THE PREMIERE ISSUE
VOLUME ONE
WE DID IT, Y'ALL! THE VERY FIRST ISSUE OF MEGAZINE IS HERE! I'M SO INCREDIBLY HONORED TO BE SHARING THIS ZINE WITH YOU ALL. AS YOU FLIP THROUGH THESE PAGES, YOU WILL GET TO KNOW A SLEW OF ARTISTS, WRITERS, AND ALL-AROUND WONDERFUL HUMAN BEINGS. AS I WENT THROUGH THE PROCESS OF BUILDING THIS ZINE, I WAS REMINDED OF EXACTLY WHY I WANTED TO START IT IN THE FIRST PLACE. MEGAZINE IS A PLATFORM FOR PEOPLE TO CONNECT, SHARE, AND LEARN. I AM TRULY GRATEFUL TO ALL THOSE WHO HAVE BELIEVED IN THIS DIY DREAM, SUBMITTED TO US, OR SHOWED ANY INTEREST AT ALL IN US. YOU WILL ALL BE INVITED TO THE MEGA MANSION IN THE FUTURE (IT'LL BE LIKE THE PLAYBOY MANSION, BUT COOLER). I HOPE YOU ALL ENJOY WHAT IS JUST THE BEGINNING OF A MEGA COOL ADVENTURE! WHO KNOWS? MAYBE YOU'LL BE IN THE NEXT ISSUE... ALL OF MY LOVE,
MEGHAN R. IANIROÂ
TABLE OF CONTENTS 4 5-7 8 9 10 11, 12 13
JNXREY PHOTOGRAPHY 'WHY ADDICTION IS SCARIER THAN YOU THINK' ―WRITTEN BY ANONYMOUS 'THE GUY WITH THE GREEN EYES' ―WRITTEN BY MELISSA OSORIO
ART BY MELISSA ROMEO 'MOMENTS BY MOMENTS' ―WRITTEN BY DANI E.
'THE STRUGGLE TO LOVE OURSELVES' ―WRITTEN BY KAY MUÑOZ JNXREY PHOTOGRAPHY
14
'SINGLE REASONING' ―WRITTEN BY DANI E.
15
'WHAT IS FEMININITY?' ―BY DESSA
16-22
FEATURED STYLES WITH KIMA BAFFOUR
23
'EVERYDAY CUBAN LIFE: MUSIC & COLOR' ―BY DESSA
24
'MIDNIGHT THOUGHTS' ―WRITTEN BY ELIZA MCGEE
25, 26
ALBUM REVIEW: THE XX - I SEE YOU ―WRITTEN BY TED CHRISTODULIDIS
TABLE OF CONTENTS 27 28, 29 30 31-35 36 37-39
JNXREY PHOTOGRAPHY ALBUM REVIEW: CHILDISH GAMBINO - 'AWAKEN, MY LOVE!' ―WRITTEN BY TED CHRISTODULIDIS
'SWEARIN' ―BY CAMILLE TAGAMI 'AN INTERVIEW WITH NICK FARGO OF MoTHER ―WRITTEN BY MEGHAN IANIRO JNXREY PHOTOGRAPHY
'10 THINGS YOU SHOULD NEVER SAY TO SOMEONE WITH TATTOOS ―WRITTEN BY WALTER FREE
40
'P.A.I.N. 2' ―BY MORTEM AETERNUM
41
'THE MAIDEN BY THE SEA' ―WRITTEN BY EIRENE
42-45
'AND SOMETIMES, THEY CALL' ―WRITTEN BY C.W. WALKER
46
'ONE PERSON IS LIKE A NATION (DEM BONES) ―WRITTEN BY DANI E.
47
'FLAGSTAFF LANDSCAPE' ―BY DESSA
48-58
'LEARNING TO BE LOST WITH ANDREA MCKENNA' ―WRITTEN BY MEGHAN IANIRO
59
'LITTLE RED' ―BY CAMILLE TAGAMI
60
'IRONY' (FEATURED COVER PHOTO) ―BY DESSA
 Jnxrey
THE GUY WITH THE GREEN EYES He smelled like cigarettes with a mist of axe He wore glasses and liked the way I laughed He spoke about not caring, and smoking pot He lost his job, but he didn't give up The way he looked at me while we together was unreal It was if it was surreal He was covered in tattoos, and not like most guys Best part was his green eyes But when I told him what I felt for him was more than lust He said he didn't feel for me anymore, and from then on I lost his trust So you see, I'm not sure if it was love, but it felt so close to it The ups and downs and the kisses and hugs I guess it meant nothing but for you to get a buzz I'll remember everything about you Because you changed me entirely My life won't be the same. You'll just be a page in my diary
-MELISSA OSORIO
Melissa romeo
MOMENTS BY MOMENTS Sometimes we focus so hard on the complete structure, that we forget to admire the construction. There is no rush to your understanding. For how could you understand nuance you rushed by? Wear the shoes that fit your pace! Don't let weather get you down. If you walk sturdy You are sturdy.
-DANI E.
The E L G G STRU
To Love Ourselves
Written by Kay Muñoz Have you ever looked in the mirror, and thought, "I’m beautiful."? With society’s body standards consistently changing, it's likely that we have all been in the position where have not liked how we looked. Whether it was because of our weight, our height, or something about our face, we may all come to some kind of agreement that at some point in time, we did not like ourselves. Like many people, I never enjoyed looking in the mirror because when I peered into it, I never saw someone from the magazines looking back at me. I saw a young girl who could never fit in a size 2—who could not wear the latest fashions because very little clothing was made in my size. Thus, one can only imagine how high my self-esteem was.
