WITCHES OF BUSHWICK • HABIBI • AWKWAFINA SO SO GLOS • BRANDON SINES • GILF! SEASICK MAMA • & MORE
SPRING 2O14 MUSIC & CULTURE MAGAZINE
EDITOR’S LETTER
WE REALLY APPRECIATE YOU PICKING UP THIS MAGAZINE. UNTIL NOW, WE ONLY EXISTED ONLINE. NOW YOU CAN TOUCH AND SMELL US. AND IN A COUPLE OF WEEKS, YOU’LL BE ABLE TO PARTY WITH US TOO. YES, WE’RE THE ONES RESPONSIBLE FOR BRINGING YOU A FREE ANAMANAGUCHI SHOW @ BROOKLYN NIGHT BAZAAR MARCH 21.
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CONTRIBUTORS LIST
FOUNDING EDITOR IN CHIEF Nasa Hadizadeh DESIGNER Kirsten Pincket MUSIC EDITOR Alex Martinez FEATURES EDITOR Justin Davis STAFF WRITERS Alex Martinez Justin Davis Nicole Woszczyna Steph Koyfman Sandy Chung Justin Owlett Shannon Shreibak Eva Bandurowski Melanie Broder Tracy Ascher Melissa D’Agnese PHOTOGRAPHERS Cheryl Georgette Arent Jackie Lee Jenny Regan EDITORIAL Phil Gomez SPECIAL THANKS Kush Malik
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CONTENTS EDITOR’S LETTER p. 2
GILF! p. 41
LIVE REVIEW: BLOOD ORANGE p. 6
BRANDON HINES p. 46
AWKWAFINA p. 10
TOD SEELIE p. 50
HABIBI p. 16
KRISTEN LIU p. 54
WITCHES OF BUSHWICK p. 20
MIKE HINSON p. 56
EDITORIAL: YUGEN p. 24
MUSING p. 60
SOSO GLOS p. 32
UPCOMING SHOW LIST p. 62
SEASICK MAMA p. 36
HOROSCOPE
p. 66
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BLOOD ORANGE
Review by Melissa D’Agnese Photo by Elizabeth Garrett x Mike Gutin
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LIVE REVIEW: BLOOD ORANGE
On February 6th, Dev Hynes, AKA Blood Orange, uploaded an Instagram photo outside Webster Hall. The shot told the story of what was to come later that evening: “Bowery Presents Blood Orange, Sold Out.” This dreamy reality impressed even Hynes, as he captioned the photo with just three words: “Oh my god.” Hynes is surprised but he shouldn’t be. He’s opened for Florence + The Machine on a national tour, he’s penned hits for Solange and Sky Ferreira (the latter, “Everything is Embarrassing,” was named best song of 2012 by New York magazine) and the ongoing critical acclaim for Blood Orange’s debut album Coastal Grooves and 2013’s Cupid Deluxe
is cosmic. In the past, Hynes has said that seeing his songs performed by other people on big stages was all he ever wanted. But this ecstatic full house made it clear that Hynes got his wish and more. People don’t want to hear his songs performed by other singers; they want him. Onstage, Hynes sports a captivating charisma cloaked in casual nonchalance. It’s this, and a wondrous flashback of a wardrobe, that solidifies his coolness. The set was pretty much dedicated to Cupid Deluxe, so, fittingly, the show opened with LP’s first track, “Chamakay.” Here, Hynes shared the stage with Chairlift’s Caroline Polachek.
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LIVE REVIEW: BLOOD ORANGE
The vocal inflections found on Cupid Deluxe are even more compelling in person. Hynes’ timbre comes off as sweet, almost shy, while still displaying depths of masculinity. Standout song “You’re Not Good Enough” brought out Hynes’ girlfriend Samantha Urbani (who remained onstage for most of the night). Urbani and Hynes both donned statement hats but Urbani’s multi-colored leather jacket, circa ’89, won the style round (Hynes actually stole it for himself at one point, too). Aside from her far out fashion sense, Urbani’s voice soothes, demonstrating low-key yet powerful R&B vibes. In short, she pairs well with the Blood Orange mystique. The set soared and the crowd’s electricity sparked each
time Hynes sashayed across the stage to pick up his Stratocaster. His guitar solos ping-ponged between clean funk rhythms and searing Prince-inspired leads — both styles proved equally entertaining. Two songs later, Queens-based rapper Despot joined the crew for his verse on “Clipped On.” Blood Orange’s back-up band impressed, but Hynes and Urbani were the true stars of the night. In fact, she was the reason for Hynes’ first spoken words to the audience: “Samantha Urbani, everyone,” he had said, with a sort of bow. The couple appeared relaxed by the sidelines, allowing Urbani to shine as she sang. At this point, he appeared as a swaying, dancing silhouette under a
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LIVE REVIEW: BLOOD ORANGE
Photos by Tommy Jefferson x Mike Gutin
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LIVE REVIEW: BLOOD ORANGE
smoky maroon lights. Hynes and crew bring eclectic to new levels and this show was no different. For almost two hours, silky smooth grooves and tribal island drums collided with snarky synth marimbas — basically, it was a sonic smorgasbord and it was delicious. Hynes closed out with “Time Will Tell,” a fan favorite since it features the best line from the best song off Coastal Grooves, “Champagne Coast.” Over and over, the crowd sang in unison “come into my bedroom, come into my bedroom, come into my bedroom,” inspiring Hynes to jump off the stage. He then danced and cooed the rest of the song right in the middle of 2,000 people. It was the moment of the
night. After a few “thanks” and waves, the entire Blood Orange ensemble disappeared off stage. The hopeful sea of fans cheered for an encore they never got, but their faces remained glowing. On his records and onstage, Dev Hynes creates interesting music that blurs the lines between stars and guest stars — even the live crowd becomes part of the act — and that’s what makes Blood Orange different and definitely ohmy-god-worthy.
