Only Harrisburg

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ONLY HARRISBURG - INDEPENDENT ART MAGAZINE



WELCOME TO HARRISBURG

“In Harrisburg people never notice each other and never say hello first, but if you’ve made them notice you, they are always very happy to see you”.

ONLY HARRISBURG - INDEPENDENT ART MAGAZINE

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Editor / Writer CHRISTINE KELLEY

Illustrator DARIA BEDRIK

Design of magazine LEMS BELKA

Photographer MIAH SONG

“MIAH SONG “ I see passionate people creating art in Harrisburg. The problem is that although there are many talented individuals there is no community in which these people can grow and share their ideas, where we help one another and in turn help the city become a vibrant place. So I an contribution my work, along with others to give people hope and share the positive attitudes we hold for the city of Harrisburg”. KEVIN CULHANE “ I wanted to take photographs of Harrisburg because as a resident of Harrisburg, I never really see actual shots of the city around town. I think people really forget that there are places to spend time at in the city, and a lot of those places are just driven past and forgotten about, unless you live directly in the city. Photographing the city was a great experience for me. I myself saw some business’s and art that I have never seen before, and it was fantastic”. LEMS BELKA “ We need to learn how to work with unique opinions and subjects through photog-

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Photographer KEVIN CUHLER

Photographer RANCE SHEPSTONE

raphy and design. Art consists of a different level of vision; artists see simplicity in the most complex things. What do I mean by this?” CHRISTINE KELLEY “ To me, Harrisburg has the limitless potential that the lighted skyline from the 83 bridge seems to indicate: it is subtly beautiful; at some moments it shines brighter. Artists here may feel starved for opportunity, but only perhaps, because we need to work together. We need a community; we need an outlet. is that outlet”. RANCE SHEPSTONE “ A Harrisburg, as well as any other city, has potential in its nooks and cranny’s, but simply put it’s the place where I live, and to me it is very much appropriate to explore the cultured place I live. When I return to once - visited areas I see a little deeper than the time before, and that’s what keeps me taking photographs. I look up, I look around, and there’s a constant motion beneath the face of the city, and it is always beautiful.”


HEY, CITIZEN, WE SHARE ONE MISSION Welcome, citizen of Harrisburg! Tell me, has anyone ever asked you: “Hey, where are you from?” And you answered with a low voice, “I’m from Harrisburg...” With a polite and interested face, the asker inquired again: “What’s that - Harrisburg?” You shrugged and explained that it is the capital of Pennsylvania adding, “Yes, unfortunately, I’m from there.” You are not alone! To me, though, these words of regret are not because I am sorry to live in this this city, but because most Americans don’t know Harrisburg is such a cool, unique place! Harrisburg’s glory is really infamy as a dangerous place, considered the city of bankruptcy, and disparity between those who live and work here. But, hey, don’t listen to people from other cities! Every day we hear more negative statistics about our city; how many people consider our rich history, European architecture, the gorgeous Riverfront, and even about us —the citizens of this city! Our city has a great potential for growth and development; it is one of the most convenient and comfortable topographically for inexpensive travel. Where is Philadelphia? Two hours away! Washington - 3 hours away! New York - 3 hours away! Canada - 6 hours away! Our city has a lot of art collections, artists, and a variety of organizations that support arts and culture such as the Art Council, Cultural Enrichment Fund, etc. We are residents of a small city there are large bookstores, a famous research center for children and adults, state museums, the oldest libraries, business centers, the capitol state, a huge gallery and bar at HMAC, coffee shops, the historic Midtown, and wide and beautiful Susquehanna River! Do you love to ride horses on City Island? Have you toured galleries every 3rd in the Burg? Do you work in the Capitol, or is your church on State Street? Then you already know, that you can breathe and live in this city, and that this city is open to you, your development, and the arts. We have known how to criticize; now we must learn how to love the place where we live! In this first issue, we want to open a new view of Harrisburg. We are: current students and graduates of HACC, freelance photographers, and novice writers. This issue includes a dedication to fresh viewpoints and opinions, the most interesting galleries and workshops, The Make Space, and articles and poems from our young writers. Want to know what most people think of the place where they live? Are you interested in photography? Do you enjoy reading lyrics or poetry? Then flip through: look, read to the end, and become a part of us. This is the first independent magazine where anyone can take part; we’re open to every resident who would like to share experiences, opinions, photos, and are not afraid to say, “I love Harrisburg! I love art! And I want you to feel the same!” Au revoir. Purpose: Our goal is to create a rich and diverse magazine filled with news, photos, or videos about our city in order to attract new and interesting people to work with us. Our city is so unique and diverse that although our population is less than

fifty thousand, we are comparable in individuality with Philadelphia. In size and artwork, our magazine could suit the citizens of big cities such as New York, Philadelphia, Washington, San Francisco, Chicago, etc. Welcome to your world, resident of the capital of Pennsylvania!

WIKIPEDIA: Harrisburg’s Market Square. Formerly the site of a market in Downtown Harrisburg, today it is a public transport hub and commercial center. Downtown Harrisburg has two major performance centers. The Whitaker Center for Science and the Arts, which was completed in 1999, is the first center of its type in the United States where education, science and the performing arts take place under one roof. The Forum, a 1,763-seat concert and lecture hall built in 1930-31, is a state-owned and operated facility located within the State Capitol Complex. Since 1931, The Forum has been home to the Harrisburg Symphony Orchestra. Beginning in 2001, downtown Harrisburg saw a surge of commercial nightlife development. This has been credited with reversing the city’s financial decline, and has made downtown Harrisburg a destination for events from jazz festivals to Top-40 nightclubs. Harrisburg is also the home of the annual Pennsylvania Farm Show, the largest agricultural exhibition of its kind in the nation. Farmers from all over Pennsylvania come to show their animals and participate in competitions. Livestock are on display for people to interact with and view. In 2004, Harrisburg hosted CowParade, an international public art exhibit that has been featured in major cities all over the world. Fiberglass sculptures of cows are decorated by local artists, and distributed over the city centre, in public places such as train stations and parks. They often feature artwork and designs specific to local culture, as well as city life and other relevant themes.

