JULY 2014
JULY 2014
6 editors note 4 ver e co onerth credits and details) (cov
hello.
10 music feature may mcdonough & co.
8 hometown heroes yellow 108
16 music cover feature the devious means
14 music article are you experienced
26 beauty crazy, sexy, co ol.
28 beauty brow down
32 fashion editor marcos alleyial
CONTENTS 30 fashion article fitting in. Skirt by Liberated Hearts Fur by Sweetlife Sweater by American Apparel Jewelry by Paradise Metal Art
44 fashion editor ial wet hot amer ican| su 2 | PASTORALE JULY 2014 mm er
53 fashion editorial highschool lover
64 ext issue n e th in
62 horoscope WWW.PASTORALEMAGAZINE.COM
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6444 FLEET STREET, COMMERCE, CA 90040 | T. 888-828-5278 | TRYCOLOREDGE.COM
. CO M/ TRYCO LO RED G E
group
THE DEVIOUS MEANS
photographer PAULIFORNIA
mens grooming
VERONICA CHANEL
hair and make up
ALISHA L. BAIJOUNAS
stylist
SASHA GOLD
stylist assistant
CARINNA GAUDRY
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I (Paul) have been wanting to do a magazine for quite a while now– and now is that time. I love the feeling of going to shows, hearing new music and just being involved in a movement. As a small business owner, I do graphic design and photography. In the last few years I’ve been shooting more fashion and I have developed a serious love for it. I enjoy being around creative people; makeup artists, hair stylists, stylists, other photographers and models – each individually expressing themselves through their chosen art. Mirroring the same love I have for the music scene (within most any genre, really), I love the creativity that goes into writing and performing music. I love the hustle of trying to get fans and working hard to get your hard work out. All of these aspirations and inspirations are to be combined into this magazine as a fusion. We are not a blog but a magazine. We release an issue once a month and you can certainly expect to want to read everything. We want someone to look forward to reading this magazine and to be in the moment; to read an article on your own time, to revisit and gradually engage or to absorb in one sitting. With a magazine format, anticipation and excitement are built. Our commitment to you, the reader, is to make this magazine free and easy for you the reader to access. You don’t have to sign up anywhere, or download and install anything. You don’t have to give your personal information. Just dig in. We will do the rest and we pledge to provide you quality images and content. I dislike the fluff and ass kissing that other publications produce and I want to avoid that completely. We will give you articles that actually matter. Articles that might not make everyone happy but will certainly spark intelligent conversation and thought. Our goal is to take the best things from music magazines like Rolling Stone and Spin and pair them with the ideas of fashion magazines like Vogue, Elle, Bazaar and GQ and make them our own. My co-collaborator, Sasha Gold is a stylist, makeup artist, and hair stylist and brings her voice to the magazine. We met organically and conjoined our vision into this cohesive dream. Every month we want to switch the covers between music and celebrity/ model. You’ll also notice there are some fun little quirks we have in the overall magazine (horoscope and random editor’s notes) that should inspire a pirate smile. While we take this magazine seriously we also take laughter seriously. Our cover for this premiere magazine is The Devious Means, a Southern California band who perfectly embodies who we are. They’re bad ass, fun to be around, and totally talented. We are so grateful for the contributors of this issue and future issues forth coming. We’re very lucky to have such talented authors, critics and friends. We see such a huge potential in this magazine and we can’t wait to hear what you think! Every issue will be available free online at pastoralemagazine.com. -Paul Rivera It’s really happening! We are launching. This is something I (Sasha) have always wanted to be a part of and never thought would actually materialize. Paul has been the perfect accomplice in this venture with his dedication, knowledge of music, and inspiration. I know we are not inventing the wheel when it comes to fusing fashion and music. However, we are filling the non-existent, digital online magazine spectrum, which embraces Indie, artful visuals, and intellect. Fashion is as important as any other art form. And it is art. It is an opportunity for expression, whether it is frivolous, fun, beautiful, or ugly. It keeps being human interesting. It fulfills our conveyance of identity. I established a background in fashion design and obtained my Visual Communications degree from FIDM in Los Angeles. I still treasure my connection to the Pacific Northwest where I’m originally from. I’m into vegan and paraben free products – beauty doesn’t mean compromising ethics or our standards. My constant inner artist battle: beauty or fashion? So to connect the two, I became a licensed cosmetologist, never wanting to fully give up either dream. Finally I can do it ALL by collaborating with some rad fellow artists, writers, and dream weavers within Pastorale. I’m often asked what current inspirations in design I’m feeling at the moment. Presently, I am loving Alexander Wang and how simple and classic his pieces are, yet at the same time seem fresh and new. I adore what Stella McCartney stands for and what American Apparel accomplishes. Of course, like any critic of an art genre, I’m relentlessly enthused by the art of fashion and my motivations continually build off of each other or develop. I am eager to be moved by our writers who have already offered new, insightful concepts and ideas that will certainly inspire my own direction. We hope you like what you see and if you think it can be better, please tell us your views or submit your work and contribute yourself. Thank you so much for taking the time to check us out.
publisher PAULIFORNIA
editors in chief PAUL RIVERA / SASHA GOLDENBERGER
managing editor ANTOINETTE MATHEWS
editorial assistant JACKIE SUEHR
creative director PAUL RIVERA
fashion director SASHA GOLDENBERGER
music director PAUL RIVERA
editorial contributors VINCE PHUNG, COREY MANSKE, RICKIE BOCANEGRA, CARA UNDERWOOD, JACKIE SUEHR, ANTOINETTE MATHEWS, TERRA OLSON
illustration contributors BEN MATSUYA
photographic contributors GABE SANCHEZ, CHRIS VELASCO, PAIGE CRAIG, PAULIFORNIA
Pastorale is an online-only magazine, produced with the intent to unify music, fashion and lifestyle into a congruent publication. As individuals, we all possess a variety of diverse tastes; it is our purpose to mirror these variances and to incite reflection and intellect. We are not a men’s magazine. We are not a women’s magazine. We are a human magazine. Our articles are not fluff. We aspire to produce an experience for our readers, to compel thought provoking opinions and to inspire creativity in all. Collaboration is what makes this special. We are you.
-Sasha Goldenberger 6 | PASTORALE | JULY 2014
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Whether it’s a natural occurrence, or something digital, I call this “Visual Bliss.” The enjoyment I get from looking at something beautiful is extreme.
What lead you to your work in accessories specifically?
words Jackie Suehr photography Paulifornia This issue’s Hometown Hero is head-wear company Yellow 108, based out of Los Angeles, California and founded in 2010 by friends Lauren Lilly and Jody Rollins. They specialize in sustainable hats and accessories from salvaged and recycled materials and are named after the bright color code for the luminous shade of sunny yellow. This small business is spreading their huge ideals in the hopes that both consumers and the industry of fashion manufacturing can begin to view things in a different light. As business owners, they are taking the ecological component of sustainable wares to a new, innovative level. By crafting limited edition, gorgeous pieces, Yellow 108 leaves their fashion admirers wanting more. In the following interview, co-owner Lauren Lilly discusses the organizations intentions of keeping a keen and responsible eye on the future and the current developments of the company.
How did Yellow 108 (or Y108) become a reality for you and Jody Rollins?
