Creative Creatures

BAD GIRL CONFIDENCE CREATIVE CREATURES

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EDITORIAL TEAM

CREATIVE DIRECTOR / EDITOR Tope Eletu-Odibo DESIGN Aaron Yeboah Jr. PHOTOGRAPHY Hakeem Adewumi EDITORS Talia Taylor Priya Singh

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CONTENTS

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NAKEYA BROWN

FUNMI OGUNRO

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HAKEEM ADEWUMI

CONSETTA BETH RUBEL

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AFRICAN LENS BY 2DOTS

MAGNA CARDA

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NATHAN ‘BEATSTREETS’ HADDEN

BOBBY EARTH

CHRISTINA WALTHALL

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ISHMAIL THOT RA

S. THORNTON

GIRL IN A THUNDERBOLT

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THE SPIN-STERS

TALIA TAYLOR

EDITOR’S LETTER cre·a·tive krē · ādiv/ adjective marked by the ability or power to create: given to creating <the creative impulse>

Creative Creatures We are all in essence creative creatures. Each act of breathing and living produces a new reality different from the antecedent moment. Creation can be as basic as that, requiring no full effort yet yielding something that is instinctive. It can also be an unstoppable calling to many individuals, so much so, that the need to create is equivalent to the need to breathe.

This issue, we pay tribute to the creative creatures in our community who move outside the proverbial box, creating new work that prior to this moment existed only as a mere idea.

These individuals are multifaceted artists that are not satisfied with one genre, but entertain multiple spectrums of ingenuity to realize their fullest potential. Unlike our first issue, Creative Creatures spotlights a wider variety of creatives: musicians, DJs, filmmakers, photographers, and more.

Each of our featured creatives provided an in-depth insight into their work and the challenges they face in creating their craft. If anything, this issue should leave you in awe of the growing class of emerging innovators that reside within your community.

Photo: TJ Letsa

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NAKeYa BROWN “My work is the visualization of blackness, womanhood, and girlhood.”

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Nakeya Brown uses visually captivating photography to open up a discussion on topics that affect blackness and womanhood. Her work The Refutation of “Good Hair” has been making its way around the interweb, igniting a dialogue on Black hair, and in some cases painful memories associated with natural hair. An artist who is bold enough to take on such a polemic subject, in a noteworthy way, is one worth talking to. Each placement of her inanimate pieces and each act by the models are purposeful, especially the choice to render these images in bold and light colors. almost as if to illuminate these issues. Brown tells us more about where this inspiration stems from.

For those who are not aware of you, please introduce yourself and your work.

My work is the visualization of the blackness, womanhood, and girlhood. My new approach, to using photography as a tool, is to tell these stories [that] transpired in 2012 after giving birth to my lovely and lively 2-year-old daughter, Mia. I correlate the rebirth of my work to the birth of her. It has been the single most reflective occurrence I have ever experienced in life. Currently I live in New Jersey and work in New York.

I’ve shown my work in New Orleans, Chicago, and Washington D.C. A few other random facts, I have a deep affinity for mustard yellow, thrifting, and house-music.

Your work The Refutation of “Good Hair” has been making its way around the internet and stirring discussion. Can you tell us more about that series and the story behind it?

I created The Refutation of “Good Hair” over the summer of 2012. The idea came to me during a quiet moment with my daughter Mia, who was a few weeks old at the time. I remember staring at her little body as I rocked her to sleep. Eventually I made my way to her hair and it was very, very, soft, fine, and straight.

It was unlike mine, unlike her father’s, and I knew eventually her newborn hair texture would change.

I would love her hair in all of its forms, but would society as well?

That was a question I asked myself and The Refutation of “Good Hair” was a way for me to try and formulate an answer. I made the project to visualize the racialized codes of beauty and the perception of the Black female body.

What has been the biggest influence for you as an artist?

Constructing a visual biography about Black womanhood has been the biggest influence in the work I create. As I mentioned earlier, being a mother has been the leading agent in inspiring me to create work that is about imagining a black aesthetic.

Your new work is now published on the website.

What inspired that series and what is next on the horizon for you?

I wanted to continue exploring the notion of beauty and blackness. During a thrifting trip I came across a retro Lady Schick Consolette portable hair dryer for $5. I was immediately attracted to the beauty of this device.

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At first, I thought I would photograph a Black woman with this device, but that seemed too easy of a solution. I started to gather the items that I had around my home and piece them together. I began creating a miniature, nostalgic “stage” of beauty products and their human by-products. This particular body of work is really about piecing together pictorial representations of Black women and objects to express a space that is our own.

What are some of the challenges you have faced in creating your work? What have you had to overcome to produce this work?

Finding time to create the work tends to be a recurring challenge. As a mother, full-time employee, sister, friend, partner, etc, my free time is constantly up for negotiation. In the end, setting Sunday mornings aside for rest and creation has been the perfect resolution.

What are some of the odd jobs you have done to allow you to do what you love?

I’m a photo agent at Apostrophe, a boutique agency in New York City representing commercial photographers. That really helps finance my ongoing creative projects.

Of all of your creative projects, which are you most proud of?

Thus far, The Refutation of “Good Hair” has been the project I am most proud of. It’s my first complete body of work along the themes of identity constructing and beauty. It’s garnered the attention of companies such as Carol’s Daughter and Afropunk. It’s been exhibited throughout the U.S. and has been covered by international publications such as Tonelit and HYSTERIA. Where would you most love to see your work exhibited?

The Studio Museum in Harlem. I would love to see my work in good company with other remarkable artists of color.

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HAKEEM ADEWUMI

“I want my work to articulate the essence of humanity, arresting the viewer’s mind to re-‘imagine’ and re-‘member’.”

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Daddy’s Shoes

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Mirusha II

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Technology may have made taking images intuitive and fun, but it takes a talented eye to capture a subtle moment charged with emotion. Hakeem Adewumi may just be at the start of his journey,but his eye for encapsulating the human experience in one shot is a gift most photographers dream of. Hakeem's portflio expresses his versatility as a photographer. It is encouraging to see such such fresh talent, and one that is dedicated to the honoring and preservation of the beauty and complexity of the African diaspora. We let Hakeem do the talking...

My name is Hakeem Adewumi and I am a digital photographer from Dallas, TX. I am currently working towards a Bachelor’s degree in African & African Diaspora Studies at the University of Texas to use as a foundation in my work. I want my work to articulate the essence of humanity, arresting the viewer’s mind to re-‘imagine’ and re-‘member’.

How did you get into photography and where would you like it to go?

I first got into photography after my cousin gave me his old Nikon d40 in 2009. It was my first DSLR and I fell in love with the camera’s capabilities; although now they are subpar in this changing market! Ever since, I’ve been producing images from weddings to televised broadcasts. I would like my work to take me to National Geographic; I love meeting people and engaging with different cultures. I also find it liberating to create my own images, allowing me to tell stories that may otherwise be unwritten.

Which portfolio pieces are you most proud of and you feel really embody your creative spirit?

I am proud of all of my work. It may take me some time to appreciate it, but I’m proud of the process and my growth as a photographer. I am MOST proud of a piece titled, ‘Boys in the Rain’ taken on a study abroad trip to Nicaragua, Central America.

