Warm Soda Magazine | Issue One

Issue One

warm Soda art music culture

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warm Soda art music culture

Issue One Staff Editorial Director & Co-Founder Lauren Leady editorial@warmsodamag.com Creative Director & Co-Founder Shelby Clayton creative@warmsodamag.com Graphic Design & Layout Editor Bryan Bethel Writers & Contributors Elizabeth Ames Logan Bryant Mariah Huelsmann Rosita Cal Stevens Alex St. Peters Jason Wood Event Coordinator CyRhen Sohngs Friend to All/Moral Support Pup Buddy Leady Associate Editor Anya Malley Advertising Send inquiries to advertising@warmsodamag.com Cover Tabby Freeman 2

Contact warmsodamagazine@gmail.com Warmsodamag.com Facebook.com/warmsodamagazine Instagram.com/warmsodamagazine Support us! patreon.com/warmsodamag Warm Soda Magazine 2821 Sanford Ave. Alton, IL 62002 Submissions Submit us samples of your art (copies of originals only).

DVDs, books and music may be sent to our mailing address with “Submissions” written on the back of the envelope.

Please send email links to editorial@warmsodamag.com with subject title “Submissions.” Please don’t send email attachments. Links only. We suggest uploading an online gallery. We are happy to accept samples, but submissions do not guarantee coverage. Samples will not be returned.

Legal The advertising, features, and reviews appearing within this publication do not necessarily reflect the opinions of the publisher. All rights to art, writing, photos, design, and/or likeness are property of respective owners, and no assumption of ownership is made by this publication or the publishers. Everything else is Warm Soda Magazine and may not be reproduced in part or in whole without written permission from Warm Soda Magazine and respective contributors.

Editor's Letter Hello! Welcome to the FIRST ISSUE of Warm Soda Magazine.

Warm Soda Magazine began its journey in early 2018, starting with a few recent college grads and twinkles in their eyes. Within a year it became more than what anyone, especially myself, expected.

Warm Soda is a crispy carbonated gulp of delicious art, music and culture around the Greater St. Louis area. Based in Alton, Ill., we strive to offer insight and support to the creative and innovative side of the community. Warm Soda is a home for all creativity of the area to meet, celebrate and consume, and a platform for artists who otherwise do not have a voice. We are here to recognize ALL artists and creatives.

In addition to our publication and online articles, Warm Soda curates several art shows a year. We strive to bring interactive opportunities to artists. In the past we hosted ArtAttack, a a bi-monthly art class and social/ networking opportunity, in conjunction with Jacoby Arts Center. We plan to keep ArtAttack going. Most recently, we started “The Fizzy Fellows Podcast,” hosted by Rosita and Cal Stevens, available on our website, Spotify, Apple Music, etc. Each episode features a creative person from the area talking about a particular art medium and topic.

I have never been so in total awe of a community. The art community has brought such a breath of fresh air to not only the area, but also to me. My goal with Warm Soda is, and always has been, to recognize artists and show the world what art has meant to me, how important it is to living and what it means to be inspired.

I would like to thank anyone who has supported us so far, whether that be coming to every event (lookin’ at you Auntie Em) or just sharing a post on our Facebook page. Every interaction has meant so much to our little dream.

You made it grow from an eye twinkle to a full-blown publication!! Thank you! Also, thank you to every small business that has taken a chance and collaborated with us.

But also. Thank you so much to every person who has contributed a piece of themself to Warm Soda. Your time and effort is so appreciated. Thank you Shelby for being in this with me, Bryan for always making colorful graphics and making me laugh and supporting the idea from minute 1. Thank you Rosita and Cal for hosting the podcast and offering encouraging words. Thank you to Beth, Mariah, Logan, CyRhen, Jason, Alex. Thanks Anya for always editing my edits. These people are the foundation of Warm Soda. Warm Soda wouldn’t be Warm Soda without them.

So. Issue 1 is out. Within these pages, you will learn about some hardworking, talented local photographers, bands, musicians, filmmakers, bookmakers — the list goes on.

Last but not least, thanks for reading. Get to flipping pages, I hope you are inspired by what you see. There’s more where that came from.

Stay fizzy!

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Table of Contents Art

Numbers Don’t Matter ………………………………………………………………………………………………………………………..…………………... 6 The Future is Bright for Jessica Page ………………………………………………………………………………………………….……………….. 14 Stahpmeign Book Arts Fabricates Utilitarian Beauty ………………………………………………………………………………………….. 22 Art for Art’s Sake ………………………………………………………………………………………………………………………………………………….. 25 Focusing on Zachary Boren ………………………………………………………………………………………………………….……………………….. 30 Carbonated Comics …………………………………………………………………………………………………………………….………………………….. 43 Great Artistic Power Comes with Great Environmental Responsibility ……………………………….……………………………….. 46 Lisa Hinrichs ………………………………………………………………………………………………………………………………………………………….. 48

Music

Regional Recap with HOOKiE …………………………………………………………………………………………………………………………..……….. 12 Tuning in with Lobby Boxer …………………………………………………………………………………………………………………………………….. 18 Music Plug – Tonina ……………………………………………………………………………………………………………………………………………….. 36 Darrius Spangler: Pulling the Strings ………………………………………………………………………………………………………………….. 38 Drangus Uniting Various Music Styles ……………………………………………………………………………………………………….………….. 42 Artists Unamped with Inner Outlines Drummer Cody Walker ………………………………………………………………………………... 56

Culture Pouring Out Identity: Coffee Drinking in Resettled St. Louis Bosnian Communities …………………………………………………………….... 44 Femoral ………………………………………………………………………………………………………………………………………………………………………………... 52 Conspiracy Theory Corner …………………………………………………………………………………………………………………………………………………… 58

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Explorations in Photography Series: Ages // 16+ Instructor // Jeanie Stephens Sign-up for one class or all three Photo Essays Saturday // March 23 // 1-3pm $25 // 1 session Travel/Street Photography Saturday // April 27 // 1-3pm $25 // 1 session Product/Promotional Photography Saturday // May 25 // 1-3pm $25 // 1 session

Comprehensive Drawing Ages // 21+ Instructor // Monica Mason - Morning Session Tuesdays & Thursdays // April 23 - June 13 // 10am12pm $220 // 16 sessions - Evening Session Tuesdays & Thursdays // April 23 - June 13 // 6-8pm $220 // 16 sessions Intro to Wheel Throwing Ages // 16+ Mondays & Tuesdays // March 25 - April 23 // 6-9 pm $225 // 10 sessions Instructor // Chris Carson

ART SUPPLIES | GALLERY | CLASSES | STUDIO RENTAL

COMMISSIONED ART

Hours: Tuesday - Saturday 11-7 PM 102 E. Ferguson Ave. Wood River, IL 618.251.8550

Find us online!

http://www.vondellgalleryandstudios.com/ https://www.facebook.com/VonDellGalleryandStudios

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Numbers Don't Matter Tabby Freeman's Digital Art

By Elizabeth Ames and Lauren Leady Photography by Shelby Clayton Digital Art Courtesy of Tabby Freeman Tabby Freeman, a killer local artist who has become well known in the online art scene and community, discusses her inspirations, art growth and future projects. With more than 10,000 followers on her art Instagram, Tabby has basically created a new meaning for the online art community and sends a hopeful message to aspiring artists.

Personally, I have known her as an acquaintance for many years, giving me the opportunity to watch outstanding progress in her art from a distance. It was a bit of a fangirl moment for me. Tabby’s quirky personality shines through her work, giving it a life of its own — whether it be relating to her “Long Distance Relationship” (LDR) comics or watching her speed-drawing videos.

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What got you started?

I’ve been drawing since I could hold a crayon, but the significant moments are seeing “InuYasha” on Adult Swim back in early 2000s and wanting to create art like that instead of the “spaghetti arm” characters I had been drawing (starting my anime style journey). And the biggest thing that got me into digital art was my parents getting me a Wacom Graphire4 Tablet for my birthday in middle school. That changed everything.

How has your personal style developed over the years?

It has definitely become more colorful and inspired

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by the ‘90s than in previous years. I seem to bounce around between semi-realistic and anime.

What is your favorite part of creating your art?

I really like posting something and it connecting with another person somewhere in the world. That is the craziest thing to me.