son’s objection, could not file without the mayor’s approval, and in any event had circumvented state procedures for distressed cities. Instead, a state appointed receiver was to take charge of the city’s finances. Governor Tom Corbett appointed bond attorney David Unkovic as the city’s receiver, but Unkovic resigned after only four months. Later in an op-ed piece Unkovic blamed corrupt influence and disdain for legal restraints on debt for creating an intractable financial problem. As creditors began to file lawsuits seeking to seize and sell off city assets, a new receiver, William Lynch, was appointed. As of July 2012, the City Council remained at odds with the new receiver’s plans for tax increases and determined to seek the protection of the bankruptcy process, while the Mayor continues to oppose bankruptcy. A state law moratorium on filing a bankruptcy petition originally slated to end July 1 is being extended to November 30, 2012. But even after the moratorium expires the law seems to allow only the state receiver, not the City Council with or without the Mayor, to file. In sum, the situation and even who is in charge of the situation, remains unresolved as of this writing ( July 2012) Author: LEMS BELKA

21st Century Fiscal Difficulties, Bankruptcy, and Receivership Aerial view of Harrisburg Missing audits, convoluted transactions, including swap agreements make it difficult to state how much debt the city owes. The best estimates put total debt over $1.5 billion which would mean that every resident would owe $30,285. These numbers do not reflect the debt of the school system ($13 million deficit expected for 2012), or unfunded pension and healthcare obligations. The heart of the city’s financial woes is the trash to electricity plant, the Harrisburg incinerator that was supposed to generate income but instead, because of increased borrowing, has a debt of $320 million. On October 11, 2011, the City of Harrisburg filed a Chapter 9 bankruptcy petition in the United States Bankruptcy Court for the Middle District of Pennsylvania. Judge Mary France dismissed the petition however, because the City Council majority that filed it over Mayor Linda Thomp-

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Author: CHRISTINE KELLEY

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Author : ROLAND BARTHES BOOK : “Extracts from camera Lucidia”

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ne day, quite sometime a go, I happened on. a photograph of Napoleon’s youngest brother, Jerome, taken in I852. And I realized then, with an amazement I have not been able to lessen since: “I am looking at eyes that looked at the Emperor.” Sometimes I would mention this amazement, but since no one seemed to share it, nor even to understand it (life consists of these little touches of solitude), I forgot about it. My interest in Photography took a more cultural turn. I decided I liked Photography in oppositionto the Cinema, from which I nonetheless failed to separate it. This question grew insistent. I was overcome by an ‘ontological’ desire: I wanted to learn at all costs what Photography was ‘in itself ’, by what essential feature it was to be distinguished from the community of images. Such a desire really meant that beyond the evidence provided by technology and usage, and despite its tremendous contemporary expansion, I wasn’t sure that Photography existed, that it had a ‘genius’ of its own.

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ho could help me? From the first step, that of classification (we must surely classify, verify by samples, if we want to

constitute a corpus), Photography evades us. The various distributions we impose upon it are in fact either empirical (Professionals / Amateurs), or rhetorical (Landscapes / Objects / Portraits / Nudes), or else aesthetic (Realism / Pictorialism), in any case external to the object, without relation to its essence, which can only be (if it exists at all) the New of which it has been the advent; for these classifications might very well be applied to other, older forms of representation. We might say that Photography is unclassifiable. Then I wondered what the source of this disorder might be. The first thing I found was this. What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially. The Photograph is never anything but an antiphon of ‘Look’, ’‘See’, ‘Here it is’. It points a finger at certain vis-avis, and cannot escape this pure deictic language. This is why, insofar as it is licit to speak of a photograph, it seemed to me just as improbable to speak of the Photograph.

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CITYSCAPE

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COVER

PHOTOGRAPHER: LEMS BELKA

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ILLUSTRATION: DARIA BEDRIK

CONTENT

PHOTOGRAPHER: MIAH SONG

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DESIGN: LEMS BELKA

DESIGN and IDEA: LEMS BELKA

PHOTOGRAPHER: MIAH SONG

WRITER: LEMS BELKA

EDITOR: CHRISTINE KEL

PHOTOGRAPHER: MIAH SONG

PHOTOGRAPHER: KEVIN CULHANE

WRITER: CHRISTINE KELLEY

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PHOTOGRAPHER: RANCE SHEPSTONE

PHOTOGRAPHER: KEVIN CULHANE

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PHOTOGRAPHER: RANCE SHEPSTONE

PHOTOGRAPHER: KEVIN CULHANE

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PHOTOGRAPHER: RANCE SHEPSTONE

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RITER: CHRISTINE KELLEY

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CELEBRATE HARRISBURG


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CELEBRATION OF HARRISBURG Author: LEMS BELKA

Our idea is to inspire people in Harrisburg to take action in promoting positive propaganda, to be excited by the times we are living in and to celebrate our diversity and originality. In other words: to share and express our talents with the city, whether your craft is jewelry-making or storytelling, we all have something we are passionate about and can help to make our city a better place to live. We are here to highlight the positive aspects of Harrisburg; in this issue of Only Harrisburg all content including photographs, drawings, stories and poetry are by the citizens of Harrisburg! We present to you a beautiful city that sits right beside the Susquehanna River, a capital that’s architecture is inspired by the ancient Greeks, and a farmer’s market that offers locally grown fruits and veggiesas well as exotic made-to-order dishes by local food artisas. Not to mention Midtown which is becoming a landmark for the art community. The Midtown Bookstore has free events everyday, including poetry readings, live music, and art in The Yellow Room Gallery. We promote some of these businesses along with other smaller communities like The Makespace, which is an art collective in uptown that truly defines the word originality. These five artists of The Makespace have taken over a building, gutted it and poured their sweat and blood to birth a unique establishment where they hold a multitude of different events. Already there are people making efforts to share their talents, but still people seem to be “bored” rather than inspired, which is understandable when you are looking at the glass half empty instead of half full. It’s time to look around and change the way we see the city, each other, and ourselves. To know our true potential that each of us have the power to create, imagine and play in the world we wish to see, to take that dream and make it a reality. Imagine all the abandoned buildings being taken over by artists, to have art everywhere and have Harrisburg steeped in beauty. We are the people and our city is our responsibility. We hope this