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AWKWAFINA
“There’s really no hiding. You either just own it, come out and do it, or don’t come out at all.” Interview by Alex Martinez Photos by Cheryl Georgette Arent #styledbyphil
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INTERVIEW: AWKWAFINA
In case you ever find yourself with the #blessed opportunity of being able to conduct an interview at a spa, I would not recommend starting said interview inside the “Color Therapy” sauna. Sure, you may be able to balance your chakra or whatever it is color therapy does for you, but you may also feel extremely lightheaded within a few minutes. This could easily turn into a very awkward situation, but when the person you’re interviewing is Awkwafina, you should probably have no fear of the awkward. When this happened when we met up with Awkwafina at Spa Castle in Queens, we quickly ditched the therapy and went straight to massage chairs. There, Awkwafina filled me in on the stories behind her
music videos, her alter ego, and living life with no idols. Is it more important to you to make people laugh or to make people think? I think both are important. I don’t know, that’s actually subjective. It’s easier to make people laugh in a lowbrow, really stupid way. To make people think is something that is really subjective, especially if you’re rapping. I think making people laugh I like better. You produce a lot of your own stuff right? Yeah a lot of the stuff on the upcoming Yellow Ranger album I did, but there are a couple of songs I had other producers do.
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INTERVIEW: AWKWAFINA
Going back to when you first started, when did that turning point happen? Where you were just like, “Fuck it, I’m going to become a rapper,” because you were doing something totally different before, right? I started out just producing beats. The rapping came as a result of that. It was like, If I want to fill in my songs I have to rap. That’s how “My Vag” came about. When I was 18 or 19, I just wanted to put out a song that made my friends laugh. I went to college, graduated, [and] was working at a really cool company. I showed the song to my friend Court who is a director. He was like, We have to do a video for this. I was feeling pressure from work. I tentatively told my
boss about it and she said, “Respect the company. Don’t make an ass out of yourself. Whatever you put out there is always going to be out there.” I put that into consideration. It got to the point where music was all I had to do on the side and my job was my job. I had no other investments in it, it was just to make money. At that point I realized, I can’t do what I want to do. The biggest leap for me as Awkwafina was actually deciding to put a video out. That makes sense because the videos are really upfront about who you are. There’s really no hiding. You either just own it, come out and do it, or don’t do it at all.
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INTERVIEW: AWKWAFINA
You’ve said you don’t have any other female rapper role models. I thought that was a pretty honest statement because of the way that we’re raised there’s all these male rappers in the media and you don’t get to see that many women. Well the question was if I idolized any. The truth is I don’t even idolize any male rappers. As a hip hop artist should you really idolize? Who is my idol? George Washington, George Washington Carver, or Eleanor Roosevelt [laughs]. Not to say I don’t listen to female rappers or I don’t like them. I’m not trying to model my career after any one of them because my career is so different right now. Just be like Kanye. I know, right? I am Jesus. Fuck it! Fuck everyone else! [laughs]. PAGE 14
Awkwafina is wearing: Top: Daniel Palillo Eyewear: Mercura
HABIBI
“I like to write about a defiant, independent, gypsy woman, who sort of just goes to the beat of her own drum.” Interview by Justin Davis Photo by Jackie Lee
INTERVIEW: HABIBI
Habibi, a quartet of four killer Brooklyn ladies, delivers a fresh, successful blend of Motown, garage, and pop. Their sound is catchy, dancey, and intimate, held together with the kind of raw confidence you’d expect from any punk outfit. Their self-titled debut was released at the end of January, and it’s a stellar collection of dreamy vignettes. The tracks are bold, honest, and simple, though never insubstantial. They fly by quick, but each song offers up its own unique and graceful fingerprint, from sweetly interweaving melodies to nostalgic surf rock beats, and always you’re left wanting more. Here, they talk to us about their namesake, the mysticism of Persian Queens, and their tour with Burger
Records. Your lyrics reference a she that is the Habibi heroine. Can you tell us more about her? What is she like? How does she view the world? Rahill: Well, I don’t know. I like to write about a defiant, independent, gypsy woman, who sort of just goes to the beat of her own drum. I guess its reflective of what I want to be or what I see us as. She’s really just a heroine, an exotic female who’s doing her own thing. We love your fascination with Middle Eastern folklore. Can you tell us one of your favorite stories? Rahill: The story of Hassan Sabbah and the Assassins is really incredible. This
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INTERVIEW: HABIBI
dude was the grandmaster to a gang of warriors called The Assassins, who were a group of rowdy merciless killer dudes in ancient Persia. Before Hassan Sabbah would take his warriors on quests, he would drug them with hashish, put them in a deep sleep and drag them into a beautiful garden with hot naked chicks. When they awoke they had no idea they were drugged, but they would be totally hallucinating and thinking they were in paradise. Then that would give them a surge of, like, “Now you have seen paradise, now you can go and kill all of these people.” Totally crazy! And that’s also where the word assassin is derived from, in Arabic, from this guy. It’s all really cool stuff.
Let’s talk about your debut album! What was the recording process like? Erin: We got all the songs and we started recording it in the winter, and we just weren’t getting the right sounds. I had recorded some of our stuff previously because it was cheap to do. This time I didn’t want to be involved in the recording process, so I could focus more on playing. Instead of like moving mics and checking everything. I mean, I like doing that, but it was good to be more involved on the playing side. So we finally redid all of the songs in the spring, and things came out a lot better. Maybe it was just our mental mindset, or the room we did it in.