Where do you find yourself most inspired?

Without fail, anytime I watch [Studio] Trigger or [Studio] Ghibli animations or listen to music. But I find myself most inspired being around loved ones and paying attention to my day. I have so many sticky notes

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notes taped into an idea book for daily comics inspired by life in general that I will probably never get around to creating.

Tell me about what you’ve accomplished as an artist?

Outside of reaching hundreds of thousands of people worldwide with my LDR [Long Distance Relationship] comics going viral on Imgur and Reddit, I have had the pleasure of connecting with some of my art idols in my younger DeviantArt days — just meeting fellow creators and becoming friends is an accomplishment in itself. I think the craziest thing though has been making fan art for creators that I enjoy and them reaching out and vocalizing their enjoyment of my work. I did a commission for Kevin Jonas (my fave Jonas Brother when I was a tween) for his kids’ playroom and that STILL blows my mind thinking about it.

go set up in my college café or local coffee shop Skyping him. It was texting through Whatsapp when I was home .

I made the comics as a way to feel less lonely and more connected to him and help us through. I was inspired to create things that made us feel less apart than we actually were — that goes for both of those relationships.

In time, the comics got picked up by many others who related. And even though the relationships have ended, I keep [the comics] up for those who may need to feel less lonely in their LDRs. And sometimes I try to help those who reach out in need of advice or, at the very least, someone to understand LDR struggles.

Have the LDR comics influenced the comics or even just your other art you make now?

To be honest they don’t influence me much at all,

How long have you been creating the LDR except that when folks message me about them, I comics? Can you talk a little about those? want to keep creating art that is relatable for others The process, inspiration? and can also be used as a diary of sorts for my future Starting in 2012, I created the comics during the span of two different long distance relationships I had ...

My LDR comics actually span five years.

I got the idea to create the comics back during my first LDR. We only got to visit three times in the twoyear span, and I didn’t have proper internet or much cell service at my home to video call, so I would

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self to look back on.

Con experiences?

I’ve been to Anime St. Louis for the past two years (this year will be my third) and Gateway Comic Con last year. I really, REALLY enjoy boothing. C2E2 and Kansas City conventions are ones I am looking out for in the future for sure!

Your time lapses of your art process are absolutely mesmerizing. Do you have a technique for creating those videos?

I have a screen capture software called OBS that records my monitor, then I speed the video up quite a bit in a program called Camasia — the end swipe when my sketch is “painted over” to reveal the finished art is a tad more complicated but is fun to produce.

How do such intense technological advances affect you as a digital artist?

The amount of brushes and techniques and stuff I see people use is overwhelming — it makes me wish I had time to learn it all! Honestly, the biggest game changer for me since I first started has been the iPad Pro. I primarily work at my desktop with all of my programs and such in one place. But that means designating time AT HOME to do that. When I bought my iPad last summer, while I was in moving limbo, it let me draw away from my desktop, which was in storage of sorts, which was REALLY nice.

What does the future bring for your art?

I want to get into making enamel pins, and once I get a good schedule set I want to get consistent with making slice of life comics that will eventually be made into a book. I would LOVE to do a variant cover of a comic at some point.

How is it being an artist in the Midwest? Has it been hard? Do you think you get as many opportunities What is the best advice you’ve been given? in the Midwest than artists on the East or West “The numbers don’t matter” — “don’t create things to Coast? get all the likes and retweets; create things because Being an artist anywhere has its pros and cons, I am sure, and it also varies on what type of art is being produced. Since my work is primarily online with random pop-up shows/conventions to sell physical copies at, the only hard thing personally is wanting to travel to do more conventions. If I lived on the East or West Coast, I think hitting big conventions would be easier since they have so many. We have Kansas City, Chicago and even Anime St. Louis here in the area that are great for artists to booth at, but not near as many, it seems, as the big coastal cities. Even those closer require having time off and money to make stock and prepare for.

I don’t think that where you are located matters too much with getting opportunities in the digital art field. The internet and just the luck of my work being seen has given me most, if not all, of my art gigs and contacts. I know so many folks who drew and posted on Tumblr or DeviantArt and were picked up by comic and animation studios. I think it is about putting a TON of content out and getting lucky with who sees it or submit a portfolio to companies to review. Keep creating, keep sharing.

you want to.”

TLDR: Focus on the art, not the numbers.

What are three fun facts about you?

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I have collected the ticket for every movie, show and event that I have gone to since 2005 and counting

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I have a -20 spice tolerance (the taco sauce on Jack in the Box tacos is too spicy for me)

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I haven’t grown out of my “emo music phase”

@tabrakadabra patreon.com/TabraKadabra artoftabby@gmail.com 11

From left to right, Graham Pagano, Mikey Lowenstein and Ray Ayers hanging out in downtown Alton

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regional

recap V

HOOKiE

Written by Lauren Leady Photos by Shelby Clayton

Local businesses are a huge staple in Alton, it’s what makes us thrive and why we’re so proud of where we’re from. Along with that, local musicians and bands are our go-to entertainment. With a large variety of genres playing nightly, we have a lot to pick from. You can hear rock, punk, folk or more during any given event, sometimes all-in-one place. Alton loves to celebrate, and it becomes an even bigger party when local bands join in on the fun.

HOOKiE, a rock band that blends blues and punk and one of Alton’s most popular bands, knows the area like no other band does. From playing numerous music venues to eating at local restaurants, the three band members, Graham Pagano, Mikey Lowenstein and Ray Ayers, list the best places to visit and/or attend in Alton. These guys are not only experienced and talented musicians, but they also love local businesses, just like you and me — they know the top places to chill and want to highlight them.

Pro tip: While visiting these places, you should jam out to HOOKiE’s album “600.”

These down-to-earth musicians bring a deep meaning to local music as a staple band of the area. Alton is just as big of a fan of HOOKiE as HOOKiE is just as big of a fan of it. This riverfront city wouldn’t know what to do or how to celebrate without HOOKiE. In fact, Graham boasts about the Alton area’s support.

gig and they have been phenomenal to us, so I'll say that has to be a favorite.

—Graham The Pump House in Wood River The Pump House has done and continues to do amazing things with their venue. —Graham

“I love the music family in the Alton area. There are a TON of super talented local musicians, live performance venues and live music fans in Alton — more so than you find in most towns this size,” Graham said. “I'm constantly running into and meeting more and more diehard musicians and music fans in the area. Rock the Hops festival and WBGZ's ‘Riverbend Talent’ have been amazing for exposing Alton's great music vibe to St. Louis area bands and music fans. I've heard of more than a few St. Louis musicians moving into Alton specifically for the music.”

You can find live music just about every night of the week somewhere downtown. In the summer, there is the Night Market, Alton Expo, Piasa Summer, Rock the Hops and several other fests going on. You can take a drive down the River Road and go hiking at Pere Marquette State Park or visit several historical sites around town.

There are also antique shops, Jacoby Arts Center, Germania Brew Haus and plenty of haunted tours during the fall.

—Ray

Food When it's time to refuel, some of my favorite hotspots are Chez Marilyn and The Ragin' Cajun in Alton and The Pumphouse in Wood River. These welcoming establishments also double as my favorite venues so I don't have to wander far to know where I want to spend my free time. —Mikey Also mentioned: Roper’s Regal Beagle in Godfrey, Bluff City Grill in Alton.

Music Venues [Downtown Alton] is where the heart and soul of Alton-area musicians spread their proverbial wings and keep the dream alive for all of us. —Mikey Bottle&Barrel in Alton We did our album release show there last year and had a great turnout and B&B were fantastic to deal with.

They put action to their words when it comes to supporting local music and I truly appreciate that. —Ray Chez Marilyn in Alton Our home away from home is Chez Marilyn. That's where we played our first

To Do

We live in such a beautiful area, so if hiking, boating, camping or photography is your thing, this is the place to do it. From the amazing arboreal colors in the spring and fall to the inspirational waterways and animal life of the Mississippi River, this place has more than plenty to offer the outdoor-minded person. —Mikey

Night Life As the sun begins to set and the midnight oil starts to burn, I like to head to the downtown Alton area to find my evening entertainment. Everything I need to keep busy can be found on 3rd Street, State Street, Belle Street and Broadway. Whether it be Irish jigs to rock ‘n’ roll or billiards to gambling, there is hardly a shortage of things to do for the average night owl. —Mikey

Gear Shops I've spent plenty of time in just about every shop Madison County has to offer and a few that stand out to me are Halpin Music in Alton, Mojo's Music in Edwardsville and Swing City in Collinsville — though I do have to give honorable mention to Jody at Hopper's Music in Alton [closed now]. —Mikey

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“The city is mine. It birthed me, it raised me and it’s rich with passion and history.”