Contact us at OnlyHarrisburg@gmail.com

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first issue of Only Harrisburg puts a flame in your heart and inspires you to take initiative to create, whether that’s by coming to a community event and sharing your presence or painting on an abandoned building’s wall. We all have an unlimited amount of potential to offer and it’s now or never.


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PHOTOGRAPHER: MIAH SONG

WRITER: LEMS BELKA

DESIGN: LEMS BELKA

EDITOR: CH

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RISTINE KELLEY

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INCINERATOR Author: CHRISTINE KELLEY

Ash reigns down — In grey frozen guise— snowflakes — Memory-burn of a carcinogen mountai — Produced from incinerator’s throne — Onto the broke Sepulchral City. Dreams—cremated— pollute the air — Generating resentful heat That can’t power. Albeit frustration— fires with force — Wounds illusions Like packs of smoking guns.

Let’s turn from Phoenicia to Carthage And rise from the soot nest To breathe air without debt, To dream grinning broad storefronts, Safe streets that prosper, And create till our city cries, reborn!

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JANUARY 08. TUESDAY. Today, I woke up early and went to the Midtown Scholar Bookstore to finish the magazine’s design. I decided I would write something inspiring about Harrisburg to lift myself and others’ mood, so that when someone reads this article, they will feel moved. With that in mind, I biked through Green Street. It was a very sunny and fresh morning; such a wonderful climate! Nothing could be more beautiful than wintertime in this city, especially given that I emigrated from a Russian city on the Black Sea—where the winters are very cold, and the summers, unbearably hot. As I drove past the Salvation Army on Green Street, I saw a very old man lying in the middle of the road. His cane was about two feet away from him. On his other side laid his watch, and he, moving from side to side, could not get up. Honestly, it looked a bit as though he was a very old cockroach. I threw aside my bike and ran to help him. At first, I thought he was drunk and that it was his own fault—but I could not pass by—even if it was merely caused by a morning hangover. Around the old man were people who seemed very busy people. Nearby were five burly men—probably construction workers—unloading a truck; on the other side, a strong man was washing his car. They all behaved like nothing was happening, and even after I tried to lift

the old man by myself, they continued pretending that they had seen nothing! Yet, I realized that I didn’t have enough power to lift him, so I went right up to the builders and asked them to help me. With surprised faces, they looked at me and asked if the old man was OK, like they had not seen anything. “He’s fallen to the ground and cannot get up; I can’t lift him.” “We should call 911,” they replied. “We don’t have anywhere to call! You just need to lift the old man.” And the builders came to the conclusion that this was not a bad idea. Once we had helped pick the man up, they again suggested I call 911. Then left. Walking along, holding the old man’s arm down Third Street, I suddenly asked, “Why did you fall?” And he gave me a simple answer: “Two guys pushed me for fun!” At the Midtown Scholar, he decided to continue alone for his nursing home, and I left him to enter the bookstore. I wondered—since someone must have seen that man fall—why did he or she continue along pretending that nothing had happened? What sham has enabled us to exist without compassion? When did we cross a threshold where we became part of the hypocrisy of our culture, that when we see brutal occurrence, we continue to pretend that nothing has happened!

On some level, we seem to have developed immunity to meaningful values. Because not only do we pretend that we see no violence, but we pretend that it will never touch us! We imagine we are perfect, that we are good people doing our best to remain on our own level—while in the meantime—our bodies age, our cities turn into ghettos, and our community problems are so obvious that, in reality, we are causing passive violence by refusing to confront active violence! Instead of learning to empathize and think, our hearts and brains have become organs that support TV shows, magazines and scandalously huge sales. Next time: pick up the old man, when you see him fall. Stop to be kind, citizens of Harrisburg!

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ONLY HARRISBURG MAGAZINE : MIDTOWN

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Author: LEMS BELKA

Freedom is a human reaction to the world. Freedom can be loved, can be an emotion, something worth fighting for, but that does not mean a thing if you lust after material things, if you sell out. Freedom cannot be bought, won in the lottery, or even imposed. Within each of us is a sense of freedom that does not physically exist; not all people are the same in what they do, what kind of lifestyle they live, and what heights they allow themselves to reach. But there is a powerful tool that encourages the birth of freedom - it self-expression through art, the skill of making things. Street art is one of the richest intsruments used to birth freedom and beauty, and so it is always

bright, unselfish and has a great power of attraction. The freest cities in the world consider street art as culture, and therefore, the most liberal cities are those that change the history of the world and continue civilization. They are born to be free. They who raise their hands and say, “We went out to paint the walls of our house where we live. Give us this freedom - to be free!!� LOVE ART. LOVE PEOPLE. LOVE YOURSELF.