(LL) Jody (the other co-owner/founder of Y108 and my current business partner) and I worked together prior to Y108 on another brand. I was the Director of Sales and Marketing and she was the original designer and managed the production. We worked really well together but the office environment of that brand was filled with negativity. Ultimately, that brand went out of business and we both took some time to get back to our vision and passion for our professional careers. Jody slowly nudged me in the direction of collaborating together on our own brand. Once we finally made the decision to go for it (we launched in November 2010) everything fell into place effortlessly. I mean – don’t get me wrong – it’s more work than you can ever imagine, but the difference is, it’s filled with positivity and love. The absence of fear and the presence of trust allow us to continually excel beyond our wildest dreams. Being happy is life changing and each person holds the power to create that for themselves. Each day I think I could not be more grateful, and then the next day comes!
What makes Yellow 108 a truly sustainable brand?
(LL) Y108 is a lifestyle brand. One of the core values we have is connection. This applies to our community, customers, family, and friends. We utilize only salvaged and recycled materials. We manufacture in the country where we salvage our items. We do not dye products. We utilize recycled paper on our hang tags and recycled cardboards for our boxes. We build all our store displays out of salvaged barn wood. We print our entire in-store marketing on recycled paper. We believe that true sustainability is more than just the products we make. Sustainability is something you eat, breathe, live, and do. All points need to be considered, as sustainability is a bigger concept than most humans take the time to realize.
How did you find yourself involved in art and design?
(LL) I have always been interested in art and design from a young age. From taking photography classes at a local junior college while still in high school, to graduating early to attend The Academy of Art San Francisco – it’s always been a dominant part of my personality. It just exists. I love visual composition in general.
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(LL) When we started Yellow 108 we wanted to only create products that were useful in everyday life. Many times, traditional fashion editors would comment that our collection is very nontraditional. And I always responded with, “We are nontraditional people.” In general, we have created a business model that doesn’t exist. We don’t design a product and then find the materials like everyone else in the world. We find the materials that would otherwise be wasted and design a product specifically to re-purpose those textiles. For example, two years ago Whole Foods came to us and said, “We have all these printed vinyl banner signs in stores that are just thrown away, as new signs are printed seasonally.” So naturally, we asked if we could use them. So we took this material, designed a bag that is the size of a brown paper bag. We lined this bag with the vinyl which creates water resistance and structure and made the bag a multifunctional accessory.
Other than the example you just provided, where do you obtain other materials from?
(LL) We work directly with textile mills to take their scraps and discarded materials and re-purpose it into our line. There are four main mills we work directly with and they are located in Los Angeles, Pennsylvania, and China.
In February 2014, Yellow 108 received status as a Certified B Corporation. What does that status mean and how is it important to the philosophy behind Y108?
(LL) The certification from B Corp adds a level of responsibility and integrity that holds us accountable for the commitment we have to our mission and high ethical business standards. The B Corp community is guaranteed to be a positive influence and we are honored to work alongside such a distinguished collective of sustainable companies.
When you design, do you have a vision for who will be wearing the piece/s?
(LL) Yes and no. We are always surprised by our demographic. It’s as broad as it can be. People like a mission and to stand behind something they can believe in. We provide that lifestyle image to our loyal customers. We try to design something for everyone, every head shape, and every type of person.
What is your process when creating?
(LL) For us, sourcing is not only number one, but it also plays the biggest role in what exactly we are designing. Since we are using only salvaged and recycled materials our products are dependent on what we find. We also go into it with an idea of what we would like to create and the materials we up-cycle sometimes change a design, or we get lucky and everything happens seamlessly. In general we are constantly adapting. We are not afraid of change. We make decisions based on what is most ecological, productive, and visually appealing. Our core values and mission are never compromised and we find a place for all materials we save. Salvaged = saved.
What are the current designs you are working on and where do you see Y108 heading in the future? (LL) Yellow 108 is expanding on our housewares category. We are about to launch a Bamboo Cutlery Line which we are very excited about! A few other small surprises are in the works too. In the next year we will be launching more salvaged leather accessories, ties, bow ties, and more bags.
How do you get your wares into the hands of the consumer?
(LL) We launched with Whole Foods Market and since then have grown tremendously through other retailers and our online shop. The word spreads through our social media marketing and word of mouth. A great example: I love to comment to strangers when I see them wearing Y108. I just casually say, “I like your hat!” The most common response is – the person tells me all about this amazing mission based brand in detail. Our customers are a part of our community. This is what makes Y108 so special. It’s the lifestyle, the vibe, the love, and the positivity we are putting out there. People are receiving it and it’s contagious! We love our customers and we exist today because of all the amazing people involved in our everyday. Love and positivity go a long way.
To shop the sustainable, fashion forward looks of Y108 please visit their website or Facebook: yellow108.com & facebook.com/yellow108 HOMETOWN HEROES are Small Businesses, Hand Crafted Artisans, Do It Yourselfers, and Inspirers. Trailblazing their own paths in their community by actually doing something special with their hands, hearts and/ or minds. WWW.PASTORALEMAGAZINE.COM
From left to right: Colin McCarty Lauren Lilly Travis Edson
The key slides into place as May McDonough jiggles the handle to the rehearsal studio located near the heart of Orange, California. Upon entering, one immediately notices a small storage loft with a quaint lounge underneath, adorned by earthtone plastic beads in yellow and brown shades. The room is a clean well-lit space contrary to many band occupied habitats. Every item is clearly placed with care and intent. To the right – a shelf where guitars are neatly hung, to the back sits the obligatory drum set and to the left is an unmanned keyboard. Sound absorbing foam hang on the walls, surrounding the periphery waiting to soak up the art that will be created within. Formally a solo project with a backing band, the group has evolved into an “art collective” working across multiple mediums, from web design to cinematography, to essays. In an era where outside support from labels is all but nonexistent, May McDonough & Co.’s D.I.Y. approach empowers the band-mates, all while maintaining creative freedom and control in the chaotic industry. After much prodding on our end, the band, consisting of May McDonough, Lo Schmitt, and Rusty Huber proceed to play us a few live tunes off their newly released full-length album, Bullyboywithaglasseye. Psychedelic distorted bass fills the air over meat-and-potatoes drums that laid the foundation for the swirling delayed guitars and seductive, yet equally scornful, lyrics. Shortly thereafter, the band takes us to one of their favorite local eateries called Chili Pepper, to discuss the album.
Initially, Bullyboywithaglasseye was supposed to be an EP, right? (Rusty Huber) Yeah, and there was supposed to be this journey – transitioning from this jazzy, soulful interpretation to a more psychedelic-based Beatles and Harry Nilsson, and then… (May McDonough) Then it took a punk turn. (RH) Yeah, and it’s because that’s when I actually took over bass; after former member Xavier Cabrera’s departure from MM&C. We stopped auditioning other bass players, I took over bass, and the three of us are actually creating music in our main period, our developmental time becoming musicians was back to punk exclusively. No jazz, no nothing. It was just punk. I think that we naturally reverted back to that kind of a thing. (MM) Yeah, something more raw. (RH) But we kept all of the psychedelic and experimental things, which hopefully you hear manifest in the album. (MM) The album turned out to have a pretty strong sense of self.
On the new album is there a central theme?