How would you describe your approach to capturing a moment? What are you trying to capture?

Capturing a moment requires speed and intuition.

You have to predict what’s going to happen next and be ready. Always ready. I always want to capture emotion. My motive is to make you feel something.

In a short phrase, how would you describe your work?

Afro-centric: A style of photography that is not always in touch with the ‘Black’ body, but a style that is written as a new narrative; a narrative that for centuries has been left out of consideration. My work is a personal expression of how I see the world.

I have studied a substantial amount of literature, music, film, and art pertaining to the African/Black diaspora, which has (for me) enhanced the beauty of resistance and the importance for self-love. African and Black culture is to be celebrated and narrated by us and for us. My work is simply a celebration of all Black art, Black/African vernacular, African culture, Black music, Indigenous language and religion and everything else that has been subject to erasure by mainstream society. My work takes that back and says “this is mine.”

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What are some of the challenges you have faced in using photography as a medium and how have you overcome it?

I have a few BIG projects coming up and sometimes I lose confidence in myself. Every now and then, I have to look back over years of work to see my progress and realize that I’m only getting better.

There is no need to deny myself the right to do and be better.

What would you ultimately want to do with your skills as a photographer? Where do you want your work seen?

I ultimately want to create a visual history book and have my work featured in art galleries! Oh, and I want people to walk into Oprah’s house and say, “Ooooh, is that an H. Adewumi piece?”

And her response would be “Yeah, I had to buy another one!” LOL

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â&#x20AC;&#x153;

Emeka Asonye

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african len

ns

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â&#x20AC;&#x153;Aaron Yeboah jr, curator and creator of African Lens, does a fantastic job of pairing images, in purposeful sequences, laying out a narrative that goes beyond the initial message of each piece.â&#x20AC;?

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Photo: Andile Buka

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African Lens is a curated collection of photography from eight African photographers that show Africa from a unique lens. Historically, the conversation of African culture, status quo, and lifestyle has been limited to poverty, war, illiteracy, and misery. Images that defy those narratives silently fade into obscurity or are labelled as â&#x20AC;&#x153;successâ&#x20AC;? stories or anomalies.

However, if a picture is worth a thousands words, then each of the images featured in African Lens have so much more to tell us about a continent that is unfairly misrepresented. The photographs speak of beauty, poise, and perseverance shows us a vibrant culture laced with Afrobeat, drawing us into portraits of individuals that are more than just a single story.

Aaron Yeboah Jr, curator and creator of African Lens, does a fantastic job of pairing images, in purposeful sequences, laying out a narrative that goes beyond the initial message of each piece.

The photography, both in color and in black and white, is rawwhispering secrets about a familiar, yet unfamiliar place.

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Photo: Zakaria Wakrim

This is definitely not the same Africa you have been exposed to.

Yeboahâ&#x20AC;&#x2122;s collection also incorporates photographers from the African diaspora telling their story in a way that is idiosyncratic to them. African Lens doesnâ&#x20AC;&#x2122;t just present Africa in a better light, it praises and elevates African photographers whose work may otherwise be lost in the vacuum.

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photographers to watch

PHILIPP RAHEEM Raheemâ&#x20AC;&#x2122;s photography of urban Nigeria pays homage to the style and color of the Fela Kuti era. It defines a way of life that is quintessentially Nigerian, something that may terrify most Westerners. The photographs do not try to make the country accessible to outsiders, but stays true to its heritage by using saturated color and soft focus to present a reality that native Nigerians are familiar with and find joy in. In essence, Raheem captures happiness in a place where most assume misery lies.

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dayo adeoti Adeotiâ&#x20AC;&#x2122;s Hair Project is about an appreciation of the African crown.

As the natural hair movement continues to gain momentum, it feels fitting to create this ode to the natural hair through photography. For Adeoti, this is about helping women, and men love what comes naturally.

It is a series filled with purpose.

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TJ LETSA One of our favorite photographers in the series, TJ Letsa, sneaks us into the lives of the African people, specifically African women. A view that is unadulterated and full of detail, full of life. In both color and black and white, we are allowed a glimpse into the unfiltered, multi-layered universe of each of the subjects. The activities captured may be mundane, but the impact of the images are anything but. Life in Africa is brimming with joy, peace, and style.

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guess who is coming to dinner

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naija edition

Photo: Hakeem Adewumi

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Austin is the city where many come to make a name for themselves in the creative industry. With a motto like "Keeping It Weird", It is no wonder that hundreds flock to attend festivals or to start their creative careers. Native Austinites have found their city to be the perfect laboratory to explore creative endeavors.

For Funmi Ogunro, her journey into filmmaking started with her youth show on healthy living called Funmi and Friends. After the successful launch of this show, Funmi began to explore a more contemporary and polemic topic with her recent production; a twist on the classic sixties comedy-drama Guess Who Is Coming to Dinner. We spoke to Funmi about this upcoming project and her entry into the world of filmmaking.

My name is Funmi aka FUM FUM KO! I am a filmmaker and host. I enjoy producing, directing, and hosting content that entertains, inspires, and educates people. My very first film project was a children’s show called Funmi and Friends (www.funmiandfriends.com). I created the show to teach youth about health and wellness, especially nutrition. It is geared towards youth and involves puppetry and entertaining skits. In September, we released a fun DVD available on Amazon.

You recently finished filming Guess Who is Coming to Dinner: Naija Edition. What was the motivation behind making this film and why did you pick a Sidney Poitier classic?

The motivation behind filming GWCTDNE was to create a beautiful piece of art that also sends a message: Everyone deserves the right to love anyone they want without judgement. The original film, with Sidney Poitier, conveyed a powerful message in a time when interracial dating was a taboo in American society.

Not only that, the film was well written and consisted of a couple of iconic scenes. My film is also centered on a taboo topic and also has many twists. A big challenge was getting funding. This project was very much a guerilla film production. Once the film is ready for release, I would like to see the film screened in Austin, especially UT Austin and Huston-Tillotson. Also, I would like to see it in several film festivals throughout the country, particularly the American Black Film Festival.

I am proud of all my projects for different reasons. Each project was unique. I am most in awe of Funmi and Friends. Because creating the show was one of the first career risks I ever took. I was a senior in college when I started working on the script. I couldn’t wait to graduate and to start working on production.

I didn't know a single thing about filmmaking but I just went and did it. I made mistakes and I also learned from those mistakes. Funmi and Friends showed me that I am capable of doing anything and helped me realize that I enjoy hosting, writing, directing, and producing. If it weren’t for Funmi and Friends, I’m not sure if I would even have a career in film right now. Funmi and Friends was a stepping stone.

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Photo: Hakeem Adewumi Behind The Scenes: Guess Who is Coming to Dinner - Naija Edition

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Photo: Hakeem Adewumi Left to Right: Hakeem Adewumi, Funmi Ogunro, Cindy McDonald, and Tope Eletu-Odibo

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"I am most in awe of Funmi and Friends.

Because creating the show was one of the first career risks I ever took."

Actor Hakeem Adewumi as Denola

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"I am exploring cultural identity through a new series that focuses on the mixed race experience and the isolation that surrounds it."