JESSICA JESSICA PAGE PAGE

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The Future is

Bright for

Written by Lauren Leady | Photos Courtesy of Jessica Page

W

ith more than 2,500 followers on Instagram, photographer and videographer Jessica Page shows her love for St. Louis and its residents through a unique lens. Born and raised in St. Louis, Page finds inspiration within the Gateway to the West.

In general, Page focuses on an individual in her shoots. The end result? An intimate feeling with the person in the photo. Page’s photos tell a s t o r y about the person pictured. Viewers get a look into a person’s personality through Page’s portraits — a way to get to know someone you have never met before.

Looking through her website, you can tell Page gets a lot of inspiration through colors. Each shoot is brought to life specifically by the bright variety of hues. These photos bring about not only an intimate feeling, but also a joyful energy.

“For me, rather than extend myself over into galleries, I want to capture my people and give them an image of themselves that makes them feel good,” she said. “Feel good portraits never hurt anyone!”

Jessica Page

Although Page has landscape photos of St. Louis’ skyline, she prefers to stick to shooting individuals.

“I prefer portraits, but I love St. Louis and I like to sneak unique landscapes when I can,” Page explained.

“Preferably something obscure that creates an alternate reality for a moment.”

In addition to her photoshoots, Page has collaborated with musicians in St. Louis to produce music videos. Some collabs include music videos with Teszla, Bloom and more.

Page’s artistic vision is always expanding and she tries new perspectives. As a goal, Page wants to add fashion photography to her repertoire.

“I do portraits, but fashion photography is something I want to dive deeper into. I’m always interested in people’s personal style and creating a character …,” she explained. “So for me, working with a bigger team and working with fellow artists is an opportunity to make that vision happen.”

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he city of St. Louis and its spaces and people motivate Page in her art. Her passion for St. Louis is reflected in her work, especially in the beautiful skyline and her capturing of unique people within the city.

Page strives to give back to the area what the area gave her.

“The city is mine. It birthed me, it raised me and it’s rich with passion and history,” Page said.

Growing up in St. Louis has allowed Page to feel and acknowledge the love the city expresses. While some people want to get out of their hometown, Page appreciates her hometown and all it has taught her.

“Everyone wants to complain about their hometown, so I find passion in loving my hometown. People think it’s weird to not want to live anywhere else, but I would bet that my city is always going to be a winning city with enough love.”

Part of her inspiration comes from the culture of St. Louis — food, bars, events.

These various parts of what brings the city together is exactly what gives Page the motivation to develop her art.

“The food and bar scene inspires me so much. We really have restaurant and bar owners here who make food and drinks

whose quality is good enough to go against any major city,” she said. “That inspires me to develop myself and build in my city and be part of the history that is proud St. Louisians.”

As for the art community in the area, Page can’t get enough of it. St. Louis’ art scene is rising up in prominence and Page is definitely part of it. Everywhere you look, left and right, there is someone accomplishing their art dreams. “[Art community] is really phenomenal right now. I’m proud of everyone I know who is getting themselves in that gallery, making that album, writing that article and making these films.”

Not to mention Page’s accomplishments in her own medium. She knows the importance of following dreams, especially when it comes to art. It is worth it in the end. The art boom in St. Louis is inspiring not just her, but also so many others.

“We’re inspiring a generation and we’ve come so far. The future is looking bright here and I’m glad I’m on the wave.”

Next, Page will collaborate with Anni from Mesa Home, a thrift shop on Cherokee, on a cool show in April of this year. Look out for that.

Find more of Jessica's work: www.jessicajpage.com/ www.instagram.com/jessica.jpage www.youtube.com/channel/UC9iQOH1_1Rijf91D01TvFsw

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Tuning in with

Lobby B

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Boxer

By Logan Bryant Lobby Boxer is a high-energy rock trio consisting of Zach Fendelman, Max Sandza and Andrew Gurney.

Vocalist and guitarist Fendelman met drummer Sandza in high school, where the two were in a deathcore band called Gormogon together.

Fendelman met bassist Gurney during freshman orientation while attending Webster University, both planning to study in the jazz program. As the three have grown together, they continue to inspire each other, finding their place and artistic strengths within the band.

Fendelman eventually majored in and graduated with a degree in music composition, now working as a freelance composer and sound designer.

“Most of my work is in games under the name Fat Bard, and I also do films and other projects here and there,” the vocalist and guitarist explained.

Artwork by Brandon Bandy & Andrew Gurney

Sandza graduated with a degree in audio engineering and works as a sound technician, while Gurney graduated with a degree in fine arts with an emphasis in mixed media, including video and installation. In fact, their latest album cover, “Eugene’s Preference,” was designed by Gurney along with Brandon Bandy.

He elaborated, “I’m a musician for sure, but I like to think of other things I do with equal value and think of myself more as a creative person first and foremost.”

Fendelman, Sandza and Gurney all seem to stick to their artistic roots, especially showing their hard work and talent through Lobby Boxer. Each person brings a certain aspect and talent to the forefront, giving this band a uniquely artistic sound. The three prefer to shy away from genre labels, and instead, focus on letting the music grasp the reins and take a life of its own. It’s hard to ignore their sound with its high energy and genre-blurring style.

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Photo courtesy of cmdphotography | Chelsea Dufresne | Insta: @chelseadufresne

“We don’t really feel like a single genre accurately describes our sound,” Fendelman explained. “Plus there are a lot of connotations that come with certain genres and subgenres, so we’d rather have the music speak for itself.”

Although music is a large chunk of their lives, Fendelman said it’s easy for him to avoid burning out due to his wide variety of projects.

He said, “I’m also just obsessed with music so it never really feels like a chore. I spend just as much time listening as I do writing.”

Sandza spoke on how taking breaks is beneficial to his

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productivity, but also how he can look to the other band members for inspiration during musical ruts he experiences.

“I’ll just have to step away from my kit for a week and just do rudimentary stuff, or focus on other things in my life that need attention,” Sandza said. “Luckily, Zach and Andrew are dope dudes, so they’re always a great source of inspiration when I just can’t get it together.”

Clearly these members have an advantage within each other.

Their music has only gotten better, even through the tough, uninspiring times, because they found motivation in not only the band itself, but in each other.

Throughout the years, Lobby Boxer has released the “Lobby Boxer EP,” album “Big Bucks” and “Eugene’s Preference,” which was released on Feb. 5 this year. The members of Lobby

o m my kit fr y a w a p te s to e v “I’l l jus t ha do rudimentary t s ju d n a k e e w a r fo ings in my th r e th o n o us c fo r s tuff, o tion.” life that need atten -Max Sandza

Boxer all agree that their main goals are to shift their focus to writing and becoming full-time musicians.

“I think one of our main goals is to make the band more of a full-time job,” Fendelman said.

“It would be nice if the only thing we had to worry about was writing music and driving to the next city.”

However, being a band in the DIY scene includes a lot of work surrounding booking and playing shows, especially in the sense of going on tours. Since 2013, when the band started, the trio has been doing it all themselves.

“We do so much of our own stuff, Max tirelessly books our tours and we recorded our latest EP ourselves.” Gurney said.

Representation and help from professionals are two things that help smaller groups alleviate this stress. Although taking on the band full speed ahead is exhausting, the members have created fire track after fire track.

Lobby Boxer has proven to be a big part of the St. Louis music scene with “Riverfront Times” recognizing the band’s talent by naming it one of 2018’s STL 77 Honorees. Warm Soda sees Lobby Boxer accomplishing even more in the coming years.

Listen to Lobby Boxer Bandcamp: lobbyboxer.bandcamp.com Spotify: https://spoti.fi/2tmgzkm 21

a k p o t son S

Alli

Claire

Mentz

er

From left to right, Allison Stopka laughs with close friend, fellow student and business partner Claire Mentzer.