(RH) There are a couple of main themes. (MM) The strongest theme that runs through it is the concept of just kind of removing the power of the symbolism that we as a society give to things like hell or religion or good and evil and all those things. The album has Buddhist chants in it. It has a lot of references to lots of religions, not with any intention to make a mockery of anything but rather to just kind of point out that perhaps we as a society, take these things a bit too seriously and that our focuses are kind of skewed. (RH) I had always kind of looked at it, just like, how much ritual and superstition and religiosity is a part of all modern culture – and I think it’s natural to discuss; this is mostly what the three of us talk about when we’re just hanging out together and not focusing on music. We still take for granted these huge mental constructs that are relatively arbitrary and oppressive and treat them as if they’re some kind of dogma that must be adhered to, like it’s a command from God or something, you know? Especially on our political and cultural landscape. (Lo Schmitt) My mom was Presbyterian. I went to a private school from first grade through high school. My first grade was a class of 20 kids, same 20 kids, and then yeah…. very, very, religious upbringing. (MM) I grew up thinking that I was in a religious household because the word God was occasionally used. There were definitely some rough things in my childhood, and my mother would bring up God in the sense that she would say, “God has a plan” occasionally, but that was about the extent of it. I then followed my best friend into a private Christian high school and was blown away by the culture because I thought that I was being raised as an average Christian and instead, found out that there was a much different culture than I was used to. Every step they took, everything they did, should be a commitment to a God. (LS) We prayed in every class.
(MM) Every class. It really blew me away. It was culture shock for me and I realized that when we’re talking about America as a society and America being kind of the police of the world, America is so intertwined with this Christian society, it made me suddenly have this new consciousness of what it really meant that our government was dictated by Christians. (RH) I think that you’re actually stumbling on something really interesting. I was thinking about the differences, because I grew up Catholic as well, and there is no such thing as an evangelical Catholic. Catholics are like Jews or Buddhists. It’s just a part of their full culture. It’s something that there’s this mythology, and it’s a part of your family and a part of your tradition, but it’s not like, this other separate thing that you have to make everybody believe and everything. (RH) As Americans, even as atheistic Americans, I think a lot of people are very evangelical about the American corporate capitalist economic culture.
How do you think American culture placates to God in schools? (LS) Every time I went to class, it was, no matter what reflected in every subject. Like in history, it was like, “This guy believed in God and this guy believed in God,” and in math it was like, “Isn’t it awesome how these numbers reflect God?” Science was like, “There were no dinosaurs.” Um, yeah, if you say so! (RH) In science, just silence. (MM) If you have a question that they can’t answer spiritually they have almost like, a second set of dogma that doesn’t exist in any of their doctrines. As if these answers that everyone repeats and throws around like they come out of their own doctrine, like the Bible. Those answers aren’t there and yet they profess them. I don’t want to be offensive, but my first year in that high school I felt like it was cult-like because I hadn’t been exposed to extreme beliefs before. Passion is an extremity and whether good or bad, it is with that sort of intensity. The long and short of it, is that we were all very affected in very different ways by our different forms of exposure to religiosity. I don’t know, I think it’s so funny, even the album artwork. Rusty has these almost Sataniclooking figures, but they’re giving different hand symbols like the “Live Long and Prosper” from Star Trek. (MM) They’re giving these kinds of silly farcical hand gestures. (RH) In essence we just wanted to play with that. (MM) Just move the power from the symbols. (LS) And we value people’s experience.
Absolutely. So you did all the artwork for the album? JULY 2014 | PASTORALE | 11
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(RH) I do all the artwork for our band. We like to do everything ourselves. We take a lot of pride in that.
You guys describe yourself as an art collective. Obviously, you do design and artwork. (RH) Yeah, but everyone gets to consult a little bit in that process. (MM) There was a time that we were doing podcasts and comedic shorts and other mediums. (RH) Right, which we’ll be re-exploring. (LS) You said art collective and really, it is; we have a community of people that are artistically inclined. That wasn’t the three of us. That was a community of us. (RH) Yeah, Brian Harris, Steve Miles, Brian Pastore…. (LS) We’ll all get together, have some pizza, maybe beer, and we’ll work on this project. (RH) It is a really interesting time to be an artist right now because for the longest time, it becomes all about the advertisement, the selling of a product and some kind of consumer end. Thanks to the internet, it gives a leg up for people to break into a network to work their way up and produce content that everyone can see. I’m starting to notice more of a divide between the people who are focused on the content or making something really interesting. (MM) You’ve got to have constant quality content to even be relevant because it’s such an over-saturated place. The playing field is leveled – but at least it’s leveled. There are pros and cons to that. (RH) I think you’ll notice that too, with local bands; the ones that are really popular and the bands that are making a presence out there. They’ve got video content. They’ve got interaction with the social media. From one aspect that’s just a part of your networking or marketing or developing the business side of your band. At the same time you’re also engaging with a community constantly. You’re getting feedback, and you’re seeing what everyone else is doing as you’re doing things. For a lack of better terminology it’s like a sellout angle and it is actually creating a new dynamic or a new vector in the art community or the music community.
You almost have to do it all, because almost nobody else is at this point. No one’s going to come and magically make music videos for you. (MM) Yah, there are no scouts in the audience. It’s not the 80s.
It’s like if you want a music video, you have to make it yourself because no one else is going to think that’s profitable. (MM) And it’s not. You can’t just be an artist of one medium. I mean, I was looking back at some comedy sketches that friends and I did five years ago. We did it on a camcorder and there is no way in hell that would fly today because even the shittiest DIY projects are being done on quality cameras and being edited at home. We have good affordability now.
With the shortened attention span of the internet era, the internet generation, how do you think that affects you when you make a product like a full LP? How do you get someone to listen from point A to point B?
(RH) My music education started in sixth grade where I was trained on classical, jazz low brass, so trombone, baritone, tuba, and then eventually put trumpet into the mix there too. When I was 16, I got a guitar and bass for my birthday and I played in punk bands until I was 23.
(MM) I believe it’s with video. I have noticed that more people are willing to sit and watch a five minute-long video that is shitty as hell but they’ll listen to five seconds of a great song and go, “I get it,” click. Human beings are just so visually stimulated, especially with the internet attention span that I think the only way to get them to listen to new music by someone they never heard of, is to show them something interesting while it’s playing.
(MM) He joined the band originally as a trumpet player and then –
(RH) That is specifically why we incorporated the video projection into our show. It gives a reason for people to move away from the bar or the smoking patio and look at the stage. The band is no longer the background noise. It’s the soundtrack to this video that’s playing. (MM) It keeps the chatter down a little bit. It seems like people pay more attention. We’ve always phrased it on our website and elsewhere, that we make our music available for purchase. It’s also available for free on plenty of avenues and from our position – if you can buy it, buy it. If you can’t, share it. Preferably do both, but please do one. (RH) Ultimately, people are going to do what they want, and people want to support things that they care about and are interested in. Really, the most important part about the whole interaction between a musician and the fans is that you’re making your music for them. As a musician you want to make it accessible to your fans, and you can connect with them through video and through the social media. The more you become a part of the community, the more they want to support you. I think that’s why crowd-sourcing has become such a huge part of any self-started project, which I would consider a band definitely to be a self-starting endeavor – it’s a startup. We’re digressing kind of a lot. We talk a lot about really esoteric or really heady subjects. (MM) For perhaps as cerebral as they sound, they literally do apply daily to what our life is and the experience of being a musician. I don’t think at this point … like I wrote that letter to the RIAA, I don’t necessarily think that people should have to pay for music at this point. I think it would be ridiculous to fight that. I think the RIAA needs to get with the times because it’s a losing battle. It’s an antiquated system we’re working with but nevertheless, I don’t think it’s unfair for musicians to want to be reimbursed. The amount of time and money and thought that goes into this is far more time than the average data entry job, and they’re getting paid minimum wage. (RH) I don’t think it is the consumers of music that’s driving the margin down though. I think it’s really who controls the infrastructure. It’s all of the promoters, the owners of the venues, etc. (MM) They’re doing that because it’s an over saturated market to begin with. There are too many bands. (RH) Yeah.