"I hated myself, the way I looked, my weight, and throughout it all, I was utterly unhappy." My family would make jokes at my unknown insecurities. I would chuckle and pretend it did not bother me, because that's what you do when family picks at you—you pretend the jokes don't hurt.
But they do; they dig so deep into your being that you begin to believe it. I struggled with my weight from middle school into college. I began to lose weight without working out— without going to a doctor. I restricted myself from eating: I would eat three times a day, and, at times, it would not be a full course meal. If I had crackers, that would count for a “meal” (although we all know it does not). In high school, I began to dance again, play soccer, and run at night. It helped me maintain my weight. Once I was in college, I worked out regularly every night and still maintained the three "meals" a day plan. This time, I was a little kinder to myself. As the work load in college became more stressful, I would forget to eat... But it was not something I was not used to. It was a sacrifice I had to make to lose weight, and to finally love myself. However, recently, I gained weight and I realized it as soon as I began to feel uncomfortable in my skin. I began to, once again, dislike the woman I would see in the mirror—angry and confused as to why I allowed this to happen.
It hit me. This is who I am. A curvy woman is who I am. I was not being realistic with myself. I will never fit a size 2, and my jeans will always have to be the stretchy material kind of jeans, because straight jeans just will not fit properly. Leggings will always have to have the extra thick material, otherwise they'll show skin. Why was I hurting myself mentally and physically just to fit into society’s body standards—to, once again, feel the unbearable feeling of self-hate and disdain for my body because society has told me that I have to be curvy, but with a flat stomach. Let's be realistic: no one looks like the person on the cover of a magazine. Although many magazine brands have attempted to feature more natural-looking women, I think we all still believe that the person on the magazine still does not represent us. I have not officially come to terms with my body, but I am starting to see that I am the way that I am, because it is the way I look... And it's my body shape that makes me unique... And it's the shape of others that makes them unique. Body image can really throw one's self-esteem off, but I believe we all, sooner or later, must come to terms with loving ourselves—whether society accepts our shape or not.
 Jnxrey
Single Reasoning
Guess there is a reason why I am single, fella: I refuse to settle for the likes of you.
'What is femininity?' Â by dessa
Featured Styles
WITH Â KIMA BAFFOUR
From stage productions to music videos; from the Theater for the New City to MTV; from NYC to LA, fashion designer and stylist Kima Baffour is no rookie to the fashion world. Â Â In this particular collection, Baffour shares with us her styling for the "on the go cutie with a booty, looking to turn heads and change minds."
For these looks, Baffour was inspired by 70s silhouettes and prints, sophisticated curvefriendly styles, and pieces that have an authentic personality. According to Baffour, she "mixed budget-friendly labels with vintage pieces, sprinkled in some carefullycollected thrifted items and did a little splurging on smaller accessories."
Model : Jasmine Hill Photographer : Davyana San Miguel Stylist : Kima Baffour
(Forever 21) Cowboys Bodysuit ewell) Ripped Jeans (Mad Trench Coat Suede Shoulder Bag lutch - Vintage C i in M t n ri P n o h Faux Pyt tform Sandal Jacquard Print Pla
) borne i a l C t (Liz r i d h S / Hoo wer o w l f s n s re Su ter D a Shear e w Doll S oops H Baby d l Go lutch C y a D h Plaid Clutc y a D ard g Leop ng Ba ) i l S e (DSW p o s l t e o v o En rint B P d r pa h Leo g i H Thigh
Blazer (Zara)
Jumpsuit (TJ M
axx)
Loafers (Zara
)
Malcolm XÂ Pin
Fringe Earrin
gs
Denim Dress China P orcelai n Print Geome Top tric Pri nt Slac ks (TJ M T-Strap axx) Patent L e a t her He Hobo B els ag (Zam b e zi Baza Circle S ar) unglass es (Miu Glitter Miu) Cat Eye S u n g l asses (W Black S quare S ildfox) unglass es (Celi Large C ne) at Eye Vintage
Fringe Top
White Ankle Slacks Round Disc Clip Earring s - Vintage Disco Clutc h Gemstone C lutch
'Everyday Cuban Life: Music & Color' Â by dessa
MIDNIGHT THOUGHTS I'm so happy I let you dissolve within me 2016 glistens like a knife And I'm so happy All the way to the next year You're so happy Energy like lullabies resonates with us before we fall asleep And I'm so happy in solitary You're the sun, if that's okay Grey If that's okay I'm so happy being here, swimming in your veins Like last summer I heard your heart beat
-ELIZA MCGEE
PAGE 25
VOLUME ONE
ALBUM REVIEW
Written by Ted Christodulidis
The xx - 'I see you'
“I don’t know, I don’t know, I don’t know, I don’t know what this is, but it doesn’t feel wrong,” cries out Romy Madley Croft during 'Say Something Loving'. While most would consider this line as an attempt by Croft to tell a newfound love how she feels, the line, in my opinion, is the quintessence of The xx’s third studio album I See You. It’s something newfound, yet vaguely familiar; something that can’t quite be recognized but just seems natural.
Y O U N G
T U R K S
2 0 1 7
In releasing their latest work, the London trio has taken a fresh approach to what has made them unique for so long. With Jamie XX coming fresh off of his come-from-behind 2015 album In Colour, his influence and incredible production (although evident on the past two albums) shines through on every piece, allowing for a harmonious tie that truly brings the album together in perfect consonance.