Photos by Rosita

Stahpmeign Book Arts Fabricates Utilitarian Beauty Interview by Rosita Two good friends plus the seriously old and detailed prac tice of bookmaking equals phenomenal pieces of art. Allison Stopka and Claire Mentzer are both talented textile artists who just so happened to take the same bookmaking class in college. Separately they continue to develop their own style within textiles, but together they have fabricated a joint collection of

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beautifully handmade notebooks they sell together at art shows under the name of Stahpmeign Book Arts.

The intricate and repetitive work of creating a book from square one both challenges and excites these two hard-working artists who greatly appreciate the old traditions of the historical art form. After having a great chat with Stopka and Mentzer, my appreciation for the art

of bookmaking skyrocketed. The amount of time and detail it takes to bring a book into being is out of this world.

How did you two get into bookmaking?

Claire: Our school [SIUE] offers a bookmaking class and we both ended up taking it and we both loved it.

Allison: It was exciting that we were

both in the same class. We both just kind of fell in love with doing book arts because there is so much more to it than you would think with making books, which is entertaining. I love tedious stuff and that is definitely part of it.

How would you describe the process of making a book?

A: A lot of hours and a lot of counting.

C: It took me four or five hours to make just one little, tiny 1-inch book. It involves so many numbers, which is surprising, like, so much math.

A: It’s surprising how much time it actually does take. I didn’t think it would take as much time to make a book as it actually does.

C: Because you have to think about what paper you’re using and then you fold it in half with what the measurements are and then it has to be at least a quarter inch on three of the sides, if not more for the cover.

A: And then when you do certain styles, like the coptic binding, you have to actually sew the thread through and do loops and knots through each of the groups of pages [called signatures].

C: The standard style takes longer because you sew the signatures as if you were going to put them in a coptic binding, but you sew them to themselves and then you glue the spine and then glue that into the cover you make for a standard cover.

How many styles of books are there?

A: We know Japanese, coptic and standard. What else? Oh, pop-up and accordion fold too.

C: And there are so many other ways you can figure it out.

watercolor painting, drawing with graphite, charcoal and ink.

I like working with clay and trying to sculpt. I have done a couple little teenie figure sculptures. I made a little geisha one year and I sewed all her tiny clothes. I think it’s good to have a broad spectrum of skills that you can put together.

A: [The program at SIUE] encourages us to try all mediums, so I’ve enjoyed almost everything. I really like sculpture, painting, drawing and metalsmithing. I just want to know all of it!

With your books, what inspires your creative process from start to finish?

A: [Talking about her collage book covers] I look for stuff that appeals to me, I guess that’s sort of how I went about it. I just had a bunch of these images and I paired them with what I thought looked best. It’s hard to explain, it’s just what looks great!

(We all laugh) That’s so much of art, “I don’t know… it just looks good.”

C: I pick out things that are aesthetically appealing. I stress about the color of the binding a lot. It’s just that thread is so stressful sometimes. My grandmother passed away earlier this year and she left me a lot of her old fabric, so that’s what I’ve been going through, a lot of her old fabric and putting them on books. And then I found recently that my grandmother had a whole bunch of handmade traditional Japanese washi paper, which is like a thick rag paper. The washi paper has hand-designed patterns all over it. It’s a repeated pattern over the entire surface.

I had no idea it was so intricate; that’s amazing!

A: I know! It’s crazy because you look at a book and you’re like, “Oh whatever, it’s a book,” but when you break down all the different steps, it becomes this huge thing that you had no idea that was possible.

What is different about working with textiles as opposed to other mediums of art?

A: I think the traditional aspect is really appealing to me as a woman. It’s what I grew up seeing my grandma do — doing quilting and afghans — but now I’m learning so much more about the other ways of using some of that. Those techniques I find really appealing to work with. Obviously other mediums have traditional aspects to it, but it’s just like the idea that there is this homemaking medium that is now becoming a whole conceptual medium.

C: In terms of textiles and books, I like the meditative process of it because other than measuring and remembering how many holes you have to stab into paper, it’s not really something that I have to actively think about. It’s very calming to me.

What other mediums of art do you enjoy creating?

C: I love experimenting with mediums. I like oil paints,

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With studying textiles, what do you want to do with that?

C: One of my dreams is to go to grad school for costume design and then work with theaters or TV shows or movies.

A: I feel like I should know since I graduate in the spring (laugh). Whatever comes my way, if it fits then I’m happy. But seriously, I have always loved the idea of restoring old objects.

If I could get in with restoring old books, I’d be good with that!

Together you have created a business, so what are your plans for this joint adventure?

C: Selling in local places.

A: Yeah, as much as possible. It’s kind of hard during the school year. Especially since Claire is applying for the BFA program and I am in the BFA program. It’s a lot of work. We have a bunch of books already made so hopefully we can find places to sell.

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So, what soda flavor are you?

A: I feel like I would be a common soda with a flavor in it because I guess I’m pretty normal but also a little different. Like a wild cherry cola because I’m a wild card, but also pretty normal at the same time. Or where you combine a bunch of sodas in the same cup. I’ll do root beer, Coke and Dr. Pepper because I can’t decide. I think that’s probably it, the weird mixture of soda, that describes me the best.

C: Maybe the zesty orange diet coke only because I’m a little bit weird, but also you don’t expect me. People are like, “Oh, you’re so quiet and really proper,” and then I surprise people all the time.

A: That’s a really good description of her.

That’s why we’re friends.

Although Allison and Claire are busy with the craziness of finishing college, they look forward to selling their books at more local venues in the future, so keep an eye out!

Photo by Shelby Clayton A visitor reads about Kehinde Wiley’s “Saint Louis” art exhibit at the Saint Louis Art Museum while standing in front of a huge piece featured in the show.

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Art for Art’s Sake Written by Jason Wood Photos by Shelby Clayton

The royalty and upper class of past centuries would clamber to have their portraits done by Kehinde Wiley if they were around today. But he would probably turn them away and instead choose to focus on the lower class — the forgettable souls — to star in his portraits.

In his recent show at the Saint Louis Art Museum, Wiley wanted to draw attention to real and present people who are often ignored and quickly added to a small box, or treated like a caricature. Here, in his solo show titled “Saint Louis,” the artist chose works in the museum’s collection dating from the 1540s to the 1920s and reinterpreted them. Replacing the highly pompous patrons of the originals with honest and current models he recruits by “street casting,” meaning he goes in search of people to paint in specific locales. By substituting the subjects, Wiley believes these re-envisioned portraits have the potential to reveal their unique political and social conditions.

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In addition to the using stark realism and honesty of the sitter, Wiley paints beautiful and detailed backgrounds of ivy and flowers.

The artist is quoted on one of his piece’s label saying, “It’s almost as though the backgrounds were demanding to be represented as well. Their competition for the picture plane exists in direct relationship with my insistence upon the black body being in the forefront within a museum space, that sense that I deserve to be here, that constant fight for presence.”

That is quite evident when in the presence of one of these

portraits. Standing tall on the wall, these 8-foot-tall paintings It is society, and humankind as a whole, who have are sensational to the fullest definition of the word. commissioned these paintings. The demand for a show like this is deafening. He was invited to put these paintings in the museum.