How was the recording process different this time as a three-piece versus the four-piece plus? Rusty – for you, was it a hard transition from going to bass?
(RH) Gradually professionally speaking.
started
doing
more,
(MM) We spent months auditioning and looking for bass players when we parted ways with Xavier. (LS) Some of the worst auditions ever by the way. Where it was hard to keep a straight face. I couldn’t tell if they were being serious. (MM) Yeah, terrible. It just didn’t click. It was very difficult. But yeah, Rusty won. Three months in, Rusty starts dropping little comments about how he could do bass and I would laugh. I was like, “Well, if it comes to that, you can jump on bass.” I didn’t know he was actually a bass player and one day he actually just grabbed a bass and put it on him and jammed with us. (RH) I think what it was – we played “Hemingway’s,” and the first bass line that I came up with that kind of started moving that song was in the surf direction.
So the album drops May 30th. In what format? (MM) May 30th, digital. There will be CDs in early June. We’re doing vinyl too. I don’t know exactly when that will be released because we’re working with a new organization called Feed Bands and they approached us. They are an organization that basically chooses bands that have produced an album that they really like. Then they press the album to vinyl and pay the band. We’re getting $1500 from them. We retain 100% of the rights, the masters everything, then they give us 100 of them to do with what we please. They have 1000 subscribers and they mail out our record to those subscribers as well.
So this is like a record a month type thing? (MM) Yeah, it’s a subscription. Rolling Stone Magazine, Spin Magazine and a few other magazines subscribe to their service.
Are you guys going to play a slew of shows to promote? (MM) Yeah, we’re going to go on tour. We’re going to be going up the West Coast. Planning on making our way to Seattle; I think we’re going to do a couple days in Portland and then the Bay Area and LA.
May McDonough & Company will be on the road touring the West Coast in promotion of their new full-length record, Bullyboywithaglasseye. The album is currently available on iTunes, CD and Vinyl are to be realeased in July
For more information please visit: maymcdonoughandcompany.com twitter.com/MayMcDonoughCo
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ARE YOU EXPERIENCED?
FULL ALBUM VS. SINGLE B Y :
C O R E Y
M A N S K E
Music, like any art form is of the people, by the people and for the people. It is something that should be shared and enjoyed. Music, unlike many other art forms has been broken down into sugary, bite-sized, homogeneous bits that are available for instantaneous download on many Internet versions of the 99 cent store. Before we get too far along here, please understand I’m not angry, nor do I think iTunes is evil. I am however, a musician with 25 years of being in a band under my belt. I’ve been in bands, writing, rehearsing, recording and performing original material for the majority of my life. My current band isn’t the point of this article. The fact that we’re poised to release our third album and trying to figure out the best method is what sparked this series of aftershock-like realizations. Except for the souvenir, a collector’s conversation piece or the limited edition vinyl, physical product (CDs or vinyl) is nearly extinct in modern music. I heard a friend say his brand new MacBook Pro doesn’t even have a CD slot which assures everything is nearly all digital. Sure, there are those of us that still enjoy picking up rare treasures on vinyl because it will sound better on our turntable than any MP3 found online, but most of what we are buying is old. I admit it. This article isn’t about that. This article is meant to examine what’s currently happening with music being released today and the unfortunate absence of the listener experience. First, I propose a question to you to consider: isn’t it weird that people say they’re a “fan” of an artist/band and yet they only own three singles they purchased or streamed online? That would be like calling yourself a “fan” of a certain sports team and only being interested in the score of one game over the course of a season. That is ridiculous. Digging a few songs or catching one game doesn’t make you a fan in my opinion. I checked the dictionary to make sure I wasn’t delusional. Here’s the definition: Fan noun: an enthusiastic devotee, follower or admirer of a sport, pastime, celebrity, etc. So what happened to actually being that kind of fan? It’s not as if the cornerstone of supply and demand has crumbled. Forgive me, but Justin Bieber and Nicki Manaj are still recording full-length albums. What happened to wanting the entire album instead of just a couple singles? Has online purchasing become too quick, easy or affordable? I don’t know, but I’ve always wanted the whole album and I’ve always wanted to know more about the artist/band that I was enjoying. Some people think that’s just a musician thing, but I disagree. If that were true, how did Rolling Stone Magazine become so popular? Everyone wanted to see the
I L L U S T R A T I O N
pictures and read the stories. Those articles also introduced tons of artists/bands to music fans eager to hear something new. Those fans, in turn, bought the albums, told their friends and bought the concert tickets. That’s how this is supposed to work. Unfortunately, somewhere along the way - we forgot about the experience. The not-so-long-lost notion of experience is a big part of what is missing from the new definition of “fan.” Pretend that the one thing you loved more than almost anything was baseball. Imagine the smell of the grass, the crack of the bat, the peanuts. Why on Earth would you choose to only experience that once in a while? If money is the deciding factor, remember most ballparks offer cheap-o seats for less than $15. You’d spend more money going to the movies; but don’t get me started on that industry. Again, the $15 ticket to the baseball game would offer an affordable version of the experience you love so much. If scheduling is the issue, with so many games to choose from it would be possible for even the President to squeeze in a game a month – and honestly, you’re just not that busy. I think the experience is what motivates us to budget a few bucks and make the time to do that thing we love. So again I ask, what happened to the experience part of music? Honestly, it’s up to you. Caring about the whole iceberg rather than the tip sticking out of the water is a choice. Silly analogy I suppose, but it illustrates how much of the total picture we are willingly to ignore. The next time you’re previewing songs on iTunes, take a chance. Really, what’s the difference between one dollar and ten dollars? Everything is relative. I’m not suggesting there isn’t a difference between a hundred dollars and a thousand dollars. All I’m saying is, if it’s an artist you think you might really like, spend the extra nine bucks on the experience. Part of that experience is the opportunity to fall in love with a part of a song that wasn’t in that short snippet you clicked on. Part of that experience, is connecting with an artist/band. It’s okay to fall in love with a song, a melody, a lyric, a band, or an artist. That’s the stuff that separates a mere listener from a true fan.