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Consetta Beth Rubel

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Beth digs deep into her personal journey as a child of two cultures to present artwork that is political and striking. Her pieces explore and boldly face up to the attitudes in the deep south on race and stereotypes. No medium is beyond her reach. Acrylic, chalk fabric,and paper bags are all instruments in this artist's hands that seek to shed a light on some dark history as well as, America's ugly contemporary culture)and in essence, educating her audience on a topic most would shy away from. We interviewed Beth about her exhibition and more.

I am Beth Consetta Rubel, a biracial, queer, visual artist in Austin, Texas. My work is a reflection of my personal experiences with racism surrounding my mixed race background living in the south.

It is my intent to dissect the root of racism embedded in the minds of the deep south mentality and ultimately enlighten the viewer with a sense of empathy and understanding of the pain rooted in the dark underbelly of racism.

Your recent work “Brown Paper Bag Series” was exhibited this Fall. Can you tell us more about those pieces and the story behind the portraits?

I started the “Brown Paper Bag Series” four years ago and decided to expand on this concept by including loved ones and individuals I admire and respect. Before I begin a portrait, I like to meet with the person I am going to draw, and have a conversation about their personal experiences with racism.

It is important to me to understand and empathize with each individual to accurately depict them in a painting. Their stories are also something that I continuously reflect on as I am capturing their essence in a work of art. Like the brown paper bag test, where individuals had to submit a photo of themselves, where their phenotype was compared to the color of a brown bag for approval, I often feel the pressure to submit a disclaimer, which is my artistic statement, for the people I have encountered who have prejudged my creative intent based on my name alone.

The issue of colorism and the one drop rule is one I continuously deal with personally and as an artist.

What has been the biggest influence for you as an artist?

Aside from a natural pull towards creative mediums as a child, my biggest influence stems from a personal experience. I had always spent most of my free time making art when I was younger, but it wasn’t until I was 16 ,years old that I had an encounter that changed my art from being something I did for fun, to political and personal in content.

Being a biracial child, I was used to the “What are you?” and “Where are you really from?” questions and was accustomed to politely answering “My mom is black and my dad is white.” As this familiar scenario played out with a stranger who had approached me, not even asking my name, confronting me with this question and I responded as I usually do, in which they replied, “Oh, you’re a mulatto!”.

At 16 I had no idea what the word mulatto meant and through a string of research to discover the origin and definition of the word, I found nothing but prejudice embedded in a history of racism. It’s these infuriating moments that fuel me to create my works of art.

What is next on the horizon for you?

I am exploring cultural identity through a new series that focuses on the mixed race experience and the isolation that surrounds it. I am making art daily to beef up my portfolio to apply to graduate school next year.

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What are some of the challenges you have faced while creating a series like Brown Paper Bag? What have you had to overcome to get to this point?

I found myself never doing the lesson plans and encouraging my students to think outside of the box, which I noticed sparked a new interest in art for them.

One of the biggest challenges I faced when creating the Brown Paper Bag series, along with the majority of my work, is that my ethnic authenticity is questioned. I am often told that I am “not black enough” to create the art that I do because I am half African American and half white. Also, finding an outlet in Austin to display my art has been challenging. I am very grateful to have met Harold McMillan at New East Arts gallery who supports the cultural diversity in arts, where my first solo show will be exhibited.

In all of your creative projects, which are you most proud of, that you feel really represents your creative spirit?

What are some of the odd jobs you’ve done so that you can do what you love as an artist?

I work as a barista part-time which allows a flexible schedule and a nice social outlet.

I have met a lot of unique people, and good friends along the way and often get to be creative at work.

I have taught art classes to kids through a corporate franchise for a short time, and although I enjoyed the children, the structure of the rigid lesson plans stunted any creative growth.

I am most proud of “Between a Mulatto and a Quadroon”. It is the most personal piece I have created so far and also the most simplest in materials, being graphite on paper. That piece was truly a purge of emotions that I did no pre-sketching for, I just went for it.

Where would you most like to see your work displayed?

I aspire to see my work displayed nationally one day.

I think culturally diverse cities like NYC, Chicago, New Orleans are all places my art would be more successful.

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"THE ALIENS NEED TO KNOW ABOUT MAGNA SWAGGER, FIRST AND FOREMOST."

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Photo: Hakeem Adewumi

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Magna Carda recently graced the stage of the Empire Control Room at Austin’s Weird City Hiphop Festival this year, blowing away the crowd with their eclectic sound and thoughtful lyrics.

T he voice behind Magna Carda, Megz, may be small in person, but her presence and talent is larger than the room they performed in. As a musical group, they presented a united and flawless performance, becoming our band to watch for 2015. In four years, they have come incredibly far, exhibiting a professionalism that you only see in veteran performers. We took a moment to hit up Megz to find out more about the music, the life, and their inspiration!

Hi Megz, tell us a little about yourself and the band you are in, called Magna Carda? What’s your story?

I’m originally from New Orleans, born and raised.

I’ve been into music and creative arts since I was little, growing up around art and music my whole life.

In 2005, I moved to Dallas, Texas due to Hurricane Katrina and finished high school there.

I came to Austin in 2010 for college, where I met Dougie Do, Magna Carda’s producer and keys player.

We were asked to do Hip Hop on the Hilltop in 2011 at St. Ed’s. We were meeting each other for the first time through a mutual friend.

After the show, we decided we wanted to keep working together and over time we starting adding different elements to the band… starting with bass, on to guitar and finally an additional singer and a drummer. And we’re still going strong.

When did you start spitting and who influenced the style you have today?

I always say I started around 7. It could have been earlier, but that’s my very first memory. I was in a rap group at the church and spitting with kids from the neighborhood. I find it hard to look that far back because it seems like it’s something I’ve been doing forever. I’ve always been influenced by so many different people and things it’s hard to pick a few. But as far as my style today – Erykah Badu, Left Eye, Mystikal, Queen Latifah, A Tribe Called Quest, Eminem, Lauryn Hill, Andre 3000, Nas, MC Lyte, Kiely of 3LW. These are artist[s] that influence my style, but the list goes on and on, especially when talking about the many ,many artists that have just inspired me all around.

Which one of your records was the most challenging and which one of your records reflects you at your best?

Where did the name Magna Carda come from?

Magna Carda, the name, was inspired by the actual document. Magna Carta was the first document to put limits on the King’s power. We operate our band sort of like that… no one has too much power, we’re all equals – all of our ideas and opinions are valid and valued. That’s how we’re able to be successful, because there’s no one head of the group or one lead… we like to keep things fair and equal.

In terms of projects, they’re all challenging when you’re first starting out. Brainstorming, and trying to figure out what direction, we need to go in is always a bit of a challenge. There’s literally tons of ideas just floating around and in the end, you have to settle on just 10 to 15 tracks – 10 to 15 ideas. I can’t say that I’d only pick one of my records as the one best reflecting me. When I write,I’m always at a different place in life, so my best is constantly changing, I’d say.

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Photo: Hakeem Adewumi From Clockwise: Eric “The Greek” Nikolaides, Dougie Do, Megz Kelli, Derek Van Wagner

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Have you done any collaborations recently?

What were they? What collaborations would you love to do going forward?