During a BBC Radio 1 Essential Mix by Jamie XX just a few years ago, there was mention of spending time in Texas creating new material with Croft and bandmate Oliver Sim. In releasing the video for 'On Hold,' the group confirmed that their time was spent in the miniscule art hub of Marfa, Texas—just one short hour from the Mexican border town of Chihuahua. There’s something about the arrangement of the instruments, the rhythms, and the overall vibe, that really bring out the influence of the southwest and is maintained throughout the album—but not so much that it feels like an old spaghetti western soundtrack—really just the right amount to just make it discernible.
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VOLUME ONE
When first listening to the album,
Overall, this album is something fresh
nothing besides 'Say Something Loving'
from the group. It’s familiar but new; a
and 'On Hold' stuck out to me (probably
nice step in the right direction for a
because those two rose through the
group who has released just three
charts quickly?). I also expected to just
studio albums in the last eight years. I
brush off the album as another album
See You seems to stay true to the roots
that will fade into their discography and
of The xx that most have come to know
never be listened to again.
and love, while simultaneously allowing for the group's necessary artistic growth and evolution that is so important— really exposing each member’s true
It’s something newfound, yet vaguely familiar; something that can’t quite be recognized but just seems natural.
However, this doesn’t seem to be the case. Since the first time, a few songs (notably 'Dangerous,' 'Lips,' and 'I Dare You,' if you want the specifics) have truly set themselves apart.
talents to the last bits. It will be interesting to see where the group will go from here.
RATING:
7.5/10
 Jnxrey
PAGE 28
VOLUME ONE
ALBUM REVIEW childish gambino - 'awaken, my love!
Somewhere in between all of this craziness, Glover managed to drop a handful of noteworthy mixtapes and two rap-heavy full studio albums under the moniker Childish Gambino (which he got from the Wu Tang name generator). I mean, dude is literally Superman (or Spiderman (#donald4spiderman))
Being a huge fan of his past work, I was understandably overly-excited when the first single, 'Me and Your Mama' first dropped. I mean, new music for the first time in three years? Who wouldn’t be excited! What a let down it was to hear not a single rhyme or bar throughout the
G L A S S N O T E
2 0 1 6
Written by Ted Christodulidis
entire six minutes and twenty seconds of the album’s opening piece. “It’s the opener, maybe it’s just the intro to the album,” I told myself in a poor attempt of reassurance. The internets all told me the
Where does one even start with Donald
same thing: “Listen again; listen deeper.”
Glover? This guy has literally had his finger
Fine, whatever. Quickly, it grew on me.
in everything for the past decade. Starting out as a writer for the NBC hit TV show 30
Then came the next single, 'Redbone.' This
Rock, he experienced a rise to fame after
time, five and a half minutes of the same
producing/writing/starring in a slew of his
thing. “Ok, fuck, this whole album is going
own television series. In the next year, you’ll
to be terrible. What a let down.” I was in
also see him as Lando Calrissian in the Han
fucking shambles! One of my favorite
Solo film and as the voice actor behind
artists was letting me down with this
Simba the remake of The Lion King.
“new” garbage!
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VOLUME ONE
Yes, ok, artists need to evolve in order to
Where this just doesn’t work for other
progress, but this was just a weird attempt
artists and can diminish from the overall
at being “different.” But, again, it took
project, Gambino finds a way to make it
listening to it in a deeper sense to see that
work, tying the album together nicely.
it wasn’t terrible at all; it was actually genius.
Two months after the initial release of the singles, and the day finally arrived: December 2, 2016. The day of the drop. Motherfucking D-Day. On the first listen, I
"...this whole album is simply a masterpiece, oozing soul and funk that hasn’t been seen in equal amounts for quite some time..."
was met with the same initial hesitation and confusion as the first two singles; but they had prepped me for this. I was ready. Listen two and it was game over.
It should have been evident from the cover art that this project would be oddly —but pleasingly—different. Overall, Gambino has tapped into something that
First came a few questions: “A newfound Prince? A rebirth of the classic Funkadelic?
is abundantly new yet comfortably familiar.
Maybe even a revival of Rick James?” But a few listens later and the ideas finally came together: this whole album is simply a masterpiece, oozing soul and funk that
RATING:
hasn’t been seen in equal amounts for quite some time—something that isn’t being done by any other artists today—something refreshingly new.
Throughout the entire album, it’s hard to find any flow at all. Where 'M&yM' ends quietly, 'Have Some Love' picks up brashly and instantly: a trend found all throughout the album.
8.5/10
'swearin' by camille tagami
 Jnxrey
ROCK N ROLL IS OUR MEDICINE AND NICK FARGO OFÂ IS OUR DOCTOR
PAGE 32
VOLUME ONE
WRITTEN BY MEGHAN IANIRO
New York City's bluesy, hard rock powerhouse MoTHER—consisting of frontman Nick Fargo, guitarist Mike Gowen, bassist Johnny Bass, and drummer Dan Traglia—has been rocking our ears since 2013 with two EP releases and a touring history featuring bands like Buckcherry, Slash, Pop Evil, Godsmack, and Red Sun Rising (just to name a few), MoTHER continues to pick up momentum with their latest single, 'Medicine' released with David Ivory (Silvertide, Halestorm, The Roots) under Flexitone Records, and freshly-announced show dates. We spoke with MoTHER's very own Nick Fargo about music, adrenaline, fire, and West Virginian moonshine. Wondering how that came to be? Check out the interview below!