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For me, this debate started at rehearsal as we began asking all the normal questions about our upcoming release: Are we pressing hundreds of CDs? Should we do a limited vinyl run? Will this be digital only? Should this be for sale on iTunes or just through our website? On one hand we were trying to be smart, hesitant to blow a bunch of money and instead, serve our explicit needs. On the other hand, we were trying to keep our fans in mind and serve their needs. That can be a slippery slope. I realized that there is a barrier to entry with consumer products. For those out there uninterested in the listener’s experience, they make that barrier very low. For them it’s a win-win. For you it’s sort of a win-lose because you spend very little, but then suffered because they engineered the experience out of your, well, experience. Then it hit me; we should be trying to share as much of our new stuff with as many people as possible because at the end of the day, our goal is to have as many people possible enjoy the music. Instead, what if we eliminated the barrier to entry? What if we just gave the album to everyone? Hell, no one is going to get rich selling their music (except those that get into the music licensing game) because the true profit center for any working band is their share for performing live and proceeds received from selling merch. Today’s music model basically defines the recorded music as the lure to get people to come to the shows and spend money. I tend to agree with that. Subsequently, by giving the album away in its entirety would magnify the effectiveness of the lure effect. Again, this isn’t about our album. I’m interested in encouraging the music fans out there to take the power back. Seek inspiration through experience. Take a chance on falling head-over-heels in love with music. Feel the exhilaration of discovering something you have never heard before. Explore. Dig deep. Don’t fall for the buying-singles scam. It will rob you of the one thing you wish you had deep down inside. Listening to an entire record will be your compass for which music truly speaks to you and quite frankly, it will also separate superficiality from that which has substance. Some music, known and unknown exists to move, stimulate, and inspire you. Other music was a marketing ploy to trick you into not giving a shit. Take the power back people. Take it back.
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Jewelry on Rachel by Tiffany Kunz
Photography By Paulifornia • Written By Vince Phung • Interview By Paul Rivera • Mens Grooming By V
Veronica Chanel • Hair And Make Up By Alisha L. Baijounas • Stylist Sasha Gold • Stylist Assistant Carinna Gaudry
The new record is definitely a very positive step forward for you guys, it seems like you guys have all of a sudden been dipped in this Southern Baptist Church thing. Is there a new approach? It seems like there is this whole newfound joy, an excitement, maybe some type of a movement within the group. Chris: It’s interesting because the song writing on this is a lot more collaborative than anything we have written. I remember after the first EP being really excited about it. But when I shared it with a friend of my brother’s and he basically said, “Hey, I really don’t like the record very much.” I was like, “Oh, okay.” It kind of took the wind out of its sails, and obviously with more time removed, I realized that we can do better. It’s not that I don’t like some of the song writing on that album, but even when Andy joined the band, between the two EP’s, he was like, “yeah, I like the second one a lot more.” The second album – I felt like it was a step forward and this latest album is even that much more of a step forward. The sound is more cohesive. It’s a further move away from being a pop band and more of a move into being a rock band. In my mind, it’s not terribly original, but I also don’t know what else comes to mind when I think of it. I can see all the influences in it, but I still couldn’t say this song sounds like X band or whatever. For the rest of it just feels kind of different; mature.
From up-tempo fuzzy guitar’d rock songs with bellowing call and response vocals, sultry soul sounds that swing and groove you side-to-side and hip-to-hip, to classic dance beats with the perfect pop arrangement, The Devious Means simultaneously show their artistic diversity while maintaining a consistent aesthetic and voice. They are: Christopher Faris, Jason Mize, Andy Starr McCraw, Rachel Anderson, and Joe Petty. Putting the finishing touches on a new fulllength album, the band speaks with us about finding creative vitality in their songwriting, juggling careers outside of the music scene, and the need to maintain excitement in their live performances.
We’re really stoked to have you in the studio here, hanging out. We want to talk about your new record obviously and other thoughts on the music industry. So digging right in...What is the title of the new record? Chris: It’s untitled at this moment.
Are you guys anticipating the record to be self-titled? Chris: No... [silence] 18 | PASTORALE | JULY 2014
Should we revisit this later? [haha] Rachel: [laughing]Yeah. Andy: We have brainstormed a lot of ideas but it’s hard since the internet informs you that a lot of ideas have already been used.
What’s good is the fact that your band is established. You’re slaying Southern California. You can call it whatever you want. You could call it, “Shit Sandwich” if you wanted to; it’s going to be a good album regardless. Joe: No, actually, I think Frank Zappa had an album called that – shit sandwich. [laughter]
(EDITORS NOTE: Frank Zappa Released “Burnt Weeny Sandwich” in February 1970)
Joe: The year and a half we had been playing with in this current lineup we had produced five songs and in just under two months, we slapped out five more songs. That, I think, was us gelling as a group in a lot of ways, too, and us finding a way of writing very efficiently.
It seems like what you guys are saying is it kind of happened naturally, but under some heavy expectations. Andy: You get into a mode. There’s rehearsal for shows and that’s a very clear mindset as it’s creative, but not in the way that you’re trying to write. It’s creative in how you’re going to present these established songs that you’re familiar with and you’re not trying to write any parts. It’s just how do we make this interesting, to fit all these pieces together in a way that people love it versus the total other end of that spectrum for me, at least, creatively when you’re writing. We played Boomerang twice together before going into the studio. That’s one of my favorite songs on the album as well. I felt like it was easy to do. It’s weird. It has five time signature changes in it and that doesn’t seem that strange; it’s all context. It was easy because, again, I think we all got on the same page – our brains are all locked into writing mode now.
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You would expect a group called “The Devious Means” to be a bit unruly. Surly even. Perhaps villainous in some manner, or at least anticipating a band member having a mischievous cartoony mustache and a monocle. Oh, but how you would be wrong. Orange County’s premiere Indie rock band The Devious Means are known for being courteous, well-behaved individuals with a professionalism rarely seen in the music industry. That is, until they hit the stage where their explosive showmanship is unleashed towards the audience, showing how truly deviant they can be.
Jason: I think we kind of forced ourselves to dig deeper. We were tossing around the idea, if we should do another EP or whatever. Then our producer [Eli Thompson] pushed us to do a full length. At first that sounded daunting, but then all of a sudden we found ourselves digging to deeper places and it seems like, songwriting was happening very quickly and getting even better. The pressure really pushed us to elevate what was already there. Some of the songs weren’t even done by the time we got to the studio, which was bold. It was a love/ hate relationship. It was incredibly stressful because you’re battling the clock and all sorts of other factors but at the same time, I think those songs are some of my favorite songs that we produced. I think we were forced to go beyond what we felt we were capable of doing. Having someone set that bar that high for us was really helpful.
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JULY 2014 | PASTORALE | 19
Joe: A lot of it is artistic space, too. We have a lot of overlapping interest musically but we also have very different backgrounds. We come from different musical genres. We come from different musical educations and influences and a lot of it is giving each other space and finding a way to play with someone else with their influences as they bring that to the table. Andy: I think the hardest thing is putting together an album that sounds cohesive. I think we had countless talks after rehearsals and writing sessions where were like, “this is a really good song. Does this make sense with the rest of the stuff we’re writing?” We would cite all of our heroes like Radiohead, watching Meeting People is Easy and hearing him play on the Ok Computer tour, playing songs off of Kid A. Sometimes a great song doesn’t necessarily fit on a particular album. I think we worked really hard to get really good songs that make sense together. That’s a hard thing to do.
Rachel: Our band is more balanced than it has ever been and with the addition of Joe and Andy. What we’re able to do musically is much greater than what we have ever been able to do before. So this has expanded our songwriting abilities and has opened up this new world to be able to step into the spotlight – for lack of a better word. I feel like this album is definitely more balanced vocally. Prior to this album, we would always have to tell sound guys, we’re both lead vocalists, I’m not the back-up singer. I think this is truer now because there are songs that represent that vocal balance that Chris and I share. It’s what makes us really unique. That’s why we can’t say, “Oh we sound like this, or we’re like this,” because Chris has a very unique voice where he can shout and scream and then be super sweet and I can go sultrier and bluesy or even Indie if I need to. I’m not a screamer. To answer your question, yes, I’m more in the spotlight now than I was before. [laughter]
Rachel: That’s what we did. Chris: Yeah. Rachel: To answer your question – what’s our strategy in getting people to our shows? Everybody in the band happens to be really exceptional people. I’m not particularly talking about myself, but ... They’re just cool people. You want to spend time with them and I think people see that and so they want to spend time with us as a band. We did a show at the shopping mall, Bella Terra and we had kids and parents and even grandmas dancing to our music because we’re not trained to be this one thing for one type of people. We genuinely have a lot of joy in doing that and I think people see that and so they want to come. We have these people who are invested in us and who want to see us grow. If they keep coming we will keep doing this.