Historically, the original intent of paintings such as And, yes, he puts the lower class Black American up on the wall, these were to re-enforce the power and wealth one had by using their names and birthdays, but these paintings don’t need commissioning a portrait to be done by a classically trained to hang in a museum for the message to be heard. These days painter, then to hang it in one’s house so when a party was there are many options for showing artwork that are outside the thrown, all guests would quiver and emote jealousy for the museum walls and could still receive just as much media attention. work. For Wiley, that bravado of the rich is a bit ironic in that The original paintings were bought and owned by the people in the scale of his works has quite a price tag attached. The frames them. So, for Wiley to complete his circle of intent, he would have alone probably cost $1,000 apiece. However, that irony is to give ownership back to the sitters. offset by choosing overlooked, everyday subjects who seem to represent the lower class, and ones who could never afford to Wiley’s paintings sell; he could very easily give at least commission a piece of this magnitude for themselves. a percentage of ownership to the “sitters.” I think it’s a dark underbelly to his actual intent. The paintings he chooses to reHowever, in that scenario, the subjects, or “sitters” as Wiley interpret have a lot more content and meaning than just the people calls them, become props being used as a visual aid to hammer in them. By only focusing on the regal nature of the patron, Wiley home his message. I completely agree with the importance of ignores the original purpose and usage of such a piece. Unless the message Wiley is sending. To showcase these individuals Wiley donates the portraits back to the subjects or, at least, let with such big paintings on huge white walls inside of an them hang it on the walls of their homes, his message gets washed acclaimed museum is a long time coming. However, for me, out and becomes murky and shallow. the lack of complete coherency of intent happens exactly Art as a Concept because of these choices. The original paintings were done as Art is a concept, not a product. Art is a larger idea that is commissions for prominent people of society for use in their own homes. They were never meant to end up in a museum not defined by one item or action. Those of us who believe or part of a collectors horde. They were not meant to become in Art, and who participate in the continued life of Art, are prized pieces of artwork and accumulate such value. Wiley’s contributors to a larger goal. I believe that goal is enlightenment. paintings are the opposite.

The understanding, education, learning, knowledge, awareness, wisdom, instruction, teaching of Art. What we do is art, lowercase “a.” What we do it for is Art, capital “A.” The mediums we draw, paint, sculpt, throw, burn, bleed, design, program, dream in become the fuel that drives Art forward. However, this subscription to that reality comes with consequences. Honesty is a must. And, be prepared to defend your position. All that glitters is not gold. The only way you learn is by listening and watching. Art is a concept bigger than any one person, one movement, one opinion or one piece of art. The word Art is capitalized for a reason. What we, as members of the Art community, do is art.

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Those of us who believe in Art, and who participate in the continued life of Art, are contributors to a larger goal. I believe that goal is

enlightenment.

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FocusinG on ZAChary Boren Written by lauren Leady | Photos Courtesy of zach boren

A

lthough Zachary Boren grew up in Alton, Ill., and now frequently takes photos of Alton scenery, he found his passion for photography during his college years in Indiana. Now back in Alton, Boren brings depth and experience to his work.

Many of his pieces channel a sense of mystery and horror, reflecting the shift in his childhood of being scared during scary movies to not being scared. In addition, the photos featured reflect on his childhood obsession with superheroes and evil characters. If you look closely, the model in these pieces is gifted with an inner power expressed through the eyes and subtle distortions. The superhero and the element of horror overlap, blurring the once clear lines of good and evil. Boren seeks for his art to develop discussions, and he hopes the art community can strive for more art that starts discourse and challenges viewers.

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"I do find myself drawn to subject matters that aim to be mysterious, dark How long have you been doing photography/ videography?

I first began videography in 2013 during my sophomore year at Wabash College. I applied for an oncampus position to be a videographer for the Wabash College Wrestling Team, which I was a team member for.

Passion for videography and photography really stems from there. The following year I began taking courses for photography and film in order to help me create better content for the Wabash College Wrestling Team’s YouTube channel, and I fell in love with both mediums ever since. So I guess I would say that I’ve been doing videography for about six years and I’ve been doing photography for about five.

What do you hope to inspire in others when they see your work?

I don’t really aim to inspire people with my work. I do try to encourage discussion though. And I would say that each project that I take on has its own problems or discussions that it hopes to tackle. However, I do

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find myself drawn to subject matters that aim to be mysterious, dark and unsettling no matter what the main topic is that I wish to address.

What gear do you use?

Right now, I’m using a Canon EOS Rebel T6. And for a lot of my videography projects in the past, I used something similar to a Sony HVR-Z5U HDV Camcorder, but I no longer have access to one of those. I love the graininess of film. I might invest in one of those in the future.

How do you find shooting landscapes compares to shooting people? Do you have a preference?

I find landscape photography to be a lot more difficult for me than shooting people is, and they’re certainly different beasts. The reason that I probably have a more difficult time shooting landscape is because of my videography background. I’m more used to people being the subject matter in my work than the environment.

k, and unsettling no matter what the main topic is that I wish to address" I also find that people have characteristics that are more easy for me to identify and exploit in my work than landscapes do. But that’s not to say that each landscape or environment doesn’t have its own characteristics.

They’re just less easy for me to identify and relate to. And because of this I do have a preference to working with people as opposed to landscapes.

How does it feel to work in the town that you grew up in?

Working in Alton is a bit refreshing in some sense.

After having lived in Indiana for about six years and moving back to Alton, I now view the city through a different eye. I haven’t put much thought into how my decision to attend school in Indiana has influenced me.

But I have thought a lot about how Wabash College specifically has helped me to develop.

Some of the biggest ways Wabash has helped me to grow was by challenging my beliefs or opinions. I’m not the same person I was before Wabash College. I’m a much more open-minded person than I was. Wabash has

helped me to understand my identity more than I ever understood it before, which I found to be exceptionally difficult since I’m biracial. Understanding racial issues and my own problems I face as a person that is biracial have helped me to be more understanding of problems that other minority groups face as well.

Minority issues are something that I’m very interested in and would like to address at some point in my work. And these topics aren’t necessarily specific to the Midwest.

They’re subjects that extend throughout the country, but I’m sure that the Midwest has probably shaped the way that I think about these topics.

What do you do when you’re in an artistic rut?

Being in a rut can be awful. Sometimes we have ideas for work, but it just doesn’t translate the way we expect it to into our work. But I find that if you just continue to keep pushing through the work, eventually something magical happens.

Oftentimes for myself and many other artists

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something out of your control happens that’s very interesting and changes the direction of your work, and your work can become about something completely different than you had intended it to be. I think it’s all about control and lack of control that helps us through this rut. I’m often reminded of the words that Glenn Ligon said in his interview with Art 21. His words about control and lack of control are as follows: “The first text paintings I made were single sentences by an author named Zora Neale Hurston, an AfricanAmerican woman, a writer of the Harlem Renaissance.

The way I was making the paintings was to use plastic stencils and oil crayons. If you’re using plastic stencils, you’re trying to make something with a sharp boundary.

But oil crayons want to break out of those boundaries.

They’re messy; they don’t keep their shape. And for about six months I tried to figure out how to make these oil crayons make nice neat letters. And then I realized that the fact that they didn’t make nice neat letters was actually much more interesting. Smudging them and transforming these letters into abstractions was what the paintings were about, but it took six months to figure that out.”

Untitiled: Four Itchings [A]. Glenn Ligon. 1992.

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You were involved with “Drinksgiving.” How were you involved? What is appealing about filmmaking to you?

I was a production assistant for “Drinksgiving.” It was my job to essentially help out in any and all areas during production. I assisted with setting up scenes and tearing them down, checking for continuity, helping operate the sound boom and even getting food for everyone. It was a very interesting position to work, and it helped me to gain a better understanding of how filming works and what different departments do. I’m interested in filmmaking because I love storytelling, and I would love to work on more film projects.

What would you like to see from the Alton and Greater St. Louis art community?

I feel like there is so much art for the sake of art, which is great and has its place, but I also feel that this sort of art is a bit oversaturated. We’re a very diverse community, and I think we have so much more that we can talk about and address in our work. I would love to see more art that encourages intellectual discourse or perhaps challenges the way that we view the world.

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Tonina 36

Music plug

by logan bryant & lauren leady | Photos courtesy of jessica page St. Louis-based musician Tonina Saputo brings a breath of fresh air to the local music scene. Primarily a bassist and vocalist, this singersongwriter can be found performing solo or in groups such as Her Say, Looprat and her own Tonina Saputo Quartet. Tonina has been very collaborative in her career, including being featured on a song, “When It’s Cold,” with Dom McLennon of Brockhampton. In addition to classically training for 11 years, including with bassists from the St. Louis Symphony, she also attended Berklee College of Music, studying bass performance, songwriting and Africana studies.

s i a n i n o , T y a w n w pean o r u In her o E ich r . g s i n i u o g L n i . r t S b o t e r u t l music cu

With songs varying in languages — English, Sicilian and Spanish — Tonina appeals to a wide variety of artists across the globe. Her ability to sing in more than one language falls in her favor when performing across European countries. But it also helps bring Spanish and Sicilian culture with her to St. Louis, which are underrepresented in the music community. In her own way, Tonina is bringing rich European music culture to St. Louis, offering a different perspective of sounds and words to English-only speakers in the area. People listening with a background in those countries can feel a deep connection to her music and a sense of inclusion.