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INTERVIEW: HABIBI
Karen: Well, Lenny, our guitarist, had to leave for a bit from the band, because of personal stuff. We had our close friend Caroline Partamian join. Initially she was a replacement for Lenny at SXSW but then Lenny still couldn’t come back so she began playing with us. At the point of recording, we had started recording with her, but everything wasn’t sounding like how it had originally sounded. Erin: Since she hadn’t originally written the songs it was difficult to get them to sound the way we use to play them. She just had her own, different sound. Rahill: It kind of motivated us — well, me — to ask Lenny to come back, and she came to record and ev
erything sounded perfect. It became a longer process, but we were really happy with the results. And we recorded really close to here, actually. Karen: Yeah, and another thing is we got to record a lot of old songs that we hadn’t played in a while that we all really wanted to be on the album. So, coming back in the spring and doing all these songs with Lenny felt really good and came out right. Lenny: We got to do our harmonizing. It’d been gone a long time, but, I was like, wow, I forgot how much I love singing with these ladies. Erin: It was really fun because we got to add some extra layers and stuff and I
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INTERVIEW: HABIBI
could kind step back in the technical aspect. But it helped to also know what kind of sound we wanted and so we could just tell Jay Heiselmann, who recorded us, “Oh it should sound like this.” And he got it. He totally knew what we were going for, so it was really awesome.
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WITCHES OF BUSHWICK
“We certainly are working to expand, and making everything we do more accessible. Our vision is that anyone who wants to be a part of the coven can be and should be.” Interview by Nicole Woszczyna Photo by Cheryl Georgette Arent
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INTERVIEW: WITCHES OF BUSHWICK
By now, it seems that most of New York City, particularly those residing in northern Brooklyn, are at least somewhat familiar with an emerging culture that revolves around spiritualism and the occult. It might seem strange that in this day and age, a large number of 20/30-somethings are finding themselves drawn to such esoteric traditions – whether aesthetically or ideologically – but it actually makes a lot of sense. Bushwick has long been known for its lure of outsiders and those who are looking to pursue artistry over more traditional paths of life, and since organized religion doesn’t tend to play a key role in the lives of this demographic, it makes the whole “witchcraft” vibe all the more appealing.
Fitting perfectly into these circumstances is the “coven” known as the Witches of Bushwick, an ever growing collective that facilitates artistic collaborations and hosts a bunch awesome of events – from album release parties to weekly viewings of American Horror Story: Coven – all of which unsurprisingly possess a distinct, supernatural energy. They’re kind of like the main characters in The Craft, as they embrace a culture of “the other” along with mysticism and the dark side. But unlike the iconic ’90’s foursome, the girls behind Witches of Bushwick (Bushwick residents Anne Alexander and Christine Tran) do not restrict who participates in their coven, nor do they wish to seek revenge on their peers. In-
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INTERVIEW: WITCHES OF BUSHWICK
stead, they use their powers to throw parties with music acts like Creep and DARK SiSTER, while engaging the community in various, and perhaps less prominent, aspects of arts like tarot and tattoos. Can you tell us about the collective and how it got started? We had gone to high school together in Northern Virginia — reconnecting a couple years ago when we realized we were both living in Bushwick. A brunch conversation quickly went from catching up to talking about what a talented community of people we were surrounded by. From there the collective has been ever evolving. It started with a party and has grown into
various projects and collaborations that we are continuing to create and develop further. We heard you have an app coming out. Can you tell us more about it and how it will work? It’s a social networking tool that will connect freelance individuals with one another to place creative control in the hands of the creators. I’m sure you get this a lot, but it seems that more and more young people are finding themselves drawn to different aspects of the occult. Do you think there’s a specific reason for this, or is it some sort of weird coincidence? Whether it’s a generation-
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INTERVIEW: WITCHES OF BUSHWICK
al movement or an overall social movement, there are aspects of self-empowerment and discovery that a lot people are drawn to. I saw that you recently threw a party in Sydney, which is awesome. Did you specifically choose Sydney because it had the kind of vibe you were seeking? Or did it just happen by chance? Both. We were approached by the Sydney community because some girls who had been traveling here had been to a couple of our parties and brought the idea back home. For us Sydney was a great fit with the right vibe, and it coming to us was a very welcomed happening.
expanding to other cities? We certainly are working to expand, and making everything we do more accessible. Our vision is that anyone who wants to be a part of the coven can be and should be. If you could throw your dream party, who would be performing? (Please say Grimes, and please make it happen). Anne: Endless possibilities. Grimes for sure is high up on my list. Christine: WITCHES event: The World of Grimes curated by Grimes.
Do you think you’ll keep PAGE 23
y큰gen (n.) an awareness of the universe that triggers emotional responses too deep for words.
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EDITORIAL: YUGEN
Top/Bottoms: Eleen Halvorsen Necklace: I still love you NYC Ring: WXYZ Arm Band: Toujour toi Socks: COMME des GARÇONS Shoes: Converse
Necklace/Bracelet: WXYZ Panties/Socks: American Apparel Shoes: Bates Swimsuit: Stylist own White Bra: Betsey Johnson
EDITORIAL: YUGEN
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Top: Alex & Chloe Necklace: WXYZ
EDITORIAL: YUGEN
EDITORIAL: YUGEN
Top: Alex & Chloe Necklace: WXYZ
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EDITORIAL: YUGEN
Mari Alexandria is a Botanist living in Bushwick #styledbyphil
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SO SO GLOS
“We don’t really give a fuck and we do what we want.” Interview and Photo by Alex Martinez
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INTERVIEW: SO SO GLOS
When you think Brooklyn you think pizza, Beastie Boys, Biggie, sketchy warehouses, overflowing garbage cans — you get the picture. The So So Glos should be a part of that lengthy list, as their third album, Blowout, landed them a TV spot with David Letterman, the number one spot on our favorite albums of 2013 list, and pretty high up on Rolling Stone’s list, too.Not bad for the punks from Bay Ridge. Below, they ruminate on punk and DIY culture backstage before a show at the Knitting Factory. Zach, you’ve described Sam Cooke as an “original punk.” What other people do you consider to be original punks? Zach: I think that might’ve
been Alex… Alex: I think that might’ve been my final summation [laughs]. It might have been me. I guess what I’m trying to ask is what other people do you guys consider punk who don’t necessarily fit the typical punk aesthetic? Alex: Original punks? Phew. Well I dunno — Matt: Lenny Bruce, Robin Williams … Alex: Woody Guthrie is for sure the original punk. Zach: Link Wray, the inventor of the power chord. He was a Native American guitarist in the ’50s and he invented the power chord, and I think he also invented
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INTERVIEW: SO SO GLOS
distortion–that was pretty punk rock. Alex: Susan B. Anthony. She’s pretty punk rock! Alex: Teddy Roosevelt. A little… Alex: Karl Marx! [laughs] Well it’s a tough question you know. You guys are involved in Market Hotel and Shea Stadium, which are two all ages venues in a not all ages friendly area. When I first moved to New York I had to use a friend’s ID to get into shows! I think you guys really understand the importance of an all ages space, so can you elaborate on that?