We’re currently collaborating with a good friend, Ava Raiin, she’s a singer from Austin but currently, based in NYC. We’re super excited to complete that project.

She’s a really talented singer, and we’ve done live sets with her before, so we’re happy to finally have her on a song. In the future, we just hope to collaborate with people who can really complement our style and we can really compliment theirs. Those are the best collaborations.

You are tasked with creating the ultimate playlist for a visiting alien lifeform. Which one of your tracks would you include?

Shoes $ Money. The aliens need to know about Magna swagger, first and foremost.

Photo: Hakeem Adewumi

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in the words of fela kuti: “Music is a spiritual thing.

You don’t play with music.”

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N a t h a n B e at s t r e e t s H a d d e n

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Film: Devotion | Starring Oriana Carlia

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Erin Darcel Coleman

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Back in the day, it was customary to have a single job that you stuck with for life. Fast forward to the modern day to discover that there is an evolution towards the multi-skilled and multi-genre lifestyle. Individuals are challenged to master numerous skills to bring their creations to life. Nathan "Beatstreets" Hadden, blows all expectations out of the water.

A music producer, filmmaker, artist, photographer, and graphic designer, there really isn't much he CAN'T do. Hadden creates an intricate blend of audio-visual art that tells powerful and relevant stories. His work shows an artist that is diligent about the details and an innovator who is not short on ideas. In his own words...

Who am I is a heavy question. I’m a super minimalistic introvert with extroverted tendencies, which explains why I’m an artist. As an artist I change everyday. Daily, I have new ideas, new methods of challenging the status quo, and I try new things which I’m unaware have been done before. In this moment in time, I am motivated by my talents and skills to take an innovative approach to what’s popular.

I fuse retro-futurism, surrealism, fantasy, natural elements, and urban landscapes in all my artistic mediums.

Mediums that include Film, Photography, Design, and Music Production.

The bounds of my artwork are explored using traditional methods filtered through digital techniques. I find this process creates an alternative world that truly compels the imagination. My aim is to create timeless work with positive messages.

As a multi-genre artist, I entered these worlds out of lack of resources and frustration. Growing up, I was always interested in how movies and music were created from concept to completion. I wondered what was the motivation, how was the story created, actors chosen, music and score chosen, how the sound design was created, etc.

The problem was nobody in my community had answers to my questions or even a clue to point me in the right direction.

My parents helped me tremendously with music, but outside of that I had nobody. Basically, anytime I wanted to figure anything out, I would create a hypothesis, and reverse engineer the methods I felt were used until the end product came out perfect. I would then add my own twist and figure out innovative ways one person can accomplish the same goal of an entire big budget professional crew.

The main set of artists I studied who’ve helped me create a solid base for my skills are; Spike Lee, John Singleton, Stanley Kubrick, James Cameron, Katsuhiro Otomo, Akira Kurosawa, Akira Toriyama, Gary Rydstrom, Patrick Nagel, Hype Williams, Quincy Jones, Stevie Wonder, and Jimmy Jam and Terry Lewis. I actually have had the pleasure of working with Gary Rydstrom. He’s a solid dude with great wisdom that I’m more than happy he was willing to share with me and that I still practice today.

My web-series Artists Statement is where the most innovative, influential artists explain, justify, extend, and contextualize his or her body of work. It places the work in relationship to the artists’ personal standpoint, theory, the art world and the times. Further, the series serves as a looking glass towards how the artist is conscious of their practice and it’s position within art parameters and of the discourse surrounding it. Therefore, not only does it describe and place, but it indicates the level of the artist’s own comprehension of their field and making.

On a subconscious level, the series is also to help motivate individuals to not let anything stand in the way of their dreams. I’ve been a mentor and teacher to what the system likes to call “Disenfranchised Youth” since I’ve been in high school.

Witnessing the daily struggles they unintentionally embark on such as scavenging for food, clothes, shelter, living with the idea of an uncertain future, and fear of their life being taken away at any moment due to violence, really made me want to give back and uplift my community. For me, the best way I can help at this point is with motivation and making others believe in themselves.

I believe watching and hearing from each artist how he or she triumphed over obstacles in life is proof in the pudding enough to make anyone attempt to do the same.

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“A challenge of balancing everything for me is that there’s never enough time in the day to make my work perfect to the standards I set forth for myself. I’m an overachiever and I like to have my work precede me at all times.”

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Mara Hruby

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In terms of your music, how would you describe your sound?

In the words of Fela Kuti, “Music is a spiritual thing. You don’t play with music.”

My intention with all my art is to always be timeless. A method I came up with for myself, to accomplish this goal, is to fuse different genres of music from different time periods. From the sounds chosen, time signatures, dynamics, the textures, and its arrangements.

For example, my favorite thing to do is fuse 50-70’s Jazz, 70’s Progressive/Fusion Rock, 80’s Pop, 90’s Hip Hop, 80’s-90’s Drum & Bass, and 90’s House music together.

I’m currently working on a project similar to this with Grammy Award Winning Musician, Thomas Pridgen, and a few other friends that will also be in conjunction with a few short films I’m directing.

Another artist friend of mine who goes by the name Slvstr has contacted me recently to collaborate with him on some musical endeavors alongside his art. I can’t get into details now, but trust me…

It’s gonna be huge!

If you could put together a body of work (photography, video, music, etc.) to send to an alien race, which of your creative projects or pieces would be included in the creative capsule?

This question is awesome! LOL if the alien race is more advanced and non-threatening, I would send myself. Simply because my brain stores everything I have done, attempted, and wanted to accomplish. That way they’ll have a full spectrum of intention and purpose, so my work will not be misinterpreted, and it’ll give me a chance to live through my work beyond Earth.

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Film Devotion: Orianna Carlia

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M

Y ART REFLECTS THE EVER CHANGING CLIMATE OF THE CITY; THE CHANGE OF THE OLD TO THE NEW. I DO THAT WITH THE USE OF FILM AND DIGITAL PHOTOGRAPHY, BRINGING PHOTOS TOGETHER TO SEE WHAT COMES OUT INTO THE LIGHT.

ISHMAIL THOT RA

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Ishmail's photography is the stuff made for magazine editorials such as Vogue and Harper Bazaar! They tell a story and are compelling, drawing you in with the saturated colors and the striking poses of his subjects. Bad Girl Confidence was so enthralled by his fashion photography that we featured him in this issue.

Ishmail's talent stretches beyond the sartorial into the artistic, as he peels back the layer of his subjects to create impactful and beautiful portraits.

My name is Ishmail Thoth Ra, I am a photographer based out of New York City. I was born in Brooklyn and raised around the United States. I grew up in old New York, where the L train wasn't the same L train and when Williamsburg was a danger zone. My art reflects the ever changing climate of the city; the change of the old to the new. I do that with the use of film and digital photography, bringing photos together to see what comes out into the light.

My photography story started when I was young.

I used to go to an after-school program at a junior high school called Imani Altismo Center; they had an art program. This is where I was first introduced to the dark room and to photography. After that, in between the years, I would take up polaroid photography.

I didn't take it serious until years later after college.

I first started getting back into film, but it was too expensive, so I moved towards digital photography.

I would just shoot all the time. I then started a photography class while living in North Carolina.