"In addition to NYC, MoTHER also based in Jersey City and you've talked about wishing there were more rock and music venues around. How do you feel about the local rock scene?" "Our studio is in Jersey City and that is where we do most of our rehearsing and writing, but we consider ourselves a NYC band since that is where our live chops and fan base have been developed over the years. I do wish JC had some more solid music venues. I also wish we had the money to open one. I think its time for a scene to be built here. There are so many people moving in from all over the place, and the downtown area is a hotbed for the arts. I am glad White Eagle Hall is finally opening up! Hopefully that kickstarts a little something."
"How do you feel about where rock music is right now in general? It seems so rare to hear rock music in the mainstream or on the radio." "I think that’s just the nature of the area we live in. Rock radio is very scarce in the NYC area unless you just want to hear the same classic rock songs over and over. I have to go out and search for new music which I don’t mind doing. It’s interesting, getting caught in a YouTube vortex and finding some cool new artists. Rock music isn’t as cut and dry as it used to be. There are tons and tons of sub-genres and honestly, I think it’s out there more than ever. TV commercials, movie soundtracks, sporting events, etc. all still need that high-energy movement behind their brands. Bands are still selling at shows at every level. It’s just about getting out there and finding your fans, your niche, and making them truly believe and buy into what you are doing, just like any other medium."
VOLUME ONE
PAGE 33
"Did you always want to be in a rock band? How did you end up starting MoTHER?" "I have always been into playing and listening to music. Different instruments always intrigued me. As a kid, listening to the music of some of my favorites. They were loud, raucous, passionate, and easy to latch onto. It was early on in high school when I got into playing the “rock” instruments. I finally picked up an electric guitar and played with everyone I knew that was a musician. As years go by and things start growing, you find more and more people to play with on various levels. MoTHER was started after a band I had tried to keep through many lineups finally just called it quits. There was no direction. I met Mike through a mutual friend and we instantly started jamming and composing songs and parts of songs. I had already been playing with Johnny Bass for years and I felt like we could be onto something. We actually made the name before the band even fully existed. It’s big, it’s nurturing, and it’s versatile."
"I had already been playing with Johnny Bass for years and I felt like we could be onto something. We actually made the name before the band even fully existed. It’s big, it’s nurturing, and it’s versatile."
"I love that MoTHER incorporates so many different musical styles. What bands are you influenced by now, and what bands did you listen to growing up?" "Some of my staples growing up are Queen, Led Zeppelin, The Doors, Pink Floyd, Alice in Chains, etc. as well as a lot of old soul and crooner type stuff. These days, I look for anything that’s raw, emotive, and lyrically captivating. I’m really into this chick Bishop Briggs right now. While it may not sound like our usual rock n roll style, to me that is some powerful shit. Some other newer artists I love are Royal Thunder, Highly Suspect, Royal Blood, Black Foxxes, Nothing But Thieves. They are all doing something unique and special, really pushing the genre on a great path. Honestly, this is one of those things I could talk about all day long. It’s tough to answer in short."
"In addition to singing, you also play keys and harp for the band. Are there any other instruments you play or would like to play?" "I dabble with the guitar a bit as it helps me write. I used to play rhythm guitar for MoTHER, but it became unnecessary. Mike and John fill up so much sonic space with their respective guitar and bass tones, and it helps me to focus on being a front man. I like to perform. I like to move. I hate being stuck in front of the center stage mic stand. I’d like to learn or at least mess around with any instrument I can. I think someday I would take up cello. It is so powerful and sits in this perfect frequency range that just grabs me."
VOLUME ONE
PAGE 34
"You're also a Jersey City firefighter! This might be a stretch, but are there any similarities between the rush you get running into a burning building and the rush you get performing on stage?" "Of course! Obviously, they have their major differences as well. Being on stage doesn’t usually have the “I might die doing this” factor but it is certainly a major rush, and is a very big reason why I continue to perform. I kind of get to disappear up on stage. Even though I may be in front of a ton of people, it’s truly an escaped moment. They are both big adrenaline-inducing lines of work, and I am a junkie for that stuff. It’s also very similar in the aspects of family, brotherhood, and teamwork. On the fire truck, there are four of us working as a unit to keep each other and those we serve as safe as possible. The same goes on stage: as we form this sound, this show, and these feelings as one. A lot of it comes down to unspoken communication which is a great thing to experience."
"I kind of get to disappear up on stage. Even though I may be in front of a ton of people, it’s truly an escaped moment." "On top of fighting fires and being a frontman, you're also in charge of the band's management/publicity. How do you manage your time? Are there any other careers we don't know about?" "I love working with my hands, so I will always pick up jobs fixing things, building things, etc. Welding and woodworking are two of my favorite which I will occasionally do for extra cash. Hopefully soon, I will be passing on the management duties to the next level!"
"What do you like to do during the two seconds of free time you have?" "What two seconds? (laughs) I am a bit of an adrenaline junkie, so I love riding Harleys, snowboarding, surfing, skydiving, etc. I’m also an all-around beach bum. Any chance I can get to be in the sun, sand, and surf, I will jump on it."