Alex: Yeah, you know the all ages movement is just something that’s always been important to us. We hold that as one of the pillars of this new movement in Brooklyn just because we grew up as kids going to shows. Zach: When we were kids, there were all ages spots in Manhattan: Wetlands, Knitting Factory did all ages stuff. I think as the rent got more expensive [and] the insurance got more expensive, they couldn’t do it anymore. It kind of fell on whoever was gonna carry that torch. We thought it was important, so we just started it up. Matt: Even in Connecticut where I grew up, there was an all ages venue. I don’t think I’d be doing
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INTERVIEW: SO SO GLOS
this today if I didn’t catch that fire so early on. I think even doing music as a profession now, I don’t think music will mean as much to me as when I was young and it was like the only thing, the only escape. Alex: There’s just the time when music hits you really hard and I don’t think that it makes any sense [to say], “Yeah put an age restriction on that moment.” A lot of the times that moment comes before you’re 21 — not always but most of the time — so you shouldn’t be denied entry to places where those inspiring moments are I saw a video interview where you guys discuss how a blogger criticized you for playing as if you were playing to a sold out
show. Do you still read your press? Zach: You see stuff that people write about you, we’re not gonna say we don’t look at it once a while. You just gotta brush it off and not pay too much attention to it. It’s cool if someone wants to talk about us, but that’s not really real. What’s real is if someone connects to our music, feels the positive message we’re trying to put out there. All that other shit on the internet… I mean, no offense, this will probably be on the internet! Really we don’t really give a fuck and do what we want. That’s the first true thing we’ve said so far.
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SEASICK MAMA
“Tip Top Shape – it’s all about redemption and being a better person, because I did a lot of bad things.” Interview by Steph Koyfman Photo by Jenny Regan #styledbyphil
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INTERVIEW: SEASICK MAMA
In a way, Marial Maher (that’s Seasick Mama to you) has the sort of wild success story that precedes her own chutzpah. This musician –– a word she’s finally getting comfortable with –– had a record deal before she had any demos, a SXSW spot before she released anything in the way of an album, and now, a second EP with collaborative stints by the likes of TV on the Radio and MNDR (that whole “taking yourself seriously” bit is finally clicking into place). Mama found strength in that uncertainty, however, and developed an image and sound that has a certain “it” factor — as well as a shapeshifting tendency that is perhaps her most idiosyncratic feature. Refreshingly enough, no two
songs on Dead Like Money are very much alike. Many times, she looks like a completely different person in the various photographs, videos, and branding ephemera that clutter her internet domain. And it’s precisely this wide berth –– the freedom to not define herself just yet –– that’s allowed Seasick Mama to cultivate her own Mary Poppins bag of sounds, influences, collaborators, and bizarre photo ops. As she told me in an interview (excerpted below), her new EP, Tip Top Shape, is all about living up to the heightened expectations that surround her as she continues her musical ascent, and indeed, is a big step in a musically interesting direction.
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INTERVIEW: SEASICK MAMA
So, allegedly, you got your stage name from a breakup song your ex wrote for you, which alludes to a Neil Young reference to, essentially, a sailor’s whore. How did you feel initially when you found out what it meant? To be honest, I wasn’t upset. I was kind of impressed that the guy I was dating had the intellectual ability to straight up call me a whore but in a very beautiful manner. That’s why it stuck with me — you can call anyone an asshole or prick or douchebag. I wasn’t mad. I knew I was gonna use it for something. So to what extent is Seasick Mama a solo project, and to what extent is it a collaborative effort?
I guess Seasick Mama is a solo effort because I do all the work. I do all the songwriting, I do all the lyrical methods and melodies and structure, I do all my management and all my publicity. I do it all myself because I’m such a fucking control freak. No one can take control of this! But it is a collaborative process when I need help. I definitely need help when it comes to making the actual music. I can’t sit with a guitar and blow people’s minds. And you also play with a band right? Yes. It’s a collaborative process because I play with a band, and I’m fortunate to have them because they make the live performance so much better. If I was just
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INTERVIEW: SEASICK MAMA
a DJ, that would be a total snoozefest. Involving everyone in the band, and even the producers behind the scenes, really brings a good source of live energy. It’s good to have people behind you.
I’m just a really sexual person. I think sex is really great; the human figure — especially female — is a powerful tool. A lot of my relationships are based upon sex, and I don’t mind writing about it.
You mention using your physicality to put yourself out there, but what about the role sexuality plays in your music itself?
You can have sex with a guy and be like, Oh, this is so boring! Get off of me! Or you’re having sex with your boyfriend who you no longer love, and you’re like God, how do I tell him this isn’t fun? Or you could be super grumpy the next morning and be like Oh god, I did that. And a lot of people are too scared to talk about that. I dunno, sex is fun. Singing about big boobs and butts — it is what it is.
Oh, well! The physicality aspect is just to kind of keep up and keep people watching. It’s not really “sex sells, woohoo!” I’m not really that kind of person, but our generation is so visual. I don’t mind it. I’m not shy. If you want to see skin, I’ll do it if it keeps them moving through the pictures and clicking. But then in my music as well,
Keeping it positive!