This is where my interest really grew, but my hard-drive crashed and I decided to go back to film photography. At first, I would pay to have my photos developed, but it cost so much money.

So, I started working at the Bushwick community darkroom. There, I learned to process film and print them. I started doing different mixes of film scans and digital photographs.

My Moon Goodness is one of my favorite pieces of work because it has all the elements of a great photograph and is a mix of both film and digital photography, yet it still has a balance. I would describe my work with the quote â&#x20AC;&#x153;forever forwards, never backwards.â&#x20AC;? I am always pushing for new ideas and concepts.

My work deals a lot with color and contrast. There is a constant challenge with my work because New York is over-saturated with artist and creative types.

So trying to find a defined style is always a mission.

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â&#x20AC;&#x153;I would like to become a better well-rounded photographer. There are so many aspects and ideas in photography. I also would like to be able to make a living and travel for photography assignments and show my work in magazines and art shows around the world.â&#x20AC;?

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THE SPIN-STERS

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The intricate weaving of musical tracks to create an emotional response in an audience is no longer in the realm of just the male turntablist.You may be used to seeing the guys spinning records that gets you all funked up, but these days we are discovering more ladies who are getting more creative with the deck and blending mind-blowing tracks that keep us coming back night after night. Bad Girl Confidence is paying homage to the ladies that spin from across the country, from nightclubs to radio personalities. Itâ&#x20AC;&#x2122;s about to get real...

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DJ M ELLE I’m a Chicago based DJ, and I got my start when a friend suggested I select the sounds for an artist friend’s listening party. I had always loved finding music and exposing people to it, but during that experience is when I fell in love with doing so “live”. I’ve been on a journey ever since, to learn and grow as a DJ, and I’ve been blessed to find support and community amongst male and female DJs. One of the things that shaped my ear was the fact that growing up, a wide variety of music was sought out and played by my parents. I was able to listen to mainstream and more experimental soul, funk, jazz, disco, world, and pop – a lot of the sounds that are incorporated into hip-hop. I also gained an appreciation for melody and sound, hearing my grandfather play piano religiously and my father play the guitar and other instruments like the kalimba.

“Overall, I want people to take something away, I don’t get to define what that is per se, I just try to set a good vibe by playing good music and maybe a few things that are new to you.”

I don’t know if I’ll ever feel like I’ve played my best show or reached the apex yet, but a great experience I had recently is being part of a line up of DJs for the Silver Room Block Party in Chicago. In addition to it being an amazing event I’ve loved and supported myself for so many years, it was really awesome that around the time I was on, I was able to share the stage with two other dope female DJ’s.

Right now, probably, time is one of my challenges. A DJ friend and I were talking recently about the challenge of making more time to simply practice and experiment. Malcolm Gladwell talked about having 10,000 hours of practice to become an expert in your craft and I firmly believe and aspire to that.

“I always have ideas for future mixes in my head and I never want to feel like I’ve already put out the best one.”

But thus far, I’m really fond of a project I did pairing hip-hop and soul with songs from one of my favorite albums Here, My Dear by Marvin Gaye. And I guess I’m probably most proud of my latest mix Looking for Trouble. It’s got an eclectic range of sounds and a feel good vibe and pace throughout.

Photo: Ollie Photography

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JENN GREeN I am a Radio Personality/DJ, previously based out of Chicago. I host a primetime two hour radio show called “Greenhaus Radio”, which airs every Wednesday featuring the latest in electronic, dance and hip-hop music. Previously before joining RWD.FM, I hosted a prime-time two hour radio show called “Galaxy Green,” that aired on Party 934 & 94.9 FM Hudson Valley, NY from January 2011 to May 2013.

I’m originally from the Metro-Detroit area where my experience with radio goes back to high school. I got my first taste and start, being a part of WBFH 88.1 FM. I just want to showcase the best music from all across the world. I would love to continue to work with artists I truly believe in and to see them flourish within the industry. I think it’s important to support local, independent and talented individuals. In general, I wish for people to feel whatever they want to feel. Music is therapeutic - you may never know what is going on in someone’s life, where they’ve been, where they are at or what they need.

“Whenever I have a set or playlist in mind, I think of it as one of those ‘take what you need flyers’.”

And honestly, sometimes when I’m hosting my show - I just have to put my cards on the table and use my craft as my outlet to work over, above and beyond things.

Episodes 47, 53, 54 are all super important to me because it’s the first time I started to get attention/place on Mixcloud’s music charts based out of 100. It’s crazy that I’ve placed 2nd or even 3rd. For that many people to vibe to music I select, let alone my voice, is unreal. It blows my mind that people all over the country continue to find me and listen to my show.

It’s a special feeling because every Wednesday I do my thing live and then upload to the site then people find me however they do. That’s why I love working for an online station and being mostly internet based, you can reach the demographic you want and be discovered as well. Technology is crucial and plays a huge role in how I do my job. It’s incredible and all so fascinating.

Photo: Jenn Green

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DJ MAHEALANI I grew up moving a lot all over Texas and I saw a lot of crazy stuff in my family.

I was very shy, so music was my main friend that I could take with me and could always count on. I began collecting records when I was around 11 years old. In high school, I helped my boyfriend become a deejay, but he would always pawn his stuff, and I would stay collecting!

I consistently made mix-tapes for friends and family who were going through things.

A mixtape I made got me my first live DJ gig at a house party hosted by Trey Lopez & Tigre Liu (Tigre Liu went on to form Afrofreque, Austin’s longest running live hip hop band, and also later became my husband) “Healing is my biggest influence music-wise, and I look to kids for inspiration!

I believe we all deserve to feel good, safe, and feel like we belong. This is what I want when I use my power behind the turntables! ” It is difficult to pick the best show I ever played. I feel lucky to have had some epic and at capacity dance party nights at fine Austin spots like the W Austin & the Container Bar. Those nights are fun because I feel I got unsuspecting folks under a vinyl love spell.

But dead nights have surprises too, for example, that one time Dave Chapelle came to the Volstead because he and his crew heard (and dug) what I was playing. That was mind blowing to me! He told me he liked my music and I had to tell him to take his drink off my cords!

I have also had the honor of playing records with some of Austin’s best musicians Brownout, Grupo Fantasma, Riders Against the Storm, Tameca Jones, Sonia Moore, Bobbie Patterson, Hardproof Afrobeat, Afrofreque, and many others - I love being a musician’s deejay because I totally nerd out more on my track selection.

“I am not what folks expect all the time. It takes patience when dudes talk to me like I don’t know what I am doing, but I just set up, play, and that usually works itself out pretty quickly. ” Probably my first two mixtapes I made after I bought my own turntables are the ones I’m most proud of: Girl Brain and Waxing Revelation. Nina Simone died on my birthday, the same time I bought my turntables. Her spirit & my healing story are strong on those two mixes. La Chola Guera was inspired by the cholos that gave me that name in high school in South Texas when I used to wear all black and I was some kind of pregoth-goth kinda kid. I blend and mash up odd couples like Joy Division & Nina Simone, The Smiths and Ying Yang Twins, Aaliyah and SantiGold, Sonic Youth and Outkast, Prince and Jay Dilla, M.I.A. and the Cure. Once again, there is a healing story that unfolds in the music.