"What's been your craziest, or most memorable, fan experience?" "Well, I’d like to say that every experience is a memorable one and there are a lot to choose from, but I’ll stick with this one. We were on the road for a small tour with a band called Saving Abel. We had just purchased this old beat up trailer and didn’t have the time to really fix it up so we just went with it. On our extremely long drive from Connecticut to West Virginia, shit hit the fan. We blew a tire in the middle of nowhere and made it to the show with just enough time for us to sprint right onto the stage and play. The place was packed and as soon as we finished our set we notice a ton of people start disappearing. As we are loading out there are people trading unmarked bottles and swigging, tasting, and sharing this mystery stuff. This became our first experience with homemade moonshine. One particular gentleman gifted us with nine bottles of his own lightning. I swear, it was the most delicious liquor I ever tasted, and it totally masked the fact that it was around 160 proof. We all made the mistake of not listening to this dude when he said to go easy. Thank the sweet moonshine gods that we had the next few days off because we might as well have been dead."
PAGE 35
VOLUME ONE
"From what I've seen and heard, MoTHER shows are super high-energy. How do you prepare for a show? Do you have any pre-show rituals/warm-ups or ways to pump yourself up?" "This one is interesting because each of us has his own thing. There are moments of chaos before a show. There are moments of ease. No two shows are the same and you never know where your mind and body will be that day leading up to stage time. For myself, it becomes about focus, and digging into the moment that’s about to happen. It’s sort of like pulling back a slingshot—getting to the point where every little movement might be the breaking point. Just before it snaps, you let go and release the ammunition into the performance. Lately, we have been adding more layered vocals into our new stuff. Myself, Mike (guitar) and Dan (drums) get in the van or green room together and go over the songs acoustically. This way everyone gets a good vocal warm up going. Johnny (bass) likes to indulge in a few IPAs to get himself aligned."
"What cities are on your touring bucket list?" "Chicago, New Orleans, Tokyo, London, Sydney, and literally anywhere we have or haven’t played. Honestly, I’d love to play anywhere in the world."
"I'm absolutely loving your latest single, 'Medicine.' What's your "medicine" of choice?" "That definitely changes with my mood… But some of my usual suspects are saltwater, sun, PBR, and Jameson… And I guess West Virginian moonshine (laughs)."
"What's next for MoTHER?" "We will be announcing our newest endeavor joining the mighty roster of the M7 Booking Agency. This means taking our sound farther and wider with many more touring opportunities at our disposal. We also do not stop writing and recording new ideas, and we are currently on track to have two more singles and some videos released by the end of the year."
Since interviewing with us, MoTHER has announced that they will be joining Buckcherry at Jersey City's White Eagle Hall on July 6th. They have also added several other tour dates: June 22th - Maxwell's - Hoboken, NJ June 24th - Oddity - Wilmington, DE June 26th - Arlene's Grocery - New York, NY July 6th - White Eagle Hall - Jersey City, NJ July 22nd - BLACKTHORN 51 - Queens, NY July 27th - Stanhope House - Stanhope, NY For more information on MoTHER, visit rockyourmother.com. (photo courtesy of @ksayegh_photography)
 Jnxrey
PAGE 37
VOLUME ONE
10
THINGS
YOU SHOULD NEVER SAY TO
PEOPLE WITH TATTOOS
WRITTEN BY WALTER FREE Working in the Times Square area, you meet some interesting characters and have some interesting "you-can't-make-this-stuff-up" interactions. Being heavily tattooed working in the Times Square area (like myself) almost guarantees you to have a least one of those interactions per day. I love tattoos, I love talking about tattoos, and in most situations, don't mind when people want to talk about my tattoos. However, there are always a handful of people who always take it a little to far. So for fun, I decided to make a list of the Top 10 things people have said or done to me that I don't think anyone should say to someone with tattoos.... Enjoy!
VOLUME ONE
1) DON'T TOUCH A PERSON'S TATTOO, ESPECIALLY WITHOUT WARNING.
PAGE 38
4) DON'T ASK IF THE PERSON WHO DOES MY TATTOOS IS ANY GOOD.
What exactly are you expecting to feel? It's just skin. Also, it's real awkward when you do it to a stranger ringing you up somewhere...
Why on earth would I pay someone to permanently draw on my body if I didn't think they were any good? It's such a silly question but I get asked it regularly.
2) DON'T TELL SOMEONE WHAT YOU DON'T LIKE ABOUT THEIR TATTOO OR WHAT YOU WOULD HAVE DONE DIFFERENTLY.
5) DON'T ASK IF I CAN GET YOU DISCOUNTS ON TATTOOS.
It's just rude. You're entitled to your opinions, of course, but you should keep them to yourself. I can almost guarantee that most people don't stand around at work wondering what every stranger thinks of their tattoos.
3) DON'T ASK, "WHAT ARE YOU GOING TO DO WHEN YOU'RE OLD?" I don't know, be an old person with tattoos...?
I get asked this regularly, too. I don't get why people try to pay as little as possible for tattoos. It's a hard job—a lot of artists probably don't get paid as much as they should—but yeah, you deserve a discount.
6) DON'T ASK FOR PRICES ON TATTOOS. I'm not a tattoo artist, nor do I work at a shop. Therefore, I have no idea how much your dream tattoo would cost.
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VOLUME ONE
7) DON'T TALK ABOUT AND/OR POINT AT A PERSON RIGHT IN FRONT OF THEM LIKE THEY'RE AN OBJECT. It's rude to do to anyone, with tattoos or without. Just don't do it.