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INTERVIEW: SEASICK MAMA
Keeping it positive, keeping it fun, that’s what I do. I hear you’re already working on your second album with some pretty exciting names in the industry. Tell me more! Any day now, we’re gonna release a new single called “Man Overboard” we did with Peter Wade from MNDR, and that’s gonna hopefully be our next big push with the new sound. We did a song with David from TV on the Radio. And then we did a song with Sam Farrar of Phantom Planet. You know that song that’s on the OC? He’s ridiculous. I worked with Mark again on a few other tracks, and I did one with Joel Shearer that’s kind of old school ’90s rock. It’s a collaboration
process to the max with some pretty cool heavy-hitters. I’m excited but really nervous at the same time, because I want to make them proud. They totally took me in not knowing who I was, like, “Who’s Seasick Mama? Who’s this bitch?” I hope we get a good response and they feel good about it, because it was a lot of work. Tip Top Shape –– it’s all about redemption and being a better person, because I did a lot of bad things.
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Seasick Mama is wearing: Dress: Ami Goodheart Shoes by Walter Steiger Eyewear: Mercura
GILF!
“There are so many subversive ways we are incalculated to buy, consume, or absorb brands, ideas, and policies. I see most forms of these communications as visual manipulation that ultimately affects us on a subconscious level.� Interview by Steph Koyfman Artwork Featured: To Tehran With Love PAGE 41
INTERVIEW: GILF!
Get your mind out of the gutter: the artist currently known as gilf! has more on her mind than yourmom jokes. Often political, hardly partisan and always with a curious combination of urgency and suggestiveness, the oeuvre of gilf! is a refreshing departure for New York street art — most recently making its Dumbo Arts Festival debut with a signature make-youlook-twice eye chart. Gilf!’s particular brand of social wake-up calls took root in the Bush era and has since taken the form of spray paint, wheatpaste and installation work, ranging in subtlety from a stenciled image of the Abu Ghraib prisoner to optical illusion-type graphic works with hidden messages. This is hardly a body of
work with an intentionally disingenuous “what’s it all mean?” pretense. Indeed, the point is almost always hidden in plain view, however angsty that may sound. If you didn’t get a chance to come out to Dumbo, gilf! has also been busy making cameos on the occasional podcast or two, as well as working on private commissions, ICRAVE’s Imprimatur event, and a spectacle she cryptically describes as “something that seems to be glowing” within “our over-surveilled public spaces.” Luckily, she had time to entertain some of Alt Citizen’s emails as well. Look around; soak it in. If you’re not pissed yet, you will be.
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INTERVIEW: GILF!
It’s a little difficult to find too much about your work online without having to navigate through reams of XXX content. Was this an intentional part of choosing your artist name, or is it sort of an unintended consequence? My poor mother, no. gilf! was a word that I dreamed up with two of my girlfriends when I was in elementary school. Long before the mindless drivel of the American Pie era, gilf! was a word, that to us, represented creative child’s play, a secret bond between friends, and a sense of mischief. We used it to speak in covert ways, almost as a placeholder in conversations to keep our communications private. When I first started out doing uncommissioned
public work in 2008, I went through so many monikers, but nothing felt right. The gilf! concept came up in conversation and it was an instantaneous “A-hah!” moment. People always ask “why gilf!,” and I’m glad they realize there is more to my work and name than just a shameless grab for attention. It’s interesting as my work evolves to see how the original thought behind gilf! continues to permeate throughout the concepts I explore. What gave you the idea to work with optical illusion imagery? I’m fascinated by how easily the general public is manipulated by advertising, the “news,” and governmental agencies. There are so many subversive
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INTERVIEW: GILF!
ways we are inculcated to buy, consume, or absorb brands, ideas, and policies. I see most forms of these communications as visual manipulation that ultimately affects us on a subconscious level. I’m interested in the messages that are sent in this way, and am curious if I can use the same effects but to create a positive shift. By creating images that people may not “get” at first glance but absorb subconsciously, I feel the concepts embed themselves in the psyche and perhaps can contribute in a way to a subconscious awakening that I feel our society so desperately needs.
It really depends on the message I am trying to relay. I am really happy with a mop just writing things on walls. Wheatpasting continues to be an excellent means of contributing to the discussion when I spend time executing a specific image.
What are your preferred techniques for your street pieces?
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INTERVIEW: GILF!
Artwork Featured: Hypocrisy On A Crocodile
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BRANDON SINES Interview by Justin Davis Photo by Cheryl Georgette Arent
INTERVIEW: BRANDON SINES
Whether he’s quoting sage wisdom from the original Teenage Mutant Ninja Turtles movie or taking an Inception-worthy selfie, Brandon Sines’ Frank Ape is a vehicle for traversing and understanding the modern, pop culture-laden landscape. His ostensibly basic design — an oafish, Neanderthal exterior, highlighted with broken traffic lines of hair, a set of plump hamburger bun lips, and almost indistinguishable dots for eyes, nipples, and belly button — makes him easy to reproduce, which ensures quick, undetected work in the street, giving him more opportunity to crop up when and where you least expect him. And it’s because of this same endearing simplicity that everything he says, everything he does, and every-
where he is becomes all the more profound, at least in juxtaposition alone. From photo shoots with Miley to commanding the Starship Enterprise, Sines has created a fun, sneaky character that’s easy to appreciate and hard to forget, and we were lucky enough to get a chance to pick his brain about the utterly lovable Frank. To get the full experience, though, you’re going to need to check out his upcoming show, “Dealing with Things is Tricky,” at Specials on C (located at 12th Street and Avenue C) early this May. When did you first create Frank? Frank first appeared in a painting I did in 2011... He didn’t have a name at that time. I wasn’t setting out to
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INTERVIEW: BRANDON SINES
create this iconic character. I just wanted almost a big foot, primitive human type of person, who feels a lot of emotion, but since he’s primitive he doesn’t always know how to deal with things to be put in a situation he couldn’t control. In the first painting Frank’s house is on fire. How far has Frank traveled? Can he be seen anywhere else besides Brooklyn? I’ve had people visit my studio from all over the world and buy pieces to bring back home. Recently some original Frank drawings have ended up in Japan and Bangkok. I’ve had to ship things to Alabama… I’ve seen some pictures of stickers people have put up in Germany.