Do you have new songs that didn’t make the album because they were just too different, or did you try to make sure that what you wrote fit within certain criterion? Chris: No... Not really. A lot of times we assembled songs sluggishly based off of parts. We would write off a riff – stuff like that. That’s why I think there’s a bit of sophistication in a lot of the songs. But yes, there are still parts in a parts-bin figuratively, that may someday be used at a later date.
Chris: Yeah, there is. There’s something about being five working adults with very active business and family lives and still making time for this hobby and doing it in a meaningful way. I would describe the songs lyrically as sort of a… detachment and disassociation of the idea of self. Rachel took more on with the song writing and has a lot more of a presence on the album which is completely amazing. The song ‘Boomerang’ – there’s things she does with her voice in it that are just awesome; all kinds of cool stuff that I’m excited for people to hear.
Rachel, on the new record you seem to have taken a little step toward the spotlight – like you’re finding your comfort zone. Is this the case?
As a younger band in your early 20s it’s easier to get people out to your shows, including friends, even fans, and you can fill a spot easily. Have you guys noticed a difference in this regard, now that you’re full-fledged adults now? What’s your approach as a band when it comes to booking shows and dealing with fans? Joe: Yeah. The great thing about being a slightly older group is that our crowd just keeps getting bigger cause everyones having babies now. haha Andy: We made a switch; maybe, a year and a half to two years ago in how we select shows that we take. We got some advice from a friend and he mentioned to do fewer shows and to do better ones. I think that’s been good advice for us to take, because yeah, we’re not 18, 20 years old. Our fans vary in age. You have to save up a little bit more as far as what you have in the “ bank” of how many shows you can get fans out to and then hopefully spend that “money” on a really good show, on a great venue, on a House of Blues, or the Constellation Room.
So for instance, you don’t want to be playing a small venue like La Cave, which only holds like 40 people on a Tuesday night at 11:30. Andy: Right. You hit a point where it’s not special anymore for us to do that, and you kind of outgrow it. The novelty is gone and we have to ask ourselves is this just fun or are we serious? Our lack of excitement to take those Tuesday night 11:30 smaller shows kind of forced us to a place to ask, “What are we doing?” Because, I think, for a while it was a bit of a distraction in dealing with that question. Jason: When you’re getting started out and you’re cutting your teeth, sorry you don’t have the option. You have got to do that show and you have got to figure it out. 20 | PASTORALE | JULY 2014
Chris: I remember when we were playing a lot at Detroit Bar [Long Beach, California]. We were like, “can we take the opening slot?” I remember thinking oh if I could only headline at whatever show. Now I’m like, I want to be the opener. I think for us one of the things that we have tried really hard to be strategic about is, not just what makes sense for us but it also has to make sense for the venue too. Are they going to bring people there? Are they going to want to invite us back? I think we would still play a small hole in the wall show if it made sense for all involved. It’s not to say we’re too good for any of that stuff. It’s hard because there are certain limitations that we have that we just have to deal with, but I’m just thankful that even with those limitations we still get to be active in a band that gets to play and seems to have a fairly positive reputation.
You guys are doing something right, for sure. With the record, what are your plans as far as what do you want to do with it? Are you going to be shopping for labels? Are you going to be keeping it indie? Andy: We’re going to try and tour to North Dakota and back in a van. [laughter] Rachel: When making this album, the fact that we all have families, lives and careers – if someone gave us crazy stupid money, sure, we would. It would be a dream come true to do that but we do have all these other responsibilities. Our number one goal with this album – we’d love to get a song placed or multiple songs placed on TV, movies, film, or commercials – things like that. We would love to shop around that world and I think that’s a smart move for us, to get our music outside of Orange County without having to tour six to nine months out of the year. Andy: Those crazy, stupid money deals don’t WWW.PASTORALEMAGAZINE.COM
(Continued On Page 22)
Lyrically speaking is there a theme for the record or are you trying to keep it loose?
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exist anymore. That’s why we chose to self-fund it, too. We didn’t go out and try to shop a label with a demo. We wanted to own the record ourselves and completely fund it and not do kick starter and be limited. Be able to do whatever we wanted on our time-line. That’s been good. As far as timeline, it’s got to go to mastering and then we wrestle with doing vinyl. It would be really fun. It’s just kind of neat because vinyl is this whole other medium. We toss around those ideas too. Ultimately, you want as many people that can hear it and dig it and listen to it. If you’re not dancing to this record, then something terribly wrong has happened.
You guys are toying with the vinyl idea. Does that mean you’re toying with the compact disc thing as well? Or are you guys thinking digital downloads?
Rachel: I will say that I think we try not to take anything for granted. We’re pretty lucky that we do a cool photo shoot and people actually hear about our music. People genuinely are interested in what we’re doing and it’s a privilege. There are people who don’t get to do this and we’re really flattered. Andy: You guys remember your first band and just dreaming to get into a show? Oh wouldn’t it be great to have a show? You’re not on the radar. You don’t even have a demo other than the crappy cassette tape that you have off your boom box in your dad’s garage or whatever. No one can tell. It’s no indicator of if you’re good or bad or whatever. But yeah, to be in this place, feels totally fortunate. We don’t have to go out there and fight it. Fans that will show up and you don’t have to beg or sell tickets.
That brings up another really good question or rather, the subject of current state of venues. I have watched you guys get a W9 at a small bar after a show prior to getting paid. It feels so odd; what are your thoughts in regards to this, with venue and bar owners?
the most creative, most fun show that we could do. Jason: We want it to be an event, something special, fairly thought through from start to finish; who is performing, all of that. Chris: Just something where the whole night is representative of who we are and how we operate together as a band. Andy: We’ll have to ask what the venue has in vibe. Is the sound going to be there? We could go to the very staple House of Blues, and then sound will be great, but it’s not as special maybe because it’s not as different or unique. Those are the things we’re juggling with and planning. We’re asking ourselves, “Can we get sound in there that’s just going to rock? Will the sound do these songs justice and make people dance?” Jason: There needs to be a dance floor wherever it is. There needs to be space to be move.
Jason: It’s a scary time to be a business owner, period. The music industry, there’s no shortage of the general lack of professionalism and kindness, mankind to womankind, whatever, people to each other. There are a lot of surprises, like a W9 when you’re not expecting it. On one hand I can understand but there is also a lack of relationship. We like to think of ourselves as trying to somewhat bridge that gap but it’s really hard when we are all professionals at our day jobs. We know that if we don’t respond to an email in a timely fashion there are consequences or we lose clients or that kind of thing. When you’re use to dealing with people in that mentality and applying it to dealing with a venue sometimes (and not all venues are this way thankfully), you have to get to that common denominator and it’s hard to feel inspired by that when you’re performing sometimes.