8) DON'T JUST START TAKING PICTURES OF SOMEONE'S TATTOOS. At least ask first.
9) DON'T SAY THINGS LIKE, "YOU'D BE SO CUTE WITHOUT THOSE TATTOOS."
10) DON'T SAY, "IF YOU WERE BORN WITH THEM YOU'D BE CRYING TO GET THEM OFF."
Is that supposed to be some sort of
Okay, so my grandmother was the
compliment? ...Thanks.
only person to say this to me, but still... What is that even supposed to mean? Good talk, Grandma...
'P.A.I.N. 2' by mortem aeternum
THE MAIDEN BY THE SEA I fell in love with a maiden by the sea Whose life was full of sadness, but her eyes were full of glee She laughed when I came to her, and said she’d never love me But would often give me kisses, and place her hand upon my knee My love lasted for years If I recall, about three Then the clear horizon that was my love soon fell to debris She always played games, my maiden by the sea My heart was a pawn on her chessboard, and she played recklessly She did not understand, nor did she foresee That eventually I’d have enough of her toying with me A love manipulated turned sour, to an acute degree So now my maiden lives at the bottom of the sea
-EIRENE
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VOLUME ONE
AND SOMETIMES, THEY CALL WRITTEN BY C.W. WALKER
Think back to when you were a kid and you had a favorite program. And on that favorite program, no doubt, there was an actor or actress that you absolutely loved. Maybe you were attracted by the character they played, or the way they looked, or simply the way they smiled. And you followed that actor or actress for years afterward. You always knew what TV series or film or even stage show they were in; you probably saw most or all of the performances. Now, imagine that actor or actress, the one you’ve only seen on screen or maybe in person from afar…calls up on the phone one day, asking for you by name. This happened to me.
When I was 12, the hottest show on television was The Man from U.N.C.L.E. [Go ahead: Google it. There are clips on YouTube too.] It's so difficult to recreate what childhood was like some 50 years ago. There was no internet obviously, but also no DVDs, no VCRs, no cable (except in rural areas), no cable networks, no IM, no cell phones. The portable radios were tinny transistor types. Music came on records. There were only three networks and in some parts of the US, less than that. Most houses had one black and white set, usually controlled by the father of the house. If you wanted to watch a program, you had to negotiate with Dad. One. Television. Set. Our lifeline to the rest of the world. And then in 1964, The Man from U.N.C.L.E. appeared. It wasn't children's programming— these were grown up men—but young people all over the US and eventually in other countries as well, most notably the UK and Japan, embraced it. It wasn't originally meant for us, but it was ours in a way programs had never been previously. TV Guide noted that there had been "nothing" like MFU before: the magazine called it "the mystic cult of millions."
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The stars, Robert Vaughn and David McCallum were mobbed everywhere they went. Even the Beatles fanboyed over them and in 1965, it didn't get much bigger than the Beatles. They epitomized cool: handsome, charismatic—sexy—at a time when no one even talked about sex. The premise of the series was that these two international secret agents, Napoleon Solo and Illya Kuryakin (picture James Bond if his partner and best friend was Russian) would recruit average, everyday type folks—housewives, teachers, college students, even children—to help them save the world. Man, we all hoped one day, they’d come knocking on our doors. My favorite was Robert Vaughn who played the lead agent, Solo. Outside of the series, Mr. Vaughn was a prominent Democrat, an outspoken critic of the Vietnam War. It was rumored that he might go into politics after the series ended, but for various reasons, he never did. Still, even after The Man from U.N.C.L.E. was canceled in 1968, I followed his career. I watched him bravely debate William F. Buckley, a prominent conservative at the time—sort of a much smarter and classier Bill O’Reilly—on Buckley’s program, Firing Line. A lot of folks thought Vaughn won the debate or, at least, got it to a draw. I watched him in films like Bullitt, Towering Inferno, and Superman III. Then I went back, to find his older films like The Magnificent 7 and The Young Philadelphians, for which he was nominated for an Oscar. He also was nominated for an Emmy for the miniseries, Washington: Behind Closed Doors. I noted when he got married the same year I did. A decade or so later, I saw him on stage (in person, finally!) in Inherit the Wind at Papermill Playhouse and in Love Letters on Broadway. In the 1990s, I returned to Rutgers University to earn a Ph.D. in Communication. For my doctoral dissertation, I created a new dialogic model of mass communication and needed to apply it to a case study. My advisor suggested I choose The Man from U.N.C.L.E. as my subject because, by then, I’d connected with the original producer of the series through my advocacy work in media literacy. That producer, Norman Felton, sent letters to various folks connected with the series, introducing me to them in order to land interviews. And that’s how, on one day in the summer of 1996, I picked up the phone and heard a voice in a deep, distinctive tone say, “This is Robert Vaughn,” and ask for me by name. Now, I’ve been a freelance professional entertainment journalist since I was 17. Still, I nearly dropped the phone [landline, mind you; this is before cells].