I’m sure I’m forgetting a couple places... You’ve integrated Frank into some pretty famous pop culture references (i.e. scene from Jurassic Park, that Janet Jackson Rolling Stone cover, The Scream, etc.). How does pop culture influence your work in general? Pop culture is one of those things that’s always changing, and as an artist looking for inspiration, it’s a natural place to look to. It’s inspiration. Plus it’s fun to pay homage to older pop culture references that we all feel so nostalgic about and connected to. I think people feel connected to Frank in a similar way. Also, being born in 1986, a lot of the things I reference explain a lot about who I
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INTERVIEW: BRANDON SINES
am and what I love. Ever had any run-ins with the NYPD/stories while wheatpasting or slapping stickers? Thankfully nothing major. During your interview with Creatives, you said art is something you do so you don’t go nuts. If it weren’t for art, what would you be doing? Probably hating my life in an office somewhere until I snap and realize I have to dedicate my life to art. There is no escape.
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TOD SEELIE
“I used to find the weirdest, coolest shit there. I had no money but I would be like, Okay, I’m not going to eat tomorrow, but I’m going to totally get the weird old things with the dust on it.” Interview by Alex Martinez Artwork Featured: Costumed racer at the Idiotarod shopping cart race, Manhattan, 2006
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INTERVIEW: TOD SEELIE
After years of photographing the more intriguing, freakier, and sometimes darker side of New York, photographer Tod Seelie has collected his images in the recently released Bright Nights. It’s a collection of images that are either at extreme odds — like the NYPD using a chainsaw to remove a bicycle from a pole on one page, and on the opposite page a mass of bike riders blurring across the Brooklyn Bridge — or sadly harmonious, like two sideby-side images of the aftermath of Hurricane Sandy in Breezy Point. Whether in tandem or in opposition, Seelie’s work is always raw and authentic, even if Seelie offers up little insight himself. In Bright Nights, he instead invites various creatives to
describe the surreal events captured in his photos or reminisce on the time they were taken. What’s your favorite place in Brooklyn or New York to be alone? I have a lot of places for that. A lot of times if I have a job that takes me to a certain part of the city, and there’s a neighborhood near by that I really like wandering around in. I’ll get off work at like midnight or one and just walk around for a couple of hours before I go home because I want to utilize the fact that I’m close by and have some time there. Because it’s hard to just drop what you’re doing and go to a place, so I just try to slip it in while I’m doing other stuff. But yeah, ev-
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INTERVIEW: TOD SEELIE
erywhere from weird parts of Midtown, Chinatown, Far Rockaway. I used to really love Coney Island. Yeah, that’s my spot. It used to be by far my favorite, but I have to admit they’ve kind of really taken a lot of the character out of it. A plastic boardwalk is not a wooden boardwalk, guys. Although I understand the reasons for all of it. I want to be able to fall through the boardwalk [laughs]. I want to be able to go under the boardwalk! So, admittedly, I don’t go there as much as I used to, though so much of it is still there that I really do enjoy. But there used to be this whole row of junk shops for like,
a block. I used to find the weirdest, coolest shit there. I had no money but I would be like, Okay, I’m not going to eat tomorrow, but I’m going to totally get the weird old thing with the dust on it [laughs]. Yeah, I used to really love that place. That’s the thing though, you kind of need the same approach to parts of New York that you do when you go to another country. Coney Island isn’t what it was but you still need to stay open-minded and enjoy what is there and what there is to like. The boardwalk’s still really sad, but… I feel like in a city that’s changing as rapidly as this is — and, admittedly, not in architectural ways I enjoy — you have to get better at focusing on what there is to like.
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INTERVIEW: TOD SEELIE
Artwork Featured: Callie W. crowd surfing during a Spank Rock show at Bodega, Bushwick, Brooklyn, 2009.
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FEATURE: KRISTEN LIU
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FEATURE: KRISTEN LIU
KRISTEN LIU The chilling, exaggerated mouths on Kristen M. Liu’s figures overflow with big blocky teeth, as if they didn’t have enough skin or lip to cover up their insides. Through this trademark, uniform grin, Liu’s work suggests that it’s not only useless to try to censor yourself but also counterintuitive — you are your flaws, mistakes, and ugliness, and since all of that that shit is bound to come spilling out anyhow you might as well celebrate it while you can. In addition, her bright psychedelic palette serves to subvert the often violent scenes (a naked man beneath a pendulum axe, a woman cut cleanly in half in an above ground pool) her figures find themselves a part of, inviting in a playfulness that verges on unnerving in sheer comparison to the terror being depicted. Her style is both visceral and whimsical, and recently we got a chance to sit down and talk in more depth about her work and why she chooses to embrace humor and the grotesque. Written by Justin Davis
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FEAUTRE: MIKE HINSON
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FEAUTRE: MIKE HINSON
MIKE HINSON Delaware’s Mike Hinson, now based in Brooklyn, has a knack for storytelling of the bizarre kind. Or, in the case of his recently published comic Moonshine, his storytelling stems from older generations of his family detailing the many ways one used to “turn up” back in the day. His weird, colorful stories bring to mind another denizen of strange stories — the TV show Adventure Time. Hinson says he’s definitely a fan of the show but says his inspiration to draw came from another cartoon. Whatever the inspiration may come from, one thing is certain: Hinson’s mixture of the playful and the absurd is captivating. Written by Alex Martinez