Andy: We want this album to be heard in its entirety not limited to singles. I think we can make a case that there are singles on the album and some of the songs sound better than others. But, there is cohesiveness to these ten songs that we haven’t really felt nearly to the same degree in the past. We want that to be accessible in how we present it to the masses, to the millions of people that will be hearing this album. Chris: People like to go to your show and if they like your band they want the souvenir right then and there. Every band needs to have good merch at the show because that’s your best opportunity to connect people to your band. The likelihood of people going home and being like, “I’m going to check that band out online,” is lower than in that very moment, if you can give them something physical in their hands. Those CDs might go out, whatever the physical version is, there needs to be some way of giving it. Jason: I recently went into a record shop that sells vinyl – Fingerprints, in Long Beach – and there were more people in the vinyl section than anywhere else in the store. I was wowed, in the sense that it gives me hope that people are interested in listening to entire albums, not single songs. Hopefully the songwriting will continue to improve as a result of producing a single song.
Plus, the band absolutely has an authentic and fresh new approach that feels totally natural. 22 | PASTORALE | JULY 2014
Andy: It’s relatively easy for a venue to make a band feel valued and you don’t have to do that much. Be a good communicator. Be timely in your communication. Say what you’re going to do and do it, and expect the same on the other end. Those are really simple concepts. Rachel: I think too, if a venue did these things, we would have a good ongoing relationship with them. We can play any time. We’d go to bat for them. If someone canceled and they needed a fill-in, absolutely we would – because we would have established that relationship. There are only a few venues that we have that relationship. It’s disappointing sometimes.
In the past, you have had unconventional releases, like at a brewery and then the conventional House of Blues. Do you plan on going towards the House of Blues route? Something large and big, or do you guys want to do something small and on your own like you did for your first release? Chris: We’re still in the brainstorming phase. We’re still looking at the pros and cons between all of it. Once the album is officially titled and once it’s sent off to mastering, that’s the next project. People are excited about what you’re doing when they get to be involved in some kind of a way. When more people are excited to be there it creates a more exciting atmosphere overall. I think we want to think of what are the ways we have the most control to do
Where can people learn and hear more about you guys? Chris: We’re very active on Facebook. That’s probably the easiest way to find us: facebook.com/ thedeviousmeans Joe: We also have LinkedIn. (laughs) Chris: It’s the best way to get a hold of us, but we have decisions to make, and hopefully there will be announcements about all of that soon, I guess. Tentatively we would like to have the album released before summer is over if it’s possible and if it’s not, then we have to wait.
The Devious Means are set to release their currently untitled full-length album at end of summer. For more information please visit: facebook.com/thedeviousmeans twitter.com/thedeviousmeans
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“We genuinely have a lot of joy playing. And I think people see that.�
beauty
Rejoice in the sunshine. Hot weather means more time outside and less time spent on your hair routine. Embrace your natural movement, shake it out, and get loose with a relaxed style! Consider trying out the 90s inspired hair trend, with a deep side part, natural big texture, super sleek, or thrown up with a scrunchie as a hair accessory; bottom line, the less work the better. When it comes to summertime hair, stick with products that enhance your natural texture. Here are some products that we love to love, during the heat wave: Moroccanoil Original Oil Treatment – This product is a complete game changer and you can use it several ways. Traditionally, Moroccanoil’s advanced Argan oil formula is best on damp hair before you blow dry; it helps reduce frizz, adds shine, and as a total bonus it cuts down on drying time. Feel free to use it on dry hair for similar frizz control and shine enhancement, or add it to your conditioner for an instant moisturizing mask. Bumble & Bumble Surf Spray – Finding the perfect salt spray for your hair is a similar dilemma to what Goldilocks experienced with those three bears. Not enough hold! Too much hold! Until finally, Bumble & Bumble Surf Spray came along and everything was JUST right. Spray this on curls of any texture while damp and either diffuse or air dry, and viola! Fantastic beach inspired curls without frizz. Try out these tips for an experiment also: on dry hair for added texture and hold, spray a small amount on wet hair before you blow dry to give it some grip. This is great for those fine haired ladies out there, acting as a curl refresher during your day.
Model-Chanelle Riggan Hair - Cara Underwood Make up - Maria Olmos Photographer - Paulifornia
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Redken Instant Polishing Prep & Leave In Conditioner – A lot of people do not embrace leave in conditioners – and with good reason! Back in the day they were heavy and left your hair limp and unmanageable. That was then, and this product is so now. The polishing prep works in two ways: it protects your precious locks from any heat damage and it has a gentle hold incorporated in the formula to tame those pesky fly-aways and frizz. Start with small amounts on damp hair and style as usual.
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With a bit of time and just a few easy steps, the perfect brows can easily be achieved. Whether you are new to the idea of brow shaping, filling-in or are perplexed about the placement of arches, this tutorial will point you and your brows towards the right direction. I recommend using the Poise Makeup Professional Crème Brow Kit for ultimate brow results. The makeup itself lasts all day, is highly pigmented, and applies effortlessly. The kit includes two shades for a dimensional brow along with a brow highlighter that doubles as an eye primer. I love using a slim stiff angled brush for the best application and preferably one with minimal fluff. This will ensure a clean and defined finish. The last tool you will need is a clean spooley, which is basically a brow brush. So, where to start?
1: To determine where your brows begin, start from the outside of your nose to the inside corner of the eye.
2: Your arch should begin at the point of the outside corner of the nose to center of pupil.
3: The “end” of your brow, will be determined by where the outside of your nose is in relation to the outer corner of your eye.
Tweeze any stray hairs that fall outside any of these areas. With a brow comb or spooley, brush the hair in an upward direction towards the ceiling and trim the extra-long hairs with brow scissors. As you begin, apply with a mid-tone shade. Leaving out the first quarter of the brow, begin to make short feather-like strokes from the middle of the brow to the arch. With a light hand, take your brush and draw a line across the bottom of the brow. With the darker tone in the kit, begin to fill in the slimmer point of the brow from the arch towards the hairline, using longer single strokes. Next, take your spooley and brush up the single line on the first half of the brow blending upwards and lifting the hairs. Lightly brush upwards and blend the fullest part of the brow. Lastly, use your highlighter to outline the bottom of the brow by tracing and cleaning below the new shape. Blend down to lash line to prep eyes for eye color or simply blend to take away any line. Remember this as a general rule: if your eyes are set closely together you can add the allusion of space by starting further in; if your eyes are wide-set, you can start farther out. Also, the correct tools are just as important as the hair itself and the techniques applied. Makeup tools will assist the appearance of full brows and provide the control needed to shape them properly. Whether you use the recommended kit or if you have your own favorite, implement these tips and you will achieve flawlessly defined arched brows.