Photo: Miguel Angel

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DJ SHANI I was born and raised in Chicago and am currently living in Austin, Texas for the last five years. I started my official journey in music in 1999 when I launched “The Groove Temple” a DEEP HOUSE radio show on WLUW, which is still on the air to this day. I was everything: on air personality, sound engineer, opening (and sometimes the only) DJ for The Groove Temple.

That opportunity, led to a whirlwind of residual opportunities to DJ. I officially had my first gig three months after the show aired in August of 1999 and haven’t stopped playing music since!

“In anything I do musically, my purpose is to take the audience on a musical journey, more than likely one that you’re not sure of where it goes, but are always groovin’.”

When I play in venues, my goal is to make you shake your butt, get the courage to flirt with whomever you like, and sweat out all your cares. When I make a mix in my home studio, I do the same thing. It really all depends on the mood I’m in and what kind of venue I’m playing for. I’ve always dug the non-verbal conversations I have with people through my music. I want the audience to walk with me on this journey that can span culture, time and space.

One of my favorite memories, is playing in the Bay in 2002. I played at Liquid in San Francisco and The Oasis in Oakland. It was the first time I had ever played out of Chicago. I think the biggest challenge that I’ve overcome with time, is playing on different equipment. If you’re an at home or basement DJ, you’ll know how to use and fix your own equipment. That’s totally different when you are out playing. I’ve even shown up to gigs and the house system, which wasn’t connected to the DJ booth, was completely unplugged.

“It’s really all about experience and learning from those situations that aren’t always the best at times, but are THE BEST teachers.”

Embrace is one of my most favorite mixes that I’ve ever released. I was always known as a DEEP HOUSE DJ and used to release nothing but DEEP HOUSE mixes. Then I looked at my collection one day and realized that I had so much amazing music that was NOT DEEP HOUSE. I feel a well thought out mix separates djs from DJs. If it’s done right, you can really connect musically with said mix. Embrace was my second non-HOUSE mix that got the most recognition and downloads in the limited time that I started putting my mixes online. It’s still the top downloaded mix of all, including reggae and other down-tempo/ lofi mixes.

Photo: Karmil Designs

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DJ NINA SOL I grew up singing, dancing, and always listening to music. I used to record mix tapes from the radio and when I discovered Napster, that opened up music from all over the world. I continued making mixes for friends - I made mixes for every occasion! The quintessential party mix, the “I will survive” post-break-up mix, New Life - a mix for the birth of my niece, the curation process has always been my favorite part of DJ-ing.

I moved to San Francisco in 2004 and in 2006 I moved into a house full of DJs, that was my first introduction to turntables. I started hitting up everyone I knew for their old records and it pretty much grew from there. The first party I threw was at 222 Club in San Francisco called Jazz Cats, with good friend Chika, it was a party paying tribute to the jazz greats that held late night jam sessions in what used to be the Blackhawk Jazz Club in the 50s and 60s. We started with traditional jazz and progressed into “jazzy” music of all kinds to reinvigorate those jazz spirits.

“I am blessed to balance two careers, economic development/impact investing by day, and DJ-ing by night. Both keep me inspired and connected to the things I love: music and empowering my community!”

The biggest influences were probably my parents, they both love music, and my afro-latina roots included a plethora of rhythms and aesthetics that have contributed to my sound. Most of my soul, jazz, and funk records came from my parents collection.

As I have moved deeper into dance music, my influences there are Karizma and Patrick Wilson, hands down. They are INCREDIBLE! They bring b-boy elements into house music and keep it deep, soulful and interesting the entire night. Earlier this year I had the honor of DJ-ing alongside one of my heroes Patrick Wilson at a party called Elements, that was certainly a treat. We attracted the best dancers in the Bay, with the baby powder for the dance floor in tow!

“My purpose is to deliver a soulful, dance experience that is unexpected and familiar, and takes people on a musical journey into the unknown.”

I love making that emotional connection with the audience, making them dance, if only for that night, forget the stresses of life, and feel connected to one another. Every gig for me is different, but it’s always sol-ful! I love when people ask about the music I am playing because it gives more exposure to the artists that I love and want to support. I think like a dancer when I DJ, and play what I would want to hear and feel on the dance floor.

The challenges are part of the fun. How to keep people dancing while maintaining integrity. Radio is no longer a resource for discovering new music, a good DJ plays unfamiliar records in a familiar way and keeps them dancing, that is my aim, a fun challenge.

And like anything else, it requires practice and hustle. No one is going to hand you anything. You gotta be creative, dig for those epic records, network and vibe with your audience, and of course practice!

Photo: John DeMato

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Photo: Lita Syles Creative Direction: Risky Cereal and Bobby Earth Makeup by Anastasia Bodagovskaya

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bobby "Kanye West's The College Dropout inspired me to start making my own beats, and I decided to share my musical ideas with the world "

earth

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HI BOBBY, IT’S SO NICE TO FINALLY MEET YOU! I FIRST HEARD ABOUT YOU VIA YOUR MIXTAPE: THE BOOK OF GENESYNTH. WHAT INSPIRED THIS COLLECTION OF SONGS? The Book of Genesynth was pretty much inspired by my high school years at The High School for the Performing and Visual Arts in Houston, TX and my first semester in college here at University of Texas.

It’s really just a mixtape about whatever I was going through at the time, whoever I was with, and whatever I was feeling.

It’s a project that came together from good (and bad) experiences, just being around cool people.

WHAT CURRENT SOUNDS OR MUSICIANS INFLUENCE YOUR WORK? Current musicians I’m influenced by include (but are not limited to): Flying Lotus, Thundercat, Shafiq Husayn, Kanye West, Pharrell, and Frank Ocean.

I’m real into that spacey type, soul stuff. There are many cool and interesting sounds to be found in that production style.

WHO WOULD YOU MOST LIKE TO COLLABORATE WITH? Right now, I would most like to do a collaboration with Ariana Grande because look at her.

WHAT DROVE YOU TO START MAKING MUSIC? AND TO SHARE IT WITH THE WORLD? I got into singing because it’s always been such a huge thing in my household, what with Filipinos being genetically programmed from birth to like karaoke.

Kanye West’s The College Dropout inspired me to start making my own beats, and I decided to share my musical ideas with the world when I teamed up with my friend Chase of Nazareth to make Kids! on Mars in middle school, a group which I later went solo from as “Bobby Earth” (I was originally “Rob C”, not kidding).

A NEW ALIEN LIFE FORM IS HOVERING OVER PLANET EARTH AND EVERYONE HAS DECIDED TO GIVE THEM A SAMPLER OF SOME OF THE COOLEST TUNES ON THE PLANET. YOU HAVE BEEN ASKED TO PICK ONE SONG THAT WILL BE PUT INTO A SPACE CAPSULE AND SENT TO THE MOTHERSHIP. WHICH ONE OF YOUR CREATIONS WOULD YOU SEND AND WHY? If I had to let aliens hear one of my songs as a representation of the coolest Earth has to offer in the line of good tunes, then I would have to send them “Candyland”. There’s glockenspiel and chimes on that beat. There’s like two major changes (bridge and beat change at end) that I’m into, and the chords are really pretty to me. I love that song, especially because my best friends are playing on it (see liner notes for the project). Yup, I definitely think aliens would really turn up to this one!