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PHOTOGRAPHER: MIAH SONG

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PHOTOGRAPHER: LEMS BELKA

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PHOTOGRAPHER: MIAH SONG

EDITOR: CHRISTINE KELLEY

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PHOTOGRAPHER: LEMS BELKA

EDITOR: CHRISTINE KELLEY

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PHOTOGRAPHER: MIAH SONG

PHOTOGRAPHER: KEVIN CULHANE

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WRITER: LEMS BELK

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PORTRAITS

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Harrisburg Pennsylvania Yester Year Circa 1964 Harrisburg Pennsylvania, our capital city, has been a city on the move for many years. My fondest memory of Harrisburg was the Balloon Parade, which today is now called The Holiday Parade. I began Baton and Dance instructions with Gail's School of Baton and Dance approximately at the age of five. Approximately at the age of 10 years I was informed that I would be twirling in the Annual Balloon Parade in Harrisburg, Pennsylvania. The day of the parade, my Father and Mother accompanied me to Commonwealth Avenue where the parade was about to begin. There were approximately 70 bands from Harrisburg and the Greater Harrisburg Area, many other parade participants, and of course over 75 Holiday Balloons ready to perform for this great event. Now, as a resident of Harrisburg and the Founder of a new Foundation of the Romano Arts, I love to watch each year our City's Holiday Parade. My memories go back to the days of Mom, Dad, and Miss Gail's School of Baton and Dance. Author: MARYANN ROMANO FLICKINGER

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Author: CHRISITNE KELLEY

Among my dearest childhood memories, like reels flickering from old home videos stored on my mind’s dusty shelves, were weekend trips to Strawberry Square with my dad and sister. On Saturday afternoons in February or March—when it was either too cold or not quite snowy enough to play outside—my father would load us into the car. The three of us would chatter with excitement. Our only regret— as my sister, Kathleen, would always point out—was that the square was not actually strawberry in color. Other than that, the crème building held charm reserved for carnivals or amusement parks—it was an extraordinary place where our expansive young imaginations could be unleashed. We were duped into educational fun, and none worse for the trick. Plus we got to spend the whole day with our dad. You see—back then—our Whittaker Center was not quite a gleam in its founder’s eye. Harrisburg’s museum of science was hosted within the city’s miniature mall. I’ll never forget the hours spent focused in wonder at the planetarium lights. Such glorious darkness! The night sky captured within a dome—stars cutting through the ceiling—a rotating, precise sieve producing the illusion—each moment spins now through nostalgia, that delicious ache, for me. That hour long tour through our earth’s limited range of universe, without doubt, was my favorite part. Kathleen loved the animal habitat. Though the image is hazier for me: I remember black tunnels resembling caves and taxidermy animals prowling the synthesized forest. Other exhibits were based on physics! Physics! But they managed to make the bane of college students’ lives fun. Those long winter afternoons were spinning, magical, whirring tributes to the awesome power of science. At the entire museum’s end stood a wall which captured each tiny handprint’s heat on the wall—a rainbow. Imprints now faded. Afterward, our dad would buy us ice cream at the food court; that was his treat for the day. Sitting in plastic seats at a plastic table, we would all savor our mint-chocolate chip, peanut butter cup, or vanilla frozen scoops in cones and dishes. We’d stare at the shops; watch the people. At each quarter hour we’d wait for the stories-high clock to wind through its Rube-Goldberg sequence. And it never failed to arrest our short attention spans. Through the years the colors faded, the gears spun more slowly, but watching always remained the ritualistic denouement for our trips. Now I’m not so sure if that old clock maintains its hypnotic allure—we’ve both aged—and I haven’t seen the timepiece in years. What impresses my adult self is how the Whitaker Center manages to stimulate the child within me. No, it’s not my science center from childhood—it’s an improvement—though they should have kept their planetarium. An unfortunate loss. Nonetheless, our Whitaker Center attracts world-class exhibits: Titanic artifacts for one. Remember the popular Body exhibit? Every major U.S. city had plasticized human corpses on display to demonstrate aspects of our bodies’ complex machinery. Harrisburg had our very own! I remember, as a teenager, perusing the exhibit—snickering at shriveled penises and gagging at bisected breasts—half in cheer, half in horror. Actually, I was conned into attending by my friends. They did not tell me it consisted of real human bodies! When the reality became apparent to me, I was seized by grotesque hilarity, you know, if you don’t laugh you cry sort of thing. By the time we finished touring the odd morgue, however, the impersonal, scientific approach to the wonders our bodies contain, left us in awe. Harrisburg’s educational center had done it again, and to its credit, teenagers are more difficult to impress with science. And so change makes its impact. Strawberry Square could never have housed the wonders contained within our Whitaker Center. True, my childhood memories were sacrificed, but they still exist within me. Now we have IMAX. We are progressing as a city, as a whole. In spite of our current financial issues, all Harrisburg has the inner human drive to greatness. I personally believe that the Whitaker Center is a fine example of our potential. From its example, we should continue to dream into the future.

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Martin Luther King 1963 WASHINGTON.D.C

I say to you today, my friends, so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed: “We hold these truths to be self-evident: that all men are created equal.” I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood. I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice. I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character. I have a dream today. I have a dream that one day, down in Alabama, with its vicious racists, with its governor having his lips dripping with the words of interposition and nullification; one day right there in Alabama, little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers. I have a dream today. I have a dream that one day every valley shall be exalted, every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight, and the glory of the Lord shall be revealed, and all flesh shall see it together. This is our hope. This is the faith that I go back to the South with. With this faith we will be able to hew out of

the mountain of despair a stone of hope. With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one This will be the day when all of God’s children will be able to sing with a new meaning, “My country, ‘tis of thee, sweet land of liberty, of thee I sing. Land where my fathers died, land of the pilgrim’s pride, from every mountainside, let freedom ring.” And if America is to be a great nation this must become true. So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania! Let freedom ring from the snowcapped Rockies of Colorado! Let freedom ring from the curvaceous slopes of California! But not only that; let freedom ring from Stone Mountain of Georgia! Let freedom ring from Lookout Mountain of Tennessee! Let freedom ring from every hill and molehill of Mississippi. From every mountainside, let freedom ring. And when this happens, when we allow freedom to ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God’s children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual, “Free at last! free at last! thank God Almighty, we are free at last!”

