around them, The band is one to give their outmost during live performances and Aimone is a master in capturing the audience’s attention. However, they are a rock band that highlights the fact that everything is the result of teamwork. The new album will be out soon and is set out to surprise their fans. We met up with their front man, Aimone, and attempted to trap him with our tricky questions. We did not succeed though, as the new generation has much more going for it than what has generally been perceived. This is no news to us - now is your turn to make your own observations. You say the validity of lyrics that have to do with love is comparable to ones concerning political issues. Is this your message to all politically involved songwriters, or only the Italian ones? It isn’t a message to anyone because no one can spit out judgments, especially not a band of such young folks like us. Any message we might be sending out is more against the widespread tendency to write about politics, or love, as if there isn’t anything else to write about.

”This is a chocolate bon bon”

â&#x20AC;&#x153;We are actually little an 76

ngels.”

Most bands write politically engaged lyrics just because they think that is what they should write about. We’ve heard it a thousand times: “if you do not write of love or politics... what else do you write about?” Well, our answer is write about yourself, about whales, or trees. No matter what comes out from within you, whether it’s love or politics or something else. It’s fine if it is spontaneous. That’s why we find bands such as “Il teatro degli orrori” 2 so great, even though many of their lyrics are talking about politics and love. :) In your lyrics, you are quite critical towards the Catholic Church and its representatives. For this reason you may be considered anarchists, have you considered this? The association “I hate Ratzinger - I am anarchist” does not sound right. I think having a critical attitude towards the Pope (and not the Catholic moral in general) is simply rational and motivated by years and years of no action and bigotry. All this seems logical to us and a far cry from anarchism. You sing, “The reality is shit and I spit in your mouth “ and “ What I look for, I cannot find anymore.” Should these words be perceived as pessimistic? Are we going back to the classic stereotype of a resigned, blank generation? Let’s say we do not reject stereotypes. The Blank Generation (as Richard Hell defined it) is actually one of those concepts that belong to us. Let’s add the 90’s and Fast Animals to it and there we have it: a wave of pessimism and resignation as a background wind, and I would like to have a fan to fuck it off!

obstacle to your art, or an extra push to do even better? Perugia is a great city. Maybe a little closed and monotonous, but certainly a beautiful city. We like to live here and this has helped us a lot in both musical and personal development. In your live performances, you’ve been able to capture the attention of the audience. Is the music you put out designed just for yourself as the singer, or for all band members? Music in itself comes first. Created by the four of us, as a big family. Once the music project is done, I can find my personal space for the live act. Could you tell us about the new project? What are you working on? Any more provocative titles? What will be, we don’t yet know. We are finalizing the album produced by Andrea Appino3 and Giulio Ragno Favero, which will be released in a CD, format by IceForEveryone, the neo-label founded by Zen Circus . Our main hope is that this will ensure loads of gigs. The title will be “Horses.” This does not make any sense and that is why we particularly like it. Are you seriously pissed off or is it just an artistic pose? It is just an artistic farce! We are actually little angels.

The much discussed and criticized Italian province of Perugia has given birth to many surprising projects in the past, especially in music. What is your relationship with the places you live in? Do you think the city is an 2

”The Theater of Horrors, Italian alternative rock band”

” From the italian band Zen Circus”

JOHN AGLESILAS

DANCE FOREVER “ Keep up the good work and do not forget where youDress: comeMarie from, all for 1 and 1 for more.” Claire Liem 82

he Dutch Hip-hop was very active in the 90’s, the parties were incredible. The movement was more alive than it was till 2002

When did you start dancing and how did you get in touch with the Hip Hop culture? I started dancing when I was 15 in Africa, started taking it serious when I was 18 (1988).I got in touch with Hiphop when I was 16.It had to do with the way of life,the clothing,the music and the dance. What are your major source of inspirations? My inspirations were the jazz music and the Style Jazz fusion (an underground jazz style from London),the Funk soul from James Brown. I was also very found of the House scene in the late 80’s beginning 90’s, the music was a tool we could use to free our minds and express ourselves. May you tell us something more about the history of the dutch hip hop dance scene? The Dutch Hip-hop was very active in the 90’s, the parties were incredible.The movement was more alive than it was till 2002. Parties were parties,jams were kicking and inspiring.Dancers like Eszteca Noya, Murth Mossel, Jake empengue and I meant a lot to the Dutch scene. The Hiphop spirit was alive, we would go clubbing 4 days a week, in Clubs like Roxy, Metropool, Havana, Bebop, Escape, Richter etc. The dance scene was more active than it is nowa days. The dance was more appreciated and was more intense.Dj’s were more appreciated than they are, Dj’s like Kc the Funkaholic,Cassie 6,Dj Johnson etc. I find the best years in the hip-hop in Holland were from the late 80’s till late 90’s. Thats where the L.A. style kicked in and dancers started getting into the stage performances and new generations got born and had different visions. The Workshop culture got introduced to Holland, and the dance scene started getting really commercial and the scene took a different turn. I mean me myself got on stage in a very early age but kept on going clubbing cause that’s where I

would find my soul and my inspiration. Is the dutch hip hop dance culture bigger then the past, and how did it change during last years? I guess you can’t see it got bigger or smaller cause generations have different visions and have their own scenes. In my eyes it is less disciplined now than it was since the first Juste-Debout Amsterdam. Since the 1st JD Amsterdam dancers started to see a light and things changed a lot since 2009. Now you have more battles in Holland, more studio’s and shows that are more into the underground. Why did you start Summer Dance Forever and what’s the message behind it? I started JD Amsterdam and the Forever concept cause I want the Dutch dancer to put holland on the world hip-hop Map. I want the world to also see the Dutch dancers as a credible dancer in the Hip-hop scene, and ofcourse I also want the Dutch to understand and respect the Hip-hop culture. The concept is meant to let the dancer evoluate, get more creative, adapt to the foreign discipline,get confrontations, let the Dutch understand the culture at this moment, be more versatile and grow with the street element which is very important.

â&#x20AC;&#x153;be yourself and dare to be different!â&#x20AC;?

Summer Dance Forever was a big success, what are your plans for the future? Juste-debout Amsterdam 5th Feb 2012, Housedanceforever 2012 and of course Summerdanceforever 2012. Check hip-hopforever, Housedance forever, Poppingforever and summerdanceforever groups on Facebook for more info. I would like to say one more thing: be yourself and dare to be different! What would you like to say to the new dancer generations? Keep up the good work and do not forget where you come from, all for 1 and 1 for more. Your top-ten music playlist? 1)In depth Deetron & Ripperton 2)sound is yours (Kerri Chandler remix) 3)shakara Oloje fela Kuti 4)omani Patmeo Shahib Shihab 5)Attack me with your love Cameo 6)Envision OsunLade 7)Mercyless Atjazz 8)THe Shower RiskSoundsystem 9)P2daJ Dennis Ferrer 10)Rock with you Micheal Jackson