Although folk is her primary genre, it’s hard not to hear some jazz and classical influential elements tucked away. She also is featured on many hip-hop tracks, mastering everything that’s thrown her way.

In fact, her first album, “King’s Queen,” features her own hip-hop and soul material, released in 2015.

Tonina plays around St. Louis consistently, playing sometimes with Katarra, Drea Vocalz and many others in the local scene. She is an act you won’t want to miss, enchanting the crowd with her powerful voice and magical deep bass tones.

Check Tonina out online

https://www.iamtonina.com/about https://spoti.fi/2Hkji0f

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Darrius Spangler: Pulling the Strings Interview by Mariah Huelsmann Photography by Rosita 38

Album Art by Sean de Burca

Alton resident Darrius Spangler is an acoustic guitar and harp guitar player. Although growing up around music since he was 3 years old, Spangler began playing the guitar in 2010, and started to master in fingerstyle steel-string acoustic guitar soon after. In addition, he can play instruments from all the instrument families, including percussion, string and wind. With influences in artists like Andy McKee and Michael Hedges, this multi-talented and driven Altonian can incorporate several instrument sounds into just one instrument. By incorporating percussion into his guitar playing, Spangler becomes not only an all-around great act to watch, but also an amazing musician — not to mention performing in front of audiences all the way from New York to Oklahoma.

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My only hope is that my music helps people find a connection with themselves, others or something greater. I try to live my life in a way that promotes unity, peace and love. My goal is to have that come through in my music as well to inspire others.

Tell me about yourself.

I am originally from a small town called Carterville (it’s near Carbondale). I came up to the Metro East to attend SIUE, where I graduated with an exercise science degree. Since, I have moved to Alton and am living a laid back lifestyle working at Old Bakery Beer.

What most inspires you?

Life itself, but in a way that may be different than you would expect. The experiences that we all go through can be communicated through sounds that evoke a relatable emotion from the listener.

Describe your process behind a favorite piece.

My favorite original song is definitely the title track off my debut album, “Notes of My Life.” The song is modeled to represent an appreciation of all the events in our life that have brought us to the present moment and embracing that moment. Therefore, I try not to have a concrete physical process — I just let the song flow however it may.

Can you tell me more about your performances around the U.S.? Did you have a tour or just like to travel?

I travel and play wherever I go as opposed to an official tour. I’ve played guitar in some capacity (anything from

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an actual gig to an open mic/talent show) in Chicago, New York, Maryland, Florida, Colorado, Oklahoma, Costa Rica and other places along the way.

Can you explain more about your alternate tunings?

Why does that appeal to you?

Alternate tunings help me tremendously with creativity and inspiration. When I start with a fresh new tuning, I’m guaranteed to find something new that I haven’t pulled out of any instrument before.

Being a predominantly instrumental artist, there is a danger of redundancy. Alternate tunings lend themselves to giving each song I write a sound that is unique. An additional appeal of alternate tunings is that the open strings themselves tend to fit well in whatever song I’m playing. This frees up my fingers at certain moments to experiment with percussion on the body of the guitar or bass strings if I’m playing my harp guitar.

How old were you when you began playing the harp guitar? Did anyone inspire you to start playing?

I picked up guitar in 2010 because a lot of my friends had and I was known as just a drummer. Although I disagree with this attitude, I wanted to disprove the idea within its own terms. The guitar I started on was a 1981 Ibanez Dreadnought that my grandmother actually used back in the day to record a couple gospel albums in Nashville.

Starting on acoustic guitar and writing instrumental music provoked an acquaintance of mine to show me YouTube videos of Andy McKee in 2011. That night, my goal of how I wanted to play guitar shifted to where it is and continues to develop now. From there, I discovered Michael Hedges along with a plethora of other artists, many of which have harp guitars. Also, before the internet, Hedges was a big factor in elevating the harp guitar from a 70-year-old freakish instrument in the corner of a pawn shop to the public.

I saved up money and kept an eye out for the right instrument to pop up and finally found mine, the Tonedevil S-12, in 2014 at 18 years old. Those artists, along with the endless variety of sounds and ability to sound like multiple instruments at once, is what inspired me to play the harp guitar.

You mention being from Carterville. Did you play in school there or talent shows? Is Carterville a small town? Does it have a big music scene?

The town isn’t large enough to have much beyond

concert/marching band and choir, so I had limited opportunity to play guitar in school, though I did perform on a few occasions. That was OK, however, because I was still heavily focused on percussion at the time.

There were talent shows here and there that I was able to take part of, but what little music scene may exist wasn’t very present when I was around ... It’s a tiny, quiet town without much going on, so I’m glad to have found myself at home in Alton for the time being!

What do you hope to achieve as a musician?

My only hope is that my music helps people find a connection with themselves, others or something greater. I try to live my life in a way that promotes unity, peace and love. My goal is to have that come through in my music as well to inspire others. Anytime someone tells me that they do something along the lines of painting/drawing, or do yoga/meditate to my music, it brings the most rich satisfaction to my heart.

What’s next?

I’ve been exploring singing more along with live

looping, so expect to see more than just instrumental music during my sets now (though that will probably still comprise the majority of my music for the near future).

I have also been working on combining my solo instrumental music with other local musicians, namely, electronic artist Hopeistayhidden. And, I have been working on developing a new hybrid genre of EDM/ acoustic music.

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DRANGUS

UNITING VAR MUSIC STYLE IOUS S Other artists

add t h e m any

bene fits of a

r community to ou e k li s t fi e n e B . ic s u m , specialization y, diversity, synerg

o bj e c t i v i t y a n d

me a n o t p i h s d n e i r f a few.

Written by Logan Bryant Photos by Andrew Dominguez www.andrewdominguez.com

Drangus is the brainchild of Tom Pini who began the project by writing, recording and producing each song on the EP, “Today I Am.” Drangus originated as Pini, beginning as early as 2015, and over time expanded to incorporate Anthony Patten on guitar, bass and vocals and Keith Bowman on drums.

Pini states the mission of St. Louis-based Drangus is to bring people together through music.

“One way we plan to do this is with features and collaborations,” Pini said.

The three-piece group is often seen accompanied live by Khamali Moore on the trumpet and Dub I.Z. as an emcee and their debut LP has involved many different musicians, engineers and songwriters. All these people have helped craft a unique sound, which can be described as primarily electronic, with a touch

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-Tom Pini

of soul and hip-hop. Pini believes in the rewards of working with a variety of musicians and those involved in the industry.

“Other artists add the many benefits of a community to our music. Benefits like specialization, diversity, synergy, objectivity and friendship to name a few. We are all about teamwork,” Pini said. “We have finished recording our upcoming LP and are currently doing the final touches to releasing it. We’ve more recently finished filming a Zen Den that we are excited to share with everyone very soon.”

Be on the lookout for Drangus’ next full-length album, “Love, Dust to Dust.”

Drangus’s music can be found online at bandcamp. https://drangus.bandcamp.com

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: y t i t n e d I t u O g d e l Pourin t t e s e R n i nking

i r D s e e e i f t i f n o u C m m o C n a i n s o B s i u o L .

St nd photo

Written a

Zavičaj is a Bosnian word meaning intimate, spiritual, familial home. It indicates a place of collective emplacement and meaningful cultural and social bonds. Each section of the U.S. is characterized by communities, large and small — North, East, South, West, the Midwest, Southwest and Northwest (Coast).

The intent of ethnic cleansing and displacing people is to destroy zavičaj. Bosnian refugees in St. Louis and their identity-making process through coffee traditions is significant because it focuses on how, even after the emotional and physical traumas of war, resettled Bosnians in St. Louis have worked to maintain their zavičaj.

The urgency of maintaining Bosnian identity and traditions, but also creating a new zavičaj, is expressed through coffee traditions, and strong homeowner ethics. The unique messiness of history is in the details,

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uelsmann

y mariah h graphed b

non-linear zones of history. When Bosnians drink coffee together, they are revisiting time in regards to pre- and post-war Bosnia, and present-day social statuses.