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MUSINGS
Twitter Wars Aren’t The Only Thing That’s Toxic To Feminism by Steph Koyfman
If ever there were a face to launch a thousand thinkpieces, The Nation’s Michelle Goldberg might be an early contender for 2014. In her oft-referenced thesis “Feminism’s Toxic Twitter Wars,” she argues that intersectional politics has run away with itself and created an online environment that’s less constructive than it is hostile toward anyone who “inadvertently [steps] on an ideological land mine.” In reality, the problem here may not be that people are often (rightfully) called out on their shit, but that some have become so polarized in their thinking that much of the back-and-forth that goes on takes the form of a “withus-or-against-us” exercise in dogma. This is why you can have tone-deaf cries of “reverse sexism!” on one end, the “no such thing as sexism against men” axiom on the other, and very little nuance in the middle. This is tricky territory, and I think any serious argument that aims to unpack this issue should come with a number of disclaimers. One: I suppose it’s true that there is no such thing as “reverse racism.” The words themselves are reflexive. It’s the difference between playing defense and offense. It’s an asinine term in any case. Two: The grade-school definition I grew up with decreed that racism was “believing your race to be superior to another’s.” PAGE 58
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It took me several years to realize that this prevented me from understanding, at a young age, how pernicious certain stereotypes could be in perpetuating the power imbalance in our society (“it’s not racist; it’s just a caricature!”). Or that when a white person is stereotyped, she generally walks away with her rights, privileges, and power intact. It’s telling that minstrelsy was never included in the curriculum, or that no one ever bothered to explain why it’s problematic for a TV anchor to confuse Samuel L. Jackson with Laurence Fishburne. After all, he didn’t top it off with a KKK rally! When push comes to shove, there’s a big difference between defining “racism” as “disliking others” and “racism” as “prejudice plus power.” The latter is by far the most problematic and pervasive, but the former certainly exists in all directions. To equate the two is perhaps the reason why the words “false equivalence” exist. Three: Discussing homophobia is not heterophobic. Discussing sexism is not misandrist. Discussing racism is not “racist against whites.” There are discriminatory ways to talk about people with privilege. Addressing the real, shitty things they sometimes do is not one of them. Indeed, much of the blowback to the “Toxic Twitter Wars” piece seemed predicated on the assumption that it was suggesting the opposite. Many felt that the article was little more than a call for WOC feminists to put the feelings of white women (and their unexamined privilege) above their own. I didn’t read it that way. For me, it was less about tone policing than it was about questioning the effectiveness of PAGE 59
MUSINGS
of shaming tactics, or the imperative to live or die by anything a marginalized person says, which is often unintentionally patronizing. All of that brings me back to what is perhaps one of the most intellectually dishonest arguments of all (that there is “no such thing as sexism against man because man is the oppressor”). Even those who believe men can handle having their share of the discrimination pie would be hard-pressed not to see this parallel: that if it’s alienating to let the statements of marginalized groups go unexamined, it’s certainly alienating to hold their treatment (and perception) of others to a different set of standards. Surely there’s room for a little more subtlety between here and 4chan. If the distinction is still unclear, I guess I could just put it this way: I don’t want to live in a world where whites can genuinely care about social justice but not have their opinions taken seriously. Or one where heterosexuality is deemed banal and inferior, or the mere presence of cisgender males a threat. I don’t see how diaper ads portraying men as clueless, disengaged fathers doesn’t count as a destructive prejudice, nor the platitude that men can’t be emotionally sophisticated or capable of compassion. I welcome: “Shit Straight Girls Say to Gay Guys” videos, #SolidarityIsForWhiteWomen, and sorry, CNN, but I’m fine with being called a cracker. I guess the thing to keep in mind is that as we secure more legislative battles and set the bar higher in our social intercourse, the balance of power will slowly correct itself. PAGE 60
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Perhaps not in 2014, but perhaps a lot sooner than we all expect. The paradox of burgeoning egalitarianism is that increasingly, oppressed groups might discover that they, too, are capable of standing in the way of progress. That we’re all capable of this in the same way is still certainly a goal to strive for.
SPRING SHOWS MARCH 8 We Were Promised Jetpacks, Honeyblood @ Webster Hall 7pm ($20) Equal parts distortion, grit, and melody, We Were Promised Jetpacks has something for everybody. We promise a good time. MARCH 9 Japanther, Tiny Moving Parts, Tournament, Radical Discharge @ St. Vitus 8pm ($10) Japanther, although a duo, cause a mess (the good kind) every time we’ve seen them. MARCH 13 Xiu Xiu @ Knitting Factory 7:30pm ($14) Fall into a dark, poppy, avant-garde frenzy with Xiu Xiu at Brooklyn’s Knitting Factory. It’s gonna get weird — intimately weird... MARCH 19 Shark?, Life Size Maps, Mean Creek, Toons, Gross Relations @ Pianos 7pm ($8) There’s no question: you can’t miss Shark? bring their lo-fi fuzz and attitude to Lower East Side haunt Pianos. MARCH 20 The War On Drugs, White Laces, Lantern @ Bowery Ballroom 8pm ($20) The War on Drugs feels more like love and good vibes than a bust. Come space out to the shoegazey, Dylan-inspired troupe at Bowery Ballroom. MARCH 21 ANAMANAGUCHI @ Brooklyn Night Bazaar 8pm (FREE) The date we’ve all been waiting for is here. ALT CITIZEN presents ANAMANAGUCHI at Brooklyn Night Bazaar tonight. We will be there, they will be there, pizza will probably be there. Did we mention it’s also free? What more do you want? To makeout with us? No guarantees on that one, buddy.