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Over the next five years or so, I interviewed him several times, both over the phone and in person. Sometimes, I’d call him. A couple of times, he’d call me when something occurred to him, like an important date or detail. Mr. Vaughn had earned a Ph.D. himself, also in Communication, so he was sympathetic to my position and very willing to cooperate. His own dissertation became a book, Only Victims, which you can still purchase online and in used bookstores. My own copy is signed with a personal note from the author. Occasionally, when Mr. Vaughn would appear at a memorabilia convention to sign autographs, I would drop by and apprise him on my progress. Once, when my son was seven or so, I took him with me, telling my son that we would meet the man in the poster that was hanging in my office. Mr. Vaughn shook my son’s hand and observed wryly, “I’ll bet you’re sick of seeing my face.” When Mr. Vaughn appeared Off-Broadway in Exonerated, I took my friend, Nicky, who was also a fan. After the show, I introduced her to him and we three talked for at least an hour. Mr. Vaughn even insisted on posing for photos. My friend was so thrilled, she nearly walked into traffic afterward. “Well, at least I would have died happy,” she sighed. And here’s the really curious part: in between, as we arranged times for interviews and such, we commiserated about the difficulty of writing a dissertation, and maneuvered around our family obligations. Although he remained a hard working actor into his 80s, Mr. Vaughn lived in Connecticut with his wife and two children. I remember comparing schedules once: I needed to pick up my son at afterschool care and he needed to drive his daughter to softball practice. Another time, his wife told me on the phone he’d call back because at that moment, he was mowing the lawn. Napoleon Solo riding a lawn mower: what an image. I attended Mr. Vaughn’s birthday party at the Players’ Club in Manhattan in 2010, finally meeting his wife, his son and his son’s fiancée in person. He signed a second book for me then, his autobiography that had just been published. This time, he addressed it to Dr. Walker. The last time I saw him was at a fan gathering in New York City, the summer of 2014. This time, it was my dissertation, now published as a book, that I signed for him.
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Robert Vaughn died of acute leukemia this past November, 2016, just two days before my birthday and 12 days before his own. We were both Scorpios. I miss him of course, but I still have his movies, his TV series, the photos, the signed books, and other memorabilia. I think of him whenever I see David McCallum, who played his U.N.C.L.E. agent partner, now portraying Dr. Donald Mallard on the very popular NCIS. And I still have the audio tapes from our interviews, in which you can hear our voices together, discussing U.N.C.L.E. and politics and movie and families and the effort involved in post-graduate work. Listening to them always made me smile. It still does.
Pictured: Robert Vaughn & C.W. Walker (June 28, 2014)
ONE PERSON IS LIKE A NATION (DEM BONES) You have your bones; which all connect. Though each with different purpose and intent must work together in order to have any outcome at all. Then, and only then, can there be true guidance and direction. We find a way to walk with ourselves, so we can walk as a nation. Dry Bones. Dem Dry Bones.Â
-DANI E.
'flagstaff landscape' by dessa
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LEARNING LEARNING TO TOBE BELOST LOST With Andrea McKenna WRITTEN BY MEGHAN IANIRO
On Tuesday, May 2nd, Andrea McKenna debuted her latest art show, 'Learning To Be Lost' at LITM in Jersey City. The opening reception, featuring McKenna's stunning art and an awe-inspiring performance by musician Shayfer James, left the crowd at LITM with reflections in their minds and tears in their eyes. Since graduating from NYC's School of the Visual Arts in 1992, McKenna has shown her artistic range through paintings, art installations, fine art furniture, and even set design. She has designed theatrical sets at Art House Productions, Saint Peter's University, The Historic Jersey Loews Theatre, and was also assigned lead designer for Art House Productions' 2017 Snow Ball. Additionally, McKenna owns and operates The Raven Gallery & Boutique in Jersey City, alongside co-owner Javiera Magaly. In 2016, Shayfer James devised a project that connected music with visual art, called 'March of Crows.' As part of this project, James would write 16 new songs using local artists as prompts. One of these artists was Andrea McKenna, and the title of the song based on her artwork was 'Learning To Be Lost.' Impressed by how well James understood her art and vision, McKenna was inspired to create an art show of the same title, and ask James to perform the title song at the reception. James' response was to take it to the next level and write additional songs to accompany McKenna's newer paintings. Months prior to the show's opening, McKenna was stricken with grief due to a sudden personal loss. Upon hearing this, James changed his composition to create a heartbreaking, haunting medley centering on life and loss, which he performed at the show's opening reception. We had the opportunity to speak to McKenna about 'Learning To Be Lost,' learning to be lost, and everything in between.
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"'Learning To Be Lost' features 19 new works in addition to a few older pieces of yours. How did you stay inspired to create so many new pieces?" "I wanted the entire show to be new work with the exception of the painting inspired by the song, which was the postcard piece. I just ran out of time. I am never at at loss for inspiration. Music inspires me most which is kind of where it all comes from. It’s always there and I’m always listening." "From the moment I walked into the opening reception at LITM, I saw those three 8-foot or so tall paintings hanging on the wall and they took my breath away. It was so incredible to see your artwork that size! How were those painted?" "Two of them are about 9’ and the middle one is about 8,’ and they are actually on burlap. I don’t have a painting studio, so I had to figure out how to make it work on 7’ walls in my living room. I rearranged some furniture and stapled the pieces to the wall. I painted the top half first about fifty percent through, then flipped it and painted the other half upside down. I just kept flipping them until I was satisfied."
" . . . I GET SO L O ST I N TH E P RO CESS TH AT TH E EY ES P RACTI CAL L Y TEL L ME H O W TH EY W ANT TO L O O K AND W H AT TH EY W ANT TO SEE. " "One of my favorite things about your art is that the eyes of the figures are so emotive and cryptic - almost as if each painting has a story to tell. Is that ever something you put thought into, or is that something that develops on its own?" "Thank you for recognizing that! It is a conscious decision, but how it develops is very much organic. The texturing I do as a base is a thoughtful process. I know where the head of my figure will be. Once I see where the eyes can sit, I let it all happen on its own. I paint to music and I get so lost in the process that the eyes practically tell me how they want to look and what they want to see."