Brewing practices for Bosnian coffee are very distinct. First, the coffee must always be served fresh and piping hot. After buying store-brand whole coffee beans, the hostess re-roasts the beans for 15 minutes in a 400-degree oven. After the beans are roasted to satisfaction and cooled, the hostess electrically grinds up the beans, places them in a pot, pours boiling water over them and then sets the pot on the stove to boil it again. After cooling and re-boiling again, the coffee pot is removed from the stove in order to not “ruin” the coffee and served immediately and individually by the hostess into small cups. Coffee cups in America are too large since Bosnian coffee was made to be sipped while enjoying time with others.

Displaced Bosnians drinking coffee together creates a place where they can reminisce on memories of the past and also talk about present situations.

This place of social interaction can become an environment of healing due to the continuing practice from their old country of sitting around the table drinking coffee.

Discussing shared trauma from the past, especially wartime trauma, in a familiar setting creates a place of trust and where Bosnians can heal.

When a non-Bosnian neighbor turns down an invitation to a coffee gathering, it signals distrust of Bosnians and their history. Highly offensive to the coffee-offering Bosnian, this creates tension and unwelcoming signals. This is harmful to Bosnians seeking integration into a community to call home, especially after all the loss, discrimination and persecution suffered in their homeland.

Berix Coffee in St. Louis

The Bosnian community in St. Louis has established a distinctive entrepreneurial and commercial identity.

Bosnians have created businesses in St. Louis including coffee shops, restaurants and stores. These businesses have created a tourist experience of Bosnian products and food for those visiting the area. In fact, a coffee shop, Berix Coffee, gave visitors a chance to taste authentic Bosnian coffee without leaving the U.S. Bosnians have also made an impact on St. Louis residential landscapes, though not as distinctive as their entrepreneurial and commercial impact. Houses are tidily maintained, and Bosnian residents create social spaces in their homes and in the streets. Therefore, the Bosnians have created a home away from true home in St. Louis. They have utilized the practices of coffeedrinking as an identity-making cultural practice.

St. Louis Bosnian identities are complex structures that can only be understood in the context of war and resettlement histories blended with traditional practices. Maintaining traditional practices is useful in maintaining bonded communities. Close communities, in turn, create an environment for healing and identitymaking in resettled, displaced communities such as the Bosnian community in St. Louis.

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Great Artistic Power Comes With Great Environmental Responsibility

By Rosita

Whether it was Voltaire, the French National Convention during the French Revolution or the Spider-Man Comic, the phrase, “With great power comes great responsibility,” still holds true today. We may never know where the phrase originated, but the meaning of those words are all the same.

As artists within our indispensable world, we have great powers and great responsibilities.

Art, as we have seen over lifetimes, has molded and influenced individual people as well as entire cultures. On the other hand, art has also altered our Earth’s environment for good but mostly bad. Whether it is incorrectly throwing away disposable materials to using aerosol spray cans, our actions as artists have a bigger impact than we may be aware of. Because we have substantial powers and responsibilities, I am here to help us all become more environmentally friendly artists. Our magnificent Earth will greatly appreciate it, my dudes.

So, you have an exciting new project in mind and are ready to hit the store to add to your art necessities. Yay, new

supplies! But wait y’all, before you grab your keys to begin the journey, let’s remember this first step is where we can make a massive difference. Here are tips for purchasing smart: Step One: BYOB (Bring Your Own Bags) Dude, for real, plastic bags are an awful waste of energy.

There are so many stores out there selling reusable cloth bags that are worth the money because of its reusability.

Step Two: Thrift Stores First OK, so you’re out your door and in the car to travel to the nearest art supply store. Stop. Turn that shit around and roll on to your local second-hand thrift stores first. I know what some of you may be thinking, but stick with me. I cannot tell you how often I spot perfectly good canvases, frames and other supplies at thrift stores. Seriously, every time, I swear. Those rejected, already painted on canvases can easily become an excellent blank canvas with just a few Learn the ins and outs of creating eco-friendly art. Photo by Rosita

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layers of gesso. If you are a sculptor, what an excellent spot to grab some funky objects or materials to create something cool-o-roonie. This is where experimentation with materials can really elevate your style. Can’t find what you need? Go to step three.

Step Three: Shop Wisely at Art Supply Stores So the thrift store was a bust this time? (Such a bummer, I know, but try back another day. People are always throwing shit away.) Time for the art supply stores. When rummaging around for exactly what you need, it is super important to read the labels of whatever products you pick up. It is crucial to know what you are using and how it may affect your environment.

With this information in mind, now is the time to become aware of the materials you use to create your art before you begin: Sketchbooks: Did you know there are multiple companies who make sketchbooks and notebooks out of recycled products? Right on! I found that Strathmore, Big Black Bee and Decomposition can supply an ecofriendly workspace for your creative flowing thoughts. Decomposition even prints fun cover designs with soy ink, which, made from soybeans, is a healthier replacement for petroleumbased inks.

Oil Paints: Although oil is a drop-dead gorgeous medium, some colorants, solvents and turpentine used in the painting process are quite toxic. Not all oil paints are toxic, but cadmium, lead-white and cobalt are among the harmful paints. After some research, I found Gamblin and M. Graham have created solvent-free mediums. Way cool!

Spray Cans: Spray paint can create some groovy art, but in reality, it is a very harmful product. That goes along with any aerosol can including spray adhesive, final fixatives and UV-resistant protection. All those gross chemicals in the little can, when sprayed, go straight into the

air we breathe. These chemicals also negatively affect plants and animals too. Let us keep those furbabies safe!

But, if you must use these products, please be sure to read the label for proper use and disposal.

Glitter: Stay. Away. From. Glitter. I know glitter has the appearance of beauty, but it really is an ugly product, and the ugliness stems from how bad it is for the environment. Glitter is made of microplastics that are so teeny tiny they can easily pass through water filtration systems, end up in oceans and rivers, get swallowed up by fish and then some of those fish may be swallowed up by you. Gross, right?

Alright, so you’ve shopped responsibly and are now back at home ready to get to work. Your studio is the location where you can make the biggest difference in treating our Earth with love and kindness, even more so than not using plastic bags while shopping.

Decreasing the amount of waste you create will do wonders for the environment.

Here are some ways to cut down on waste in your studio: Paper and Plastic: Use the least amount of these materials as possible.

Yes, paper and plastic are recyclable, but they also take a lot of materials and energy to manufacture. Try saving paper scraps for when you need to sketch out a design or test different colors.

Acrylic Paints: Thanks to research, I found out how harmful throwing dirty paint water down the sink really is. Those lovely paints can release chemicals into the sewer and groundwater that is then recycled for our use. A great tip is to let paints dry and then dispose of them in the trash. For dirty water, try pouring through a coffee filter. I know that is still using throw away waste, but it is better than chemicals in our water.

Recycling: Dude, for real, it is so easy to recycle. Educating yourself on what can and cannot be recycled is the first step. Most of us know the three R’s of recycling from growing up, but

did you know there are actually four R’s? Refuse, Reduce, Reuse, Recycle.

Refuse to buy toxic, non-recyclable, wasteful products. Reduce the amount of times harmful products are used if you must use them. Reuse any and all plastic or glass containers, bags, etc.

Recycle all recyclable products when finished using (check the number on the bottom).

Whatever county you live in, its website will have some sort of recycling and resource management page that will inform you. If your place of residence does not recycle, it does not hurt to ask your landlord about recycling. If they just will not budge, try sweeting them up with a scrumptious root beer float. If they are not diggin’ a float, some hardware stores have community recycle bins in its parking lots.

Wasteful: • • •

Throw away cups for holding water, paint, glue, etc.

Cleaning with paper towels Buying new canvases

Resourceful: • •

•

Using ceramic or glass cup that can be cleaned (find for cheap at thrift stores) Clean with cloth towels or old T-shirts that can be thrown into the laundry (find for cheap at thrift stores or even your closet) Buy used canvases from thrift stores or use pieces of found wood or board (it’s fun to get experimental with the objects you use)

That is a whole lot of information to take in, I know, but with continual education and practice, these helpful steps to become a more environmentally friendly artist will become second nature and help make a gigantic difference on our environment. Acting mindfully can take a lot of effort and be quite difficult sometimes, but it is possible to find beauty and meaning within the difficulties of life. Even if it may not seem like it, you, as a singular person, do make a difference. Every single action has a reaction, so make sure you are creating valuable and constructive reactions.