MARCH 23 Rathborne, Streets of Laredo @ Rough Trade 7:30pm ($12) We love Rathborne, seeing as we interviewed the band’s leader and namesake, Luke Rathborne, last October. Go find it on altcitizen.com (you’ll be glad you did), then see Rathborne live at Rough Trade. MARCH 25 Dum Dum Girls, Blouse @ Bowery Ballroom 8pm ($15) Dreamy vocals and nostalgic lo-fi make for a winning combo, so come watch the ladies in Dum Dum Girls kill it serene and cool at Bowery Ballroom. APRIL 1 Kraftwerk @ United Palace Theater 7:30pm ($39.50) Electronic music Pioneers Kraftwerk are an experience, to the say least. Now you have a chance to be a part of that experience. Feel the power of their deceptive simplicity at United Palace Theater, then brag about it to all of your artsy, music snob friends. April 3 Rocket From The Crypt, The So So Glos @ The Bell House 8pm ($27) Our favorite set of bros, The So So Glos are opening for the equally punk rock and amazing Rocket From The Crypt. See you at the show! April 5 Real Estate @ Webster Hall 7pm ($20) They might sound like they’re from out West, but I assure you -- Real Estate is definitely an East Coast sensation. Come celebrate these New Jerseyians’ indie surf rock at Webster Hall. APRIL 7 Thee Silver Mt. Zion Memorial Orchestra @ Bowery Ballroom 8pm ($18) Don’t let the name fool you -- SMZ is as much punk as it is orchestral. And it works. See the fusion for yourself! APRIL 10 Schoolboy Q, Isaiah Rashad, Vince Staples @ Best Buy Theater 8pm ($32) Prediction: Isaiah Rashad may be the heir to Kendrick Lamar’s throne. Regardless, TDE is forever.
APRIL 10 Trust @ Le Poisson Rouge 10pm ($17) Are you feeling some gloomy dance vibes? Save the date for this show. APRIL 18 Prince Rama @ Baby’s All Right 7:45pm ($10) Come out, dance, and get metaphysical with Prince Rama in Brooklyn. Who knew séance and pop could blend so well? APRIL 30 Future Islands @ Webster Hall 7:30pm ($18) We love the moody melancholy of Future Islands (this Baltimore band’s been doing sad right for a while now). Catch them at Webster Hall. MAY 5 Bombay Bicycle Club, Royal Canoe @ Webster Hall 7pm ($27.50) Bombay Bicycle Club bring a big sound and big fun. Let loose and sway! MAY 9 Mogwai, Majeure @ Terminal 5 7pm ($27.50) Mogwai’s somber and sensuous blend of post-rock is one of a kind. Get caught up in the mix at Terminal 5. MAY 10 SOHN @ Rough Trade 8pm ($15) SOHN makes electronica downright soulful. We like soulful, and you should, too. Check it out. MAY 17 Chromeo, Oliver @ Terminal 5 8pm ($30) Do you like to dance? Of course you do! Chromeo was made for you.
Live Photos by Jackie Lee
HOROSCOPE Written by Sandy Chung
ARIES: You are RAM-bunctious (pun so obviously intended), but also a natural born leader and that’s good news on the career front. Maybe try to aim less for the Woody Harrelson and Juliette Lewis route, except when it comes to those passive-aggressive coworkers. Speaking of sensitive, you find those Cancers are annoying as hell, so when the next one gets under your skin, it might be love. Or disgust. Your song: “Run Run Run” by Velvet Underground TAURUS: Self-possession is not a good look on you. It’s okay to admit to being cowardly and The stars are in your favor, as you might get your chance around Easter time this year. How do you spell abstinence again? Your Song: “Possessed” by Eagulls GEMINI: Murder is coming your way. Might not be of the human variety, but it’ll get you to stop clamoring at the spotlight for the first time. It’ll be a lesson in trustfalls and compromise. Call your mom. Your Song: “Country Death Song” by Violent Femmes CANCER: You’re not going to win the lottery this year. But you might find expired CVS coupons from last winter in your coat pocket. Looks like you’ll have to pay full price for those Camel Lights — oh, wait. Your Song: “Winter Fields” by Bat for Lashes LEO: Love is in the air and so are birds. They say eyes are the windows to a person’s soul, but you’ll only have one window after a flying demon poops on the other. Tepid water should do the trick — good luck wandering around and finding it. Your song: “Look Into My Eyes” by Janelle Monáe VIRGO: Your friends tell you to wander down that dark alley alone and you should listen. Judi Dench, or another similar wizened former MI6 operative, is going to advise you to get down at some point. Could pertain to being more agreeable and spontaneous, or more simply about avoiding faulty overhead construction. You song: “Lost Boys & Girls Club” by Dum Dum Girls PAGE 66
HOROSCOPE
LIBRA: An unspeakable tragedy is set to occur this annual cycle. That crunch sound you hear over the chewing is not of caramelized nuts. Remember that dignity is relative and means something different to everyone. Your Song: “One Day” by Future Islands SCORPIO: There’s a full moon this month, which means you better be careful when you get up from the ocean floor. That mini tidal wave might have swept away your bikini bottoms/swim trunks and you’re surrounded by children on a class trip. Love thy neighbor karma tokens will come in handy at this moment. Your Song: “Oceans & Streams” by The Black Keys SAGITTARIUS: Look into your heart to make that decision of whether or not your roommate is actually out to get you. If you feel s(he) is destined to be this generation’s Hannibal and currently in the dress rehearsal stages, then it’s time to make like someone who is not Clarice and skidaddle. Your Song: “Brutal Hearts” by Bedouin Soundclash ft. Coeur de Pirate CAPRICORN: Take the reins and be in control of your destiny by not waiting two hours on line for the new reindeer burger sparkling with gold flecks. A Hot Pocket is waiting for you at home, as will a backed up toilet shortly thereafter. Fighting is futile. Your Song: “Black and Studs” by Potty Mouth AQUARIUS: Old people and small children don’t like you. Stop being such a toolbox and learn to fake it. Schadenfreude is great for watching people trip and fall, but make it less obvious. The faking applies to romantic longevity too. At least some parts of it. Your Song: “I’m Aquarius” by Metronomy PISCES: This Indian Summer, you will think the stars and planets are aligned for you, but it’s really a dizzy spell. The number of people splayed out at McCarren Park is too much to bear. Oh, the possible combinations of human constellation patterns you can make with your eyes. Adventure awaits you in a land where no one understands you visà-vis a family reunion at your parent’s. Your Song: “Deadbeat Summer” by Neon Indian PAGE 67
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