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S. THORNTON "Honestly, if people can look at my work and learn something that would be awesome. I am really trying to take my viewers on a visual journey... I guess our struggles make us who we are. Without my life experiences, my work would be lifeless."

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S.THORNTON BELIEVES IN ART THAT HAS NO FILTER. HER WORK TAKES YOU ON A RAW VISUAL JOURNEY THROUGH SOME OF THE MOST VISCERAL EXPERIENCES OF THE HUMAN CONDITION. S. Thornton’s work explores life’s complexities through the use of sketches, painting techniques, and collages. The latter seems appropriate given that life itself is a collage of moments and experiences that we can not always make sense of.

Her canvas is a medium through which she explores social issues, but most importantly the Pandora’s box of human emotions: pain, love, triumph, glory, struggle, and hope.

As identifiable as these emotions may be, it makes sense that her collages defy structure.

Instead, the pieces pull you in with bursts of color and imagery that demands a discourse. S. Thornton reflects the status quo within contemporary society in her piece Generation M, while simultaneously tackling its psychological complexities through her

experimentation of magazine clippings layered with acrylic paint. The piece is almost analogous to the overstimulated experience of a social media network like Facebook; relevant, poignant, and dynamic.

In some ways, S. Thornton’s work provides a safe haven for those who are far too familiar with the most challenging aspects of dealing with trials.

On the other hand, her work’s bold declarations are uncomfortable territories; but isn’t this what art is supposed to accomplish?

For S. Thornton, addressing these socially relevant themes without filters (and sparking a conversation) is the core purpose of art. The pieces submitted by Sheena invites us on a journey of passion, love, pain, forgiveness, unity and much more.

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“I WOULD LOVE TO SEE MY WORK IN THE STREETS. WHERE IT ALL BEGINS...STREET MURALS ARE SOMETHING I WANT TO DO VERY SOON.”

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“THE WORKS CONSIST OF A LIFE JOURNEY: THE LIFE AND TIMES OF A 29 YEAR OLD NAMED S.THORNTON. THERE ARE SO MANY S. THORNTON’S EXPERIENCING ALL THAT I AM EXPERIENCING, IT IS PERHAPS PART OF THE HUMAN CONDITION. ” — S. THORNTON

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“I see my music spreading. I wouldn’t be shocked if emo suburban teens find my music highly interesting.”

TALIA TAYLOR

Photo: Fatima Ghatala “Hands of Fatima”

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TALIA TAYLOR IS EVERYTHING YOU THINK SHE IS AND MUCH MORE. AS A MUSICIAN, HER LYRICS AND BEATS ARE ATMOSPHERIC REQUIRING YOUR ATTENTION AND YOUR EMOTION. WHEN SHE SPITS RHYMES SHE IS DANGEROUS. SHE HAS TAKEN THIS GIFT TO STAGES IN THE EAST BAY AND BEYOND, WINNING RAP COMPETITIONS. SHE IS INCREDIBLY ACTIVE IN HER COMMUNITY AND IS THE CO-HOST OF THE PARKED CAR, A MULTI-GENRE RADIO SHOW IN OAKLAND. WHEN THE SUN COMES UP AND THE MORNING COFFEE BREWS, MS. TAYLOR MASQUERADES AS A COLLEGE COUNSELOR. WE WAIT WITH BAITED BREATH FOR HER SELF-PRODUCED EP, WHICH IS UNDER CONSTRUCTION. TALIA TOOK SOME TIME OUT TO SPEAK TO US ABOUT WHERE MUSIC CONVERGES WITH THE REAL WORLD. For those who are not aware of who you are, can you give a brief description of who you are and your creative work?

I make music. I have been teaching myself to produce for almost two years now. I occasionally rap and sing over my beats. Between music, I experiment with visual art. I embellish men’s jackets with original paintings and embroidery. I also sporadically engage in public social experimentation as a performance artist. I do a lot, I guess.

Music-wise, where do you draw your inspiration?

Who has inspired you?

Lately I have been drawing the most inspiration from a variety of music produced in the 70’s. Synthesized sounds were becoming a big thing amongst the likes of Stevie Wonder, Prince, Mahavishnu Orchestra and Renaissance.

Quite a few of my favorite hip-hop songs have samples that can be found in some of the music from the 70’s. Easy Mo B is a producer that I’ve been paying closer attention to lately. He has produced Busta Rhymes’ “Everything Remains Raw”, Notorious B.I.G.’s “Me and My B*itch” and “Machine Gun Funk”. I first heard these songs over a decade ago and their production still rubs me the right way to this day.

How would you describe your sound as an artist and producer?

I am still figuring out what my sound is, sadly. It troubles me to not know precisely how to answer this question. When I really try, the best I can do is say melancholy. However, there are a few songs that I’ve made, but have to release which are upbeat and a bit “house”.

What challenges have you faced in creating music and building your career in music?

My greatest challenge is self-promotion. I am hyper conscious of my brand. I sometimes think that my obsession with it is transparent to the public, which then makes me think even more about it.

Have you done any collaborations recently?

What were they? What collaborations would you most love to do going forward?

I’ve collaborated with a very talented singer named SIMMI. I have a song called “Why Can’t I Stop” (yet to be released) that I wrote and produced. I really like her voice, I think she’s a good fit for the song.

I would love to collaborate with quite a few people I’ve been goofing around with: Featherload, BeatStreets, Siaira Shawn, Dom Jones and CoCo Peila.

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Photo: Fatima Ghatala “Hands of Fatima”

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Photo: Fatima Ghatala “Hands of Fatima”

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What is your favorite record to date and why?

I do not have a favorite record, but there is one that comes first to my mind, so I’ll go with that one.

It is Prince’s “For You”. It is his first solo album.

He wrote every song and played every instrument.

On this album is a song entitled “Darling Nikki”.

Now, there are many amazing things about this song.

First, there is a portion of this song that is sampled and contained within Tupac’s “All Eyez On Me” record. Second, at the end of the song, he reverses his vocals. Does he bother inverting them so the listener doesn’t have to download special software to figure out what he is saying?

Of course not.

He’s Prince!! He wants us to work as hard as he.

And so, I downloaded some software, uploaded the song, and figured out to reverse the reverse so that I could get the inverse of the reverse and understand what he was saying. It turns out he was singing about love, which made the moment of understanding even more sentimental.

I do not like art to be too easy and Prince made the effort to understand very worthwhile.

I am pretty sure I still do not fully understand that album instrumentally. Same with Georgia Anne Muldrow’s “Worthnothings EP”. I don’t get her composition. For me, not getting something is terribly exciting because I know I am about to learn something.

Where do you see your music going?

What are your creative goals?

I see my music spreading. I wouldn’t be shocked if emo suburban teens find my music highly interesting.

My short-term creative goals are more on the business side: get my followers up. I am working quite diligently to make money and place myself as well as my collaborators into decent studios.

My mid-term goals would be to have a moving visual for every song that is on my soundcloud. I love videos and think they do a great job of conveying emotion and creating a brand.