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CITIZEN OF HARRISBURG, HEAR IT! “We can easily forgive a child who is afraid of the dark; the real tragedy of life is when men are afraid of the light.” {PLUTO}

“There is not a liberal America and a conservative America - there is the United States of America. There is not a Black America and a White America and Latino “Any fool can criticize, con- America and Asian America demn, and complain – and - there’s the United States of America.” most fools do.” {DALE CARNEGIE}

{BARAK OBAMA}

“The individual has always had to struggle to keep from being overwhelmed by the tribe. If you try it, you will be lonely often, and sometimes frightened. But no price is too high to pay for the privilege of owning yourself.” {F. NIETZSCHE}

“My advice to you is get married if you find a good wife youll be happy if not, youll become a philosopher.” {SOCRATES}

“My fellow Americans, ask not what your country can do for you; ask what you can do for your country.” { JOHN F. KENNEDY }

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We SHOULD create an environment for donkeys and horses.

my dream is to make our city a cultural center. play the best music, show the best artist. we shouldn’t afraid to be yourself as an art city. I’m working on it. PETER ALLEN

MEISA CHASE

BETTER COLLABORATION WITH SURROUNDING SUBURBS AmanDA OWENS

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We have to legalize marijuana. Here is no comments.

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VOICE OF the CITY


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PHOTOGRAPHER: MIAH SONG

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PHOTOGRAPHER: MIAH SONG

WRITER: CHRISTINE KELLEY

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PHOTOGRAPHER: MIAH SONG

from “Martin Luther King, Jr.” by Marshall Frady

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PHOTOGRAPHER: MIAH SONG

PHOTOGRAPHER: RANCE SHEPSTONE

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PHOTOGRAPHER: MIAH SONG

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PHOTOGRAPHER: LEMS BELKA

QUOTES: www.brainyquote.com


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PHOTOGRAPHER: MIAH SONG

PHOTOGRAPHERS: MIAH SONG, RANCE SHEPSTONE, KEVIN CULHANE, LEMS BELKA, IR

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PHOTOGRAPHERS: MIAH SONG, RANCE SHEPSTONE, KEVIN CULHANE, LEMS BELKA

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PHOTOGRAPHERS: MIAH SONG, RANCE SHEPSTONE, KEVIN CULHANE, LEMS BELKA

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PHOTOGRAPHER: LEMS BELKA

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INTERVIEW WITH LIZ LARIBEE

Tell us, who decided and how to take old building and transform into a gallery. We know that you had a dream and you are happy to have it, but what was the worst thing about this idea, what the most difficulties you had to face? From this vantage point, everyone I know was involved in this process. It started out as six of us (Hanni and Mike Craton, Sam Hathaway, Ian Kanski, Amanda Owens, and I) who met weekly over beers and hammered out what, if anything, was possible to form by way of an art space in Harrisburg. Eventually, we learned what it was like to work with each other. And how to laugh and fight together. The Getting Together Even When We Didn’t Really Feel Like It All The Time time was completely necessary because, by the time opportunity fell into our laps, we had some idea of how to move forward. Once we began the process of renovating the space, waves of support started flooding in. At one point, the entire Tree Cover collective was manhandling wood paneling off the walls while I was trying to put a bandaid on my leg (I… fell through a bad part of the floor. It’s fine. It’s a cool scar.) Then, we added some more artists ( John Destalo, Michael Fisher, Catherine Rios, Shannon Sylte and Leah Yancoskie), and that has enriched the experience a thousand times over and in directions unexpected. Now, we’re up and running. And we have a MONSTER of energy surrounding us. The most difficult part for me is in trying to keep up with the process but let it take its own direction. No question, this is the most fun I have ever had. And to keep it fun, and safe, and fresh, and meaningful, and lighthearted, and hilarious, and helpful, and enriching…. that takes a huge level of energy and time. Some things take longer than others (for example! I was supposed to answer these questions for you WEEKS ago. My bad.) But more than that, it takes a very conscious act of letting other people in on the process. So, I’m working on that. Haha.

In your opinion, do you think that Harrisburg is the right spot for the successful development of American culture. Does Harrisburg potential become one of the recognizable little cities as Taos, NM, Philadelphia (well not really small, but), Memphis, Mill Valley, CA, Anchorage etc. Yes, if only because I believe EVERY spot is the right spot for that. It happened in Harrisburg because that’s where we live, and that also means that it looks a particular way. We’re composed of and reacting to the unique benefits and oddities of being in this place. The energy in the neighborhood art and music scene is really taking off during a time when press about the city is at an all-time low. But, I just think that’s how it works. People get tired of the hard times and start to make better times happen. A lot of it is in knowing what we have and how to work with it: to its advantage, Harrisburg is situated re-

ally well geographically, has outrageously cheap prices for amenities, and is totally charming. And, we’re within a day’s driving distance of some of the best culture on this coast. We’re working toward making use of that.

What do you describe as personal mission and your best philosophical view on things, art and self-expression? Leave things better than you found them. That was how I was raised, and that’s what I hope to remember with every project I come across.

Where can art take people and their city? Do you have a personal ideal of successful galleries or people who take city culture on higher level? I think that the life of a city is completely connected to what its citizens make, and when that identity is lost, that’s when you get a ghost town. A healthy ecosystem has to adapt to changing times and gain new ground in the way it operates. I think a lot about Detroit, which gets a lot of press for how it crumbled after the motor industry collapsed. But these days, Detroit has also been the site of some profound rebirth (everyone look up the Heidelberg Project, please. It is one example of many.) You can still find plenty of news on the hard stories, but that’s not the only kind of story happening. There are people who love it, and, who are staying there. And making it better. That’s what I see happening in Harrisburg as well, and is a very real pleasure to join in on that.