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For customized application questions, please feel free to visit w w w.makeup2youbyrickie.com Rickie has more than 9 years in the industry and over 4 years as a freelance makeup artist working with brides, models, celebrities, and she has developed the people skills and experience to create the perfect look for all her clients. JULY 2014 | PASTORALE | 29
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Shirt: Calvin Klein
Jean jacket: Levis American flag scarf: Roda T-shirt: Theory Black Jeans: Levis
Denim shirt: Denim&Supply by Ralph Lauren T-shirt: Theory Boot: Crockett & Jones
Jean jacket: Levis American flag scarf: Roda T-shirt: Theory Boot: Crockett & Jones Black Jeans: Levis
Jean jacket: Levis American flag scarf: Roda T-shirt: Theory Black Jeans: Levis
Denim shirt: Denim&Supply by Ralph Lauren T-shirt: Theory Boot: Crockett & Jones
Denim shirt: Denim&Supply by Ralph Lauren T-shirt: Theory Boot: Crockett & Jones Sunglasses: Rayban
Boot: Crockett & Jones Black Jeans: Levis Short sleeve shirt: H&M
Boot: Crockett & Jones Black Jeans: Levis Shirt: Abercrombie and Fitch Sunglasses: Rayban
Denim bra: Nasty Gal Leather Jacket: Urban Outfitters Jeans: BDG Boots: Gucci
Leather jacket: Wilson Leather Co. Jean short: Levi’s Tshirt: Vintage Harley Davidson Sunglasses: Dr Peeper’s Boot: Gucci
Leather jacket: Nasty Gal Hat: Krew Tshirt: vintage Bud light Bracelet: Paradise Metal Art Shorts: Urban Outfitters Socks: Happy Socks Shoes: Converse
Beanie: Krew Overalls: Topshop Boots: Alexander Wang Bracelet: Paradise Metal Art Bra: Noe Undergarments Jacket: Nasty Gal
Kimono and shorts by Knot Sisters Halter by Liberated Hearts Socks by Nordstroms Rings by Tiffany Kunz Fur coat by Sweetlife
Skirt by Liberated Hearts Fur by Sweetlife Sweater by American Apparel Jewelry by Paradise Metal Art
Floral wreath By Sasha Gold Bodysuit by American Apparel Pant by American Apparel Shoe BC footwear Jewelry by Tiffany Kunz
Fur by Sweetlife short by American Apparel Top by Bri Seely Socks by Urban Outfitters Ring Krystal Knight
Dress by Bri Seely Jewelry by Paradise Metal Art
CANCER (June 22 – July 22)
On July 16, Jupiter enters your solar second house of $$$$$. Meaning, you should absolutely seek out financial prospects which more than likely will come to prosperous fruition. What this does not mean, is for you to shop at Satan’s summertime cottage AKA, Walmart. Please stay away from there as we do not want you to catch crabs from their bathroom linens (get it? Cancer/ crabs?). Along with that extra cash in your pockets, you are also super popular this month with the par-tay invites. In your sexy-time department, Pisces are givin’ it UP this month. Giddy up!
LEO (July 23 – August 22)
The Sun will be as Leo as Dicaprio on July 22, and completes the transit phase by August 23. What that means exactly we sure the shit don’t know. Not that you care. You’re probably too busy looking in the mirror. You’re pretty. You think so too. We get it and we love you for it. Rawr. July will be uneventful in your financial matters and despite your lovely locks you will absolutely not be getting laid anytime soon. Please don’t kill yourself.
VIRGO (August 23 – September 22)
Urgh. Stop being so damn picky and calm your tits down Virgos. Relax, have a beer, and when in doubt: BACON. You should just sit back and enjoy a month full of things you spend most of your time avoiding. Relish gluttony. Embrace your inner whore. Sloth out. Leave practicality at the door and put your nose in some cocaine. Wait-what? No, no, no. My bad. Do not do cocaine. Bacon though? Go ahead and pig out.
LIBRA (September 23 – October 22)
Everyone you are attracted to that comes across you will immediately get that sexual healing feeling this month. Maybe it’s because of that new workout you’ve been trying out (doubt it). Maybe it’s the sun glowin’ on your face and secretly giving you a case of Hugh Jackman skin complications (hope not). Whatever it is, the best advice for you, clear and simple: stock up on rubbers and avoid the clap.
SCORPIO (October 23 – November 21)
Saturn went into retrograde March 2. That shit will finally end July 20. Thank god because those bipolar twitches of yours may have kicked it up a wee-notch during this duration. Cheer up toots. Try something new. If you’re taken, try bangin’ one out in a car (if you haven’t already you dirty Scorp). If you’re single, try out an online bullshit dating website that will probably end with a bad date with a person that has a dagger tattoo or a first name of a city. *see ARIES horoscope to make sense
SAGITTARIUS (November 22 –December 21)
The first part of the month for you is wunderbar in the areas of money, career, and finding new, free porn sites until July 16. Jupiter will then move aside for the Saturn retrograde. An unforeseen event is supposed to happen later in the month which we hope is not an unwanted pregnancy. Our fingers are crossed for something cool like, the lottery. That being said, if you should win the lottery it is solely because this horoscope foretasted it to be so; thus, we insist you share with us, you greedy bastard.
CAPRICORN (December 22 – January 19)
You are not allergic to gluten and your cookies taste like dehydrated balls. And yes, those kinds of balls. However, you have some awesome ideas regarding your current job and you should definitely voice them; they will be well received this month unlike your crappy cookie sacs. Also, go ahead and read the LEO horoscope this month and if you know a lonesome lion out there, have some pity and give out a good ‘ol reach around this month.
AQUARIUS (January 20 – February 18)
We know you’ve been curious about it and the answer is YES. Fried pickles ARE in fact pretty tasty. If you don’t like pickles we will also tell you exactly where you can put said pickle. In the affairs of love (gross perv – leave the pickle out of this!), Your chances of romantically meeting someone who is fit, beautiful, and flawlessly perfect is about 50/50 this month. Not bad, certainly not great.
PISCES (February 19 – March 20)
For you workaholic fishies, this month is an advantageous time to start a project. DIY it up, but don’t be a putz and actually try to finish what you started in the same month. In other news, one unlucky Pisces may or may not run into Tom Green randomly. Yeah, remember that gasbag? If you are the unfortunate one, please do everyone a solid: aim for his petite lil’ testes and kick with the strength of Pelé. And lastly, remember: man who has sex on his back will certainly screw up.
ARIES (March 21 – April 19)
In the words of Coach Finstock on Teen Wolf, circa 1985, “There are three rules that I live by: never get less than twelve hours sleep; never play cards with a guy who has the same first name as a city; and never get involved with a woman with a tattoo of a dagger on her body. Now you stick to that, and everything else is cream cheese.” These are your July warnings, Aries. You will run into one of these dilemmas. Good luck.
TAURUS (April 20 – May 20)
You’re such a badass hostess/host. Because of this, you are obligated to throw some shin-digs, BBQs, and potlucks by the poolside this month. To spice up your love life, find a partner (preferably consenting) or have your existing partner, wear a wig in bed. We recommend the Joe Dirt, Rod Steward or the Tina Turner style. Which, come to think of it the last two do’s are basically the same. Also, if you meet any Jewish folks go ahead and thank them for Larry David.
GEMINI (May 21 – June 21)
Jupiter scoots its way to the Leo domain mid-month, which is in your solar third house of communication. It is also about time that you pick up a book with a higher reading level than Everybody Poops, and/or isn’t going to be produced into a shitty Hollywood movie. July 24 is supposed to be your very best day financially this YEAR. Spend that bling on yourself and on frivolous things only, like tons of beef jerky or the Deluxe Talkboy from Home Alone. Um yah. You can buy those still. You’re welcome.
By Antoinette Mathews
OUR INSTRUCTION GUIDE TO YOUR LIFE FOR THE MONTH OF JULY. FOLLOW IT AND IT’LL BE LIKE PLAYING BUMPER BOWLING, YOU’LL SCORE EITHER WAY.
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ANASTASIA ASHLEY
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