â&#x20AC;&#x153;My designs are definitely not for a person who would want to hide from the world, but rather, for someone to make a scene and be seen by the world.â&#x20AC;?

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CHRISTINA

Photo: Ishmail Thot Ra 97

WALTHALL

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Photo: Ishmail Thot Ra

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Christina Walthall is a young New York based fashion designer with big dreams of becoming a household name in the fashion industry. A quick glance at Walthall’s lookbook reveals a designer with a unique eye for daring styles. She captures edginess in her designs, while being true to a philosophy that garments should retain a classical and timeless effect. Walthall wants to create pieces for people “who want to be seen and to make a scene.” She tells us more in her interview:

Hi Christina. Thanks for taking the time to speak with us. With so many designs under your belt, how would you describe your style of work?

I would describe my style of work as timeless, elegant fashion. It is proven by my clients who wear them to attract attention and bring compliments. My designs are definitely not for a person who would want to hide from the world, but rather, for someone to make a scene and be seen by the world. My style, from my own perspective, is inspired by the 80’s; taking some of the most statement pieces from that era such as thick shoulder pads, oversized silhouettes, leather, and corsetry. To me, it was one of the most historical decades in fashion history.

When people wear your clothes, how do you want them to feel?

When my clients wear my clothes, I want them to feel how they should always feel. Dominant, in control, not just noticed, but highly admired. I want them to feel such confidence from my designs that it enhances their physique, propels them to stand tall, proud, optimistic and strong, and ready to conquer the day.

I guess I have also described a superhero, to some degree.

Being a young female fashion designer can be a struggle. What challenges have you faced in the industry?

As a female fashion designer, some of the challenges I have faced are making designs solely for other females. I know that there is a market for men who want to dress more fashion-forward, while also looking very masculine. I would love to penetrate this area of menswear, but catering to womenswear has dominated a huge part of my design aesthetic.

In the near future however, I desire to do both mens and womenswear to complete both sides of the spectrum.

What is or are your favorite design pieces to date?

My favorite piece that I have designed to date... well that is honestly a difficult question to answer. I have many garments that are equally my favorite.

However, if I had to choose just one, I suppose it would be my wool/cashmere blend coat with fox fur collar.

I love it because the shoulders are bold and pronounced, without the use of shoulder padding; and the lining is a surprise with its striking gold/ blue hue.

It is a coat that I think would sell well in the market and make any outfit look complete and editorial.

A little black coat can really go a long way.

My work can always be found on my website www.christinawalthall.com. From there, anyone can email me regarding a custom garment design.

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Photo: Ishmail Thot Ra

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GIRL IN A

thunder-

bolt

“I LIKE TO WRITE SONGS WITH A DARK TWIST. IF I DON’T DO THAT WITH THE MUSIC THEN I’LL DO SO WITH THE LYRICS.”

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You only have to listen to her voice to know that Girl in a Thunderbolt is a musician that is about to create a spark. Her music-making holds on to some of british rock and indie rock traditions that many of us have grown up listening to from the likes of The Beatles, The Smiths, and Patti Smith; reinvented with a twist of lemon. Her lyrics are alluring and dark, but still familiar laced with guitar-riffs that make us head bang. As we await her new EP, we picked the mind of Maria, the voice behind Girl in a Thunderbolt.

Your stage name sounds fantastic. What is behind it and how long have you been doing music?

Thanks. The name comes from a T-REX song ‘Girl In A Thunderbolt Suit’. I’m a big fan of Bolan’s voice.

I actually wrote my first song when I was six! It was a cringe-worthy rap about someone being beaten up on the way home from school. In hindsight, it wasn’t too dissimilar to The Fresh Prince of Bel Air! I’ve always written songs for myself, the way someone might doodle on a piece of paper, but I only realized that I could write them for other people to listen to when I joined my first band, a garage-punk outfit called ‘The Incidentals’ back in October 2005.

We broke up after a couple of years. I continued to write music and recorded an album in Norway, which came out in 2010, and I did a bit of gigging up until about a year ago.

I felt I needed to take some time out to re-assess what music meant to me. I’m back in the saddle now though, and finally feel ready to introduce my music to a wider audience. My new EP ‘Own Your Bones’ is my first official release in 4 years.

That’s great! We can’t wait to hear the new EP. How would you describe your sound?

I like to write songs with a dark twist. If I don’t do that with the music then I’ll do so with the lyrics.

I’m generally drawn to things that are slightly off-kilter, but with a beguiling edge, and I think that is

reflected in my sound.

I’m also into the performance aspect of the voice, using it to convey an emotion or feeling is very important to me. And I like a good hook, so most of my songs tend to have a repetitive motif in there somewhere.

Where do you draw your inspiration from?

Who has inspired you?

I’ve always been inspired by the free-thinkers.

The ones who aren’t afraid to shun labels and embrace who they are. In music, this includes people like Patti Smith, PJ Harvey and Nina Simone, but my influences stretch much further than that. I think any creative pursuit is an exercise in trying to understand yourself better, and that’s been a huge focus in my life. The beauty of being human is that we’re all individual with our own unique contributions to make.

Surely the greatest thing we can do is to work on understanding fully who we are, and then to deliver on that. In terms of sound, I’ve had an on-going love affair from a young child with music of the sixties, seventies, and eighties. This began with bands like The Beatles and The Smiths, and then expanded to Northern Soul, psychedelia, punk…It was such a creatively playful period where ideas were allowed to take shape with less concern for financial reward. I’m a bit of a sponge when it comes to musical inspiration. In a single song I might drop in references from Krautrock, southern soul, baroque…

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Photo: Joanna Millington

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What are some of the challenges you have faced as a musician? How have you overcome them?

I think the main challenge for me is being a musician while holding down a day job. Granted, a girl’s got to pay the bills, but when the muse comes knocking at three in the morning and you know you have to be up at seven, it can be very difficult to leave her outside in the rain. Then obviously, there’s the gigs, which can interfere with work. Hopefully I can look forward to a time when music IS my day job!

That would be a great transition! If you were to pick one track or creative work to send to an alien race that represents your creative spirit, what would it be?

Wow! Great question! And rather difficult to answer.

There’s so much to choose from! If it were to be one of my own songs, I would pick ‘Turn It Back’ from my new EP. I think my spirit is quite celestial, but also rather primal. I feel that song embodies both of those qualities.

So what’s next for Girl in a Thunderbolt?

Well, I’ve just got a new band line-up so in the immediate future I’m looking forward to taking that out on the road. And working on a new full-length album. And giving up the day job!

Photo: Joanna Millington

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TYPOGRAPHY CREDIT

ANDERS Tom Anders Watkins tomanders.com HANKEN Alfredo Marco Pradil creative-sauce.com VALKYRIE Hendrick Rolandez moinzek.com GEOMANCY Natasha Fernandez-Fountain natashaisneat.com SANOTRA Emraan Mayow behance.net/emraanmayow COFFEE & CIGARETTES Faiban De Lange fabiandelange.com

FARRAY Adrien Coquet adrien-coquet.com YELLOWTAIL Astigamatic astigamatic.com Lovelo Hans Renzler braenda.cowm ClOSE Bowery behance.net/resho GAGALIN Lordanis Passas ip-art.info

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