How do you present your gallery to citizens of Harrisburg? Is it an open resource and space to show up with art? How broad are your rules, and do you have limits with the kind of art people try to bring into your SPACE? Haha, that’s an interesting question. By nature, we are a very dynamic gallery. There are many voices contributing, so the sort of culture that happens there is all across the map. We are also very, very new (we have been operational for less than six months), and so we are becoming clearer and stronger all the time. But we’re still growing. All that to say, we are as open a resource as we can be for the limitations that we still face. The goal is to be able to provide as much as we can when we have it. And we’re interested in the process itself being accessible. If you’ve ever been to the MakeSpace, you will immediately notice that it’s a work in progress. Our ceiling is a joke. But part of the experiment is seeing how it unfolds and by what means and from whom. The only thing that ISN’T up for discussion, for me, is our commitment to hospitality. We want everyone to feel welcome. The rules we have in place are meant to provide a level of safety and accountability so that our community can survive.

ONLY HARRISBURG MAGAZINE : MAKE SPACE GALLERY

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So far, can you recall the best project that has happened? It’s really hard for me to pick favorites. Across the board. But, a project that I really loved and felt was completely representative of our goals and mission was this: we took paint that had been donated to us, mixed our own colors, packaged them in glass recyclables, and then had the neighborhood kids give them new names. I love recycling, I love color, I love participation from the community, I love strange names like “blue hoodie” and “joker”. Yeah. That’s my favorite, I suppose.

Share with us your experience of surviving? How many organizations, people, students, teachers did help you and if government support you in a certain way? So many people have helped us! WCI was crucial in attaining property. We have had volunteers from all over: Fresh Roasted Hosting, Messiah College, Tree Cover Collective, the Sycamore House, and a

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countless number of other individuals. der Maennerchor was generous in giving us a little operational funding. Freelance photographers, designers, construction workers, etc. So many people, really. We haven’t yet reached out to grants, but that’s certainly underway. Stay tuned. As far as surviving goes, however, we live very leanly. We split the rent of the space equally among the studio artists, and we all have access to the same resources that are coming in. It’s pretty homegrown that way.

How do you see your future and what do you plan to actualize? The future of the MakeSpace? We are piecing together resources for each stage on the timeline for the creative sector. We started with a literal “make space” and exhibit space. Next, we want to address options for “sell spaces” and “supply spaces”. People need access to market opportunities, tools and supplies for creating things as well. We’re aware of that, and that’s where we’re headed. I’m excited to see how that looks.


If tomorrow Make Space received a sponsor check for ONE MILLION DOLLARS, how are you going to spend the money? Amazing things! First, I may need to start paying myself for directing it. You know. Just maybe. But BETTER than that would be to establish a highly accessible resource center for innovative arts incubation. The sort of center that would allow for access to tools, workshops, supplies, etc. The sort of place that could help someone really pursue a new direction in their craft, launch small businesses, and help solidify a cultural generation in Harrisburg. That’s the sort of interdisciplinary engagement that can drive the nature of doing business, sponsoring education, and living life in a region.

What do you wish to see in town? What is your favorite places or people in our city of Harrisburg?

vorite places in Harrisburg are those that are visibly inclusive to lots of different kinds of people. I worked for Midtown Scholar for a long time, and that’s a great example of that. Sometimes I made coffee drinks for the mayor, members of our staff attended the funeral of one of the homeless guys that always hung out, and so on. I like the sort of place that lets different kinds of people bump up against each other.

Give please one quote about anything.

Be excellent to each other. It’s a line from Bill and Ted’s Excellent Adventure, and I think it’s some of the best advice I know about.

I want Harrisburg to make some bold moves to invest in its schools, get some decent public transportation, bike paths, and prioritize public art I want the city to have an infrastructure that supports a better quality of life for people. My fa-

visit the MAKE SPACE web site at www.hbgmakespace.com

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ONLY HARRISBURG MAGAZINE : MAKE SPACE GALLERY

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Author: JOHN DESTALO

ONLY HARRISBURG MAGAZINE : MAKE SPACE GALLERY

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have a place in this evolution but I began without volition. I have a mind (a soul) but in this body I may as well be rust.

METICULOUS I am cutting cutting cutting cardboard with a razor blade leaving behind no shavings or dust. I am cutting cutting cutting M M M M JK right through the floor. I create an access to the world beneath. 4 L M J K Q K M of the old man M NK isolating me. 4 M N a world that is not divisible.

ONLY HARRISBURG MAGAZINE: MAKE SPACE GALLERY

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JOHN DESTALO

JOHN DESTALO

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PHOTOGRAPHER: LEMS BELKA

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EDITOR: CHRISTINE KELLEY

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PHOTOGRAPHER: LEMS BELKA

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POEMS: JOHN DESTALO

PHOTOGRAPHER: LEMS BELKA

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POEMS: JOHN DESTALO

PHOTOGRAPHER: LEMS BELKA

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ILLUSTRATOR: WHITE COLOR - MAKE SPACE!

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INTERVIEW WITH ARTIST NEW YORK / HARRISBURG

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Martin, what is the difference between real artists and real mazafaker (MOTHERFUCKERS?) who works only for their own image and popularity? Who are the true artists in our modern world?

rassing not know who the hell they are.

A real artist is someone who produces art...I don’t care if it’s painting, sculpture, digital and graphic design, drawing or whatever. Anyone that can conceptualize a thought and then produce a visual image is an artist. But artists aren’t just painters -- they are interpreters and communicators trying to convey their ideas to the world for all to see. When you look at artists such as Haring, Warhol, Cassatt, and others: they worked hard. They visualized what they wanted to convey and each one of those artists were successful in his or her own style. When we talk about the greatest visual artists in our generation, the JUHDWHVW ZRXOG KDYH WR EH :DUKRO 1R RQH SHUVRQLÀ HG DUW and image like Warhol. His obsession with money drove him to become successful and, in the process, have a reputation that stuck with him and that he played along with. He didn’t care what they said about him. The more you talked about him, the more intriguing he became. It was all perception and he was the ultimate master. But he wasn’t rude, he was gracious.