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"'Learning To Be Lost' comes in the wake of the sudden loss of your very close friend and creative partner, Joe Frascogna, which I can imagine makes this all the more poignant for you. I observed at the reception, a portrait of him that you painted, as well, which was another breathtaking moment. To what extent has his loss affected you, or this show, in particular?"
"Joe’s loss was sudden and tragic. He was such a big part of my life that there was no way he could be gone, just like that. Six months later and I am still in disbelief that I will never see him again. We had plans to work together for as long as we could stand—literally, stand up and work. We designed our business logo, made cards, wrote mission statements, planned out furniture pieces, collected furniture, wood, recycled objects, designed future art installations, the list goes on... Not to mention our friendship: one that was cultivated on the basis of our shared likes and business interests. We bonded instantly, as if we were long lost family members. Painting this show and seeing it through was the only way I could work through my grief. Now that the work is finished and up, I feel I have to start painting as soon as possible in order to keep doing that."
"P ai nt i ng t hi s show an d se e i ng i t t hrou g h was t he only way I cou ld work t hrou g h my g ri e f. Now t hat t he work i s fi ni she d and u p, I fe e l I have t o st art pai n t i ng as soon as possi b le i n ord e r t o ke e p d oi ng t hat . " "What advice would you give to someone who is 'learning to be lost' in his or her own life—whether through grief, heartbreak, artistic struggle, etc.?" "Allow it to happen and walk through it slowly. Pay attention. Allow it to consume you so it can leave satisfied when it’s done, and you can work on being whole again. If you believe in yourself, you will only come out better and stronger. I believe in myself and I am waiting patiently."
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"How would you explain The Raven Gallery & Boutique to someone who's never been there before?" "An eclectic art haven. We (Javiera Rodriguez, my co-owner, and I) strive to have something for everyone, but with a slant on the darker side - a little goth, if you will. We have painted furniture by me, one-of-a-kind jewelry made by Javiera with beads coming from all over the globe, to wall art, sculpture, dolls, pottery and some wearables. Everything we sell is handmade by an artist, and we keep it as local as possible."
"Coming from a fine art background and having just finished designing your 7th set in two years, what have been some of the rewarding and challenging aspects of set design for you?"
"Well, set design came about because director Mason Beggs saw a photo of an installation that I did with Joe at an Art Walk in Paterson. My first set was very much an installation, and I thought it would end there. Mason continued to hire me several times, and then came Snow Ball! The challenges of set design are just about everything involved. You're not doing it for you anymore. It’s now for the director, the actors, and audience. Very frightening! I am not one to sketch, I don’t know stage language, and I had no knowledge of light design. All of this, I learned along the way, and still only a fraction of it. There is a lot of pressure to build a set and have it work in such a short period of time with changes being constantly made. The only reason I agreed to it was because Joe and I were partners and our ideas, along with his building skills, made anything possible, and it was great fun—not to mention gaining experience for our future work. Mason Beggs is a very talented director and working with him has taught me more than I ever thought I could learn about theatre in such a short period of time. The rewarding aspects of this work is seeing the actors having fun with the set. Creating a new world for them is a great experience. The same goes for Snow Ball— creating a world for one night for over 300 people to enjoy is very exciting!"
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"Musician Shayfer James wrote the song 'Learning To Be Lost' based on one of your paintings ('Earth') that he borrowed for his 'March of Crows' project. Before that, you designed the set for Art House Productions' 'The House of Atreus' in which his music was featured, and after that, 'The Handless Maiden' which he composed and performed music for. At what point did you both begin discussing wanting to collaborate? When did you realize that you would both work well together?"
"The song Shayfer wrote for my painting was amazing! Not knowing me at all and being able to put my work into words that described it perfectly was very surprising, not to mention it’s just beautiful! Already having my date at LITM set, I felt it was only appropriate for him to sing that song at the reception. He wanted to take it further and create new songs for some of the new paintings. I was very excited. Then this past November, I lost my friend. When the show was only a month away, Shayfer and I sat down to discuss the performance and he learned what had happened and what I was going through. He changed his composition to write one of the most profound pieces of music I've heard in a long time. I felt sincerely blessed that he created that for my show. I don’t think anyone in that room will ever forget it. I would love to do future projects with him; it’s clear our work is complimentary."
"Shayfer and I sat down to discuss the performance and he learned what had happened and what I was going through. He changed his composition to write one of the most profound pieces of music I've heard in a long time."
"Using 5 adjectives, how would you describe 'Learning To Be Lost' and the process that created it?" "Heartbreaking, bold, willful, vulnerable, and tireless."
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"What’s next for you as an artist?" "I am continuing the large work in another series that will stem from this one. Where I will be able to show it is, for now, a mystery! I am also looking to work with Mason and Shayfer again on something strange and wonderful. If you're reading this, guys, give me a call!"
You can see Andrea Mckenna's 'Learning to be lost' in person at litm, (located at 140 newark ave. in jersey city). the show will be running until june 4th. for more information on andrea mckenna, visit andreamckenna.com
all art by andrea mckenna; all photos taken by anna ryabstov
'little red' by camille tagami
FEATURED COVER PHOTO: 'IRONY' BY DESSA
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