When it comes to money, anyone can make money creating art. The difference is in what you have to offer to the art world that is different or unique, while separating yourself from the rest. The economy isn’t helping artists, and during a recession, most buyers invest in what I call “safe art�, artists that are established or well known. So right now it’s really tough for many local and up and coming artists to sell their work. Through the accessibility of the internet, there are other opportunities today for artists to make money creating art, including licensing, where someone can license your work and sell it to a vast audience. For some artists, Ebay can be a viable way to sell their work. But I caution anyone selling on Ebay because of the exchanges of money on the internet, security and so forth. It’s not hard once you know how to do it but it may not be for everyone.

How do you think artists can make a lot money creating art?

You previously mentioned group projects, what was your best joint effort and what did you guys accomplish?

Can someone be a professional artist and make art as a career? No. Art is not a job. I hate when people call art a job. We don’t get paid enough to constitute this as a job. If you quit your job and buy art materials and paint to make money, you better go beg for your job back right away. Art is a passion. It is my passion that has kept my studio open every month for the last ten years. There are times when things are JUHDW À QDQFLDOO\ DQG WKHUH are times when things are not so great. Having said that, yes i think you can be professional. As a matter of fact, you better be professional about your work, because if you’re not, you won’t last long in the business. When I worked at 2ND Floor Gallery in Mechanicsburg a few years back, I helped curate an exhibit, and I was astonished to see young artists bringing in pieces without frames, or wires, and still wet. One college student brought in a large piece of charcoal on strathemore paper and wanted me to put a thumb tack through it. How are people to take you seriously when you don’t take your art seriously? I don’t consider an artist to be an occasional artist. You either are an artist or are not an artist. There is no in-between. And, if you are an artist you better study the artists who came before you, and not just the ones whose work you copy. At some point, you’ll be in an exhibit and someone will inquire about your work or refer it to a famous artist, and it would be embar-

I’ve been been blessed to work with several accomplished and non-accomplished artists on many creative projects. The one I enjoyed the most was working with another artist named Martin Matos aka Spec 5, in Queens NYC, when we designed the concept for the Board of Education in NYC. The school JHS 125 allowed me and my art partner to come up with concepts we thought were relevant to the times. Very seldom did they object to any of the components we had in the actual concept. The end result was a huge mural in the school yard, where many kids were able to participate with guidance and structure from Martin Matos and myself. There were other group projects of FRXUVH EXW WKDW RQH VROLGLÀ HV ZKDW D JURXS RU LQGLYLGXDOV ZRUN ing together can accomplish. I think part of that was we had a passion to create and we both put our egos aside. Many artists cannot do that today. We can’t even get them in a room to talk much less create massive group projects.

visit Marin Velez web site at www.twistedfables.com

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know how to do it but it may not be for everyone. You previously mentioned group projects, what was your best joint effort and what did you guys accomplish? I’ve been been blessed to work with several accomplished and non-accomplished artists on many creative projects. The one I enjoyed the most was working with another artist named Martin Matos aka Spec 5, in Queens NYC, when we designed the concept for the Board of Education in NYC. The school JHS 125 allowed me and my art partner to come up with concepts we thought were relevant to the times. Very seldom did they object to any of the components we had in the actual concept. The end result was a huge mural in the school yard, where many kids were able to participate with guidance and structure from Martin Matos and myself. There were other group projects of course, but that RQH VROLGLĂ€ HV ZKDW a group or individuals working together can accomplish. I think part of that was we had a passion to create and we both put our egos aside. Many artists cannot do that today. We can’t even get them in a room to talk much less create massive group projects. Why is it important to collaborate now more than ever, And if you have the opportunity to collaborate, what would you find disappointing in working with other people? I think collaboration of artists is very imperative to our visual FXOWXUH DQG VRFLHW\ ,W¡V WKH XQLĂ€ FDWLRQ RI GLIIHUHQW WDOHQWV DQG LGHDV WKDW PDNH D FROODERUDWLRQ ZRUN LQ WKH Ă€ UVW SODFH +LVWRU\ has shown us that groups that work together thrive in their community, outside their community and beyond. Unfortunately, too many artists seldom like to work together, many have enormous egos or possess an animosity against another creative individuals. It can be very chaotic and infectious sometimes. Many artists are all about, me, me, me. What is

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really sad about this, is that those individuals are forgetting one important aspect. The original creation and uniqueness that people bring into any collaboration is a huge factor because there are so many incredibly talented artists here. I am amazed at the vast talent. But because of egotistical attitudes, I would be very cautious about working with certain individuals. But if we can get the artists in Harrisburg to put their differences aside and leave the egos at the door, we could accomplish many beautiful and creative things not seen since the Cedar Bar artists in Cedar Tavern in New york City. The last advantage to a wonderful collaboration is networking, every artist not only brings his or her talent EXW DOVR WKH SHRSOH DURXQG WKHP WKDW DUH VRFLDOO\ LQà XHQWLDO respected, and socially connected to have the means to assist in the accomplishment of any project. You’ve mentioned drug use before, how did drug use affect your experience in art and in your life? I started doing drugs at the tender age of QLQH 7KH À UVW WLPH , was at my cousin’s house and one of my cousins was upstairs smoking weed, and he gave me a few hits. I remember my other cousins were mad at him because they knew I would not be able to handle it. My father was really suspicious about something going on, but he never found out. But then as I got older and began exploring with JUDIÀ WL , IRXQG PDQ\ people in the neighborKRRG OLNHG P\ JUDIÀ WL 7KLV enabled me more practice time putting names on paper for one, and also the opportunity to create jacket art. When people did not have the funds to pay me for my art, they would pay me and my friends in drugs, or booze, which of course we would never say no to. I was doing all sorts of drugs after a while. I began combining shit. Coke, weed, angel dust at WKH VDPH WLPH RU GLIIHUHQW VKLW OLNH VQLIÀ QJ VSUD\V OLTXRU DQG free-base... I didn’t care. I was on a path to self-destruction and I was eager to die. All i wanted to do was be an artist, and felt my chances slipping away.

ONLY HARRISBURG MAGAZINE : INTERVIEW with MARTIN VELEZ


Tell us about you childhood in New York city? Why was it awful and how did that affect your life in Brooklyn? Abuse was common in my household. If my father went to the bar to drink on any given day, we could expect to get beaten at anytime when he got back. So as kids we would hide most of the time, which coincidentally, set him off. But it was hard to tell young teenagers not to be afraid of the intoxicated man. So this became unbearable for me, and I was tired of it. I had already made my choice to escape a few months before, but he tracked me down through the use of the NYPD. When they located me, my estranged mother told them that I was being abused, but by then I had no marks on my body. So the police forced me back under duress, but inside I felt I’ve have had enough, I felt either he was going to kill me or I was going to kill him. I stopped caring anymore. One of the last times he went on one of his tirades and started beating up my sister, I grabbed the big kitchen knife to stab him. My brothers stopped me and my older brother threw the knife in the sink just as he turned to look behind him. By then my siblings were equally tired of his bullshit, but none of them had the balls to do anything. My father stood there staring at us, and we stared back. He always referred to himself as the big bull of the pen but I think he began to realize that the little bulls had had enough of the abuse. He came home that night without incident. He also changed his tactics and he began to stalk us separately and individually. My spirit was dying and I felt something had to happen. I knew my sister was being sexually abused too, but she wasn’t talking for fear of reprisal. He took my art from me and I felt he was taking my life and my spirit. In some weird fate he died in front of all of us, and we watched him die. We all split up after that, and my young brother and I moved to Woodside, Queens to be with my biological mom. It was in Queens that I met my sister’s boyfriend SHY 147 and he WDXJKW P\ DERXW *UDIÀ WL You’ve mentioned drug use before, how did drug use affect your experience in art and in your life? , VWDUWHG GRLQJ GUXJV DW WKH WHQGHU DJH RI QLQH 7KH À UVW WLPH , was at my cousin’s house and one of my cousins was upstairs smoking weed, and he gave me a few hits. I remember my other cousins were mad at him because they knew I would not be able to handle it. My father was really suspicious

about something going on, but he never found out. But then DV , JRW ROGHU DQG EHJDQ H[SORULQJ ZLWK JUDIÀ WL , IRXQG PDQ\ SHRSOH LQ WKH QHLJKERUKRRG OLNHG P\ JUDIÀ WL 7KLV HQDEOHG me more practice time putting names on paper for one, and also the opportunity to create jacket art. When people did not have the funds to pay me for my art, they would pay me and my friends in drugs, or booze, which of course we would never say no to. I was doing all sorts of drugs after a while. I began combining shit. Coke, weed, angel dust at the same WLPH RU GLIIHUHQW VKLW OLNH VQLIÀ QJ VSUD\V OLTXRU DQG IUHH EDVH I didn’t care. I was on a path to self-destruction and I was eager to die. All i wanted to do was be an artist, and felt my chances slipping away. What do you know about life 100%? I know for certain that nothing is ever certain. Life has taught me that nothing will last forever, and no matter how hard you try, things will never be the same. So adapt and change or be swallowed up by your ego and be forgotten by the world. The world moves on with or without you. What do you believe more than anything else? #1. No matter what your profession is on this planet, always be loyal. I believe that if you are loyal, great things can happen and people will be loyal to you. Maybe not initially, but in time you’ll see results. But you must demonstrate that you are loyal to others and you do that by becoming available when someone needs something. Now obviously, you can’t attend every function and every event or donate your time to every single organization and individual. If you say you’re going to do something or be there, you better be there. Even if you are not a 100 percent. Because people will remember. Case in point, many years ago I was working with a designer who was released of his duties at an event, and as much as I wanted to be a part of that event, I felt compelled to stand by the designer, despite really needing WKH À QDQFLDO VWDELOLW\ , PDGH WKDW FKRLFH , VWRRG E\ WKDW and possibly hurt my chances with other individuals, but I was loyal to the designer, and because of that loyalty, other possibilities were opened.

Have what to say, artist? mailto: lemsbelka@gmail.com

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#2. Be true to who you are. Be yourself and don’t try to be something you are not. If you are phony, it’s a matter of time before people know about it. The same could be true of how you treat people. If you’re an ass, then you have to be treated like one. I don’t have time for the bullshit anymore. That’s why when I hear something negative about someone, I make my own assessment of who they are, and not from what I hear. First impressions don’t mean a damn thing. I know from experience because I suffer from IBS, so in the past I would leave a meeting or something important to take care of my stomach pains, and I’m sure people thought I was an ass for leaving hastily. I’ve learned to control it more with time so those incidents don’t happen, but even I have my moments. #3. Give credit to those who deserve it. Don’t be a dick. Give credit when it’s due. Especially when you don’t pay, nothing is ever for free.

gain access or move up in society, others to move XS Ă€ QDQFLDOO\ )RU PH , GRQ¡W OLNH HPSW\ SURPLVHV , feel if you’re not doing something with me, please be sincere, and don’t lead me on about doing a project, or hiring me for a project. It makes you look bad. This goes back to what I said earlier about loyalty. I am very loyal which could be my downfall, too. I would probably never stop collaborating, but just makes me cautious. Don’t get me wrong. I really love people. I truly love them.

How often do people betray you? People by nature will exploit and betray anyone at any time. It’s what we do as humans. However, there is an unwritten rule, at least there used to be one, that said you don’t betray another artist. Some artists don’t conform to those rules. And to be honest, I hate conforming to any rules myself. The difference is the lack of respect artists have for each other. Some people do it to

ONLY HARRISBURG MAGAZINE : INTERVIEW with MARTIN VELEZ

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