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By Mariah Huelsmann and Lauren Leady Photos by Shelby Clayton Art Courtesy of Lisa Hinrichs

Lisa Hinrichs

Lisa Hinrichs, an artist from Edwardsville, Ill., finds strength working within numerous mediums. As someone who sees art everywhere, Hinrichs makes no hesitation in trying any medium that comes her way. She is a graphic designer, a musician, actress and more. Hinrichs loves to have a variety of projects surrounding her to keep her busy and allow her to have a wide range of abilities within art.

Tell me about yourself.

I am a graphic designer, singer-songwriter, guitar player, actress and weirdo. I am the girl who can’t tell you my one single dream because I have so many and I truly have no shame in that. I want to be an animator for gaming companies or get into doing concept art for comic books. I want to be successful in releasing music that means something to me and that someone else might listen to and make an impact on. I want to start a band. I want to be successful in my acting career: stage, television, voice-acting, improv. I want to design, animate and voice act in my own show, game, etc. I want to do a lot of things. It’s who I am and who I’ve always been. Art is everywhere, so there’s no excuse not to chase it.

What most inspires you?

My art can come from pretty much anywhere. I can be driving and just see a scene fall into place and spark an idea. I might hear a piece of music and have even just an inkling of a visualization to play off of.

I can also just sit down and let my mind wander, a sort of stream of consciousness for the visual, or taking

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a sketch that didn’t go well at all and force myself to create beauty out of it.

My aunt is a huge inspiration in my life. She was the biggest artistic influence in my life growing up. Her being an amazing artist herself, and having someone who has first-hand gone through the struggles and successes as a growing artist, and always having that constant support line is important for any artist. I’m who I am today because of her, and I couldn’t ask for a better muse to keep my creative brain flowing.

When it comes to music, a lot of my inspiration comes from personal experience. I find something therapeutic in turning negative/positive experience into music and allowing me an outlet to release those feelings into the world. I do love writing lyrics to instrumentals created by others as well. Getting to be a part of something that came from their heart, their mind, it’s such an awesome experience.

What is your favorite medium to create in?

Choosing a favorite medium is a hard one, and some graphic design is my job and I love it. I’ve found such a deep love and appreciation for acrylic painting!

Describe your process behind a favorite piece Recently, I have been painting a lot and also working on concept/character design and it definitely shows the kind of artist I am. Despite having a room dedicated to art, I very much like to spread out all of my supplies around me in my living room. I turn my whole room into a studio; I love feeling like I’m living inside my work. I don’t plan often with my art — I just let my hands create. With music I can be anywhere, wherever I can bring my guitar or having an instrument or not. Lyrics tend to just pop into my mind or someone will say something that will spark inspiration.

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Media's Ophelia

You work within a large variety of mediums?

What are some pros and cons with that? Do you find it challenging to juggle a lot of projects or is that the fun in it?

While I definitely bounce around a lot with the mediums I work in, I find love for each one more and more. The pros definitely come in with being able to have a wide range of experience and keeping my skills growing, keeping things different. I guess cons could be that I definitely find myself going back to projects that were halted halfway, but I think the important thing is that you go back. For the most part, that’s worked in favor because sometimes you need to take a step back from something to figure out where you’re actually going with it, whether it’s music or applied arts! I also enjoy the juggling, I’ve always preferred to stay busy and keep my mind moving!

I was wondering if you could expand on the “Media’s Ophelia” collages? What inspired you to create those? How long did they take to make?

What message are you trying to send?

When I created this series, it was at a point in my art where I was wanting to start tackling bigger issues.

In this case, the pressure of body image and size, specifically, but not limited to the media.

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Body dysmorphia is something that affects a lot of people, no matter what size you are and not just girls. But [people] may not know a name to put with it if they aren’t specifically anorexic or bulimic. It can be just as detrimental of a disorder, and it’s not hard to draw from and spread awareness when you’ve watched someone go through it.

I did use models from magazines as my basis because that is a huge part of the problem of not representing realistic body types. When even the people who are “thin enough” to be the model on the page are still being photoshopped, that’s just as damaging to their mental health as it is the people reading those magazines that don’t look like that …

The reason I bring Ophelia from Shakespeare’s “Hamlet,” into my title, is based on how Ophelia is driven to insanity, depression and eventual, although not specifically stated, suicide. And these highly edited photos are Media’s Ophelia driving women and men to obsess over their body and its perfection until they’re driven to do anything to be “perfect,” and for some, until they drive themselves into the ground.

Altogether, these took about 160 hours, including drying time, and are housed in makeshift frames, glue, duct tape, anything not seen as the norm, as to represent the ways we desperately try to fit the stereotypical body we are “supposed to be.”

What's Next?

For my art, I’ve recently started a series of surrealistic inspired self portraits, replacing different parts of the body (head/body/ etc.) with elements of nature, and also am in the works of creating a dream/nightmare diary and transforming the most vivid scene into art.

For music, I am currently working on finishing my personal album and also creating a three-song EP with two St. Louis local music artists, Same Difference.

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From left to right, filmmaker Spencer Newman sits with longtime friend and fellow filmmaker Nic Brockhouse.

Photo courtesy of Tyler Phibbs

'FEMORAL'

Written by Cal Stevens Independent filmmakers and lifelong friends Nic Brockhouse and Spencer Newman have been making films since they were 8 years old. Wielding nothing more than a camera and a DIY attitude, the pair spent years honing their craft making short films they uploaded to YouTube.

taking on the role of the mysterious and menacing murder suspect, Randall Sutton.

Eventually, the two filmmakers started competing in local film contests around the area. Last year saw the premiere of their short film “Femoral,” which was a huge achievement for the pair creatively and professionally.

“We were talking about having kind of simultaneous situations, you know things cutting back and forth to something happening at the same time, because we’d never really done anything like that before,” Newman said.

“Femoral” is a suspenseful cop drama that follows a detail-obsessed detective and his rough, no-nonsense partner during their investigation of multiple linked homicides. Of course, things take a turn for the disturbing when they bring in their first suspect for questioning. The film stars Alex Tyler Meyers and Michael Kuhlman as Detective Campbell and Nelson, respectively, with Newman

Enlisting the help of local friends and collaborators Meyers and Kuhlman, the pair set out on their most ambitious project to date. Before “Femoral,” the two filmmaker’s average project was about 8 minutes long.

“Femoral” began production in early 2018 with Newman and Brockhouse looking to break new creative ground.

“I think maybe at the most, we’d got up to fifteen minutes. I’m not positive on that, but that

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was probably the most we’d done before this film,” Newman said. “This film is a full 30 minutes. That’s half a feature, so it was a very big step.”

This new film has garnered its share of rewards for the filmmaking duo, with Newman noting, “We have been selling ‘Femoral’ on Amazon, and we did a real theater premiere. It wasn’t in a theater, but we projected it on a wall.”

However, not every reward is so obvious, as Newman recalled that this project allowed the pair to work their creative muscles in ways they hadn’t before.

“It was the first time that we ever did a character drama, and it was less about the action and more about the characters and how they evolve. That was just really exciting as like being an actor for so long and not really getting a chance to build a character,” Newman said. “I was drawing inspiration and looking at other actors, looking at other characters and trying to build on, you know, just a real person. I’ve never had a chance to do that before.”

Stills from ‘Femoral’ starring Alex Tyler Meyers, Michael Kuhlman and Spencer Newman.

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Brockhouse and Newman both hail from the Greater Jacksonville area, where most of their filming is done. The two began making films when they were children, writing scripts and making storyboards for their own Batman films. Eventually they moved onto YouTube with Brockhouse moving into the role of director.

“It was just something [Brockhouse] wanted to do at the time just to get some practice in. I don’t think we realized we wanted to be filmmakers until a little bit later when we started getting inspired,” Newman reflected. The pair drew a heavy amount of early influence from Christopher Nolan’s ‘Dark Knight’ trilogy, which Newman claims sparked their lifelong love for movies.

“We wanted to watch more serious movies and we just ended up getting interested in directors and how they operated. It was just cool thinking about how films were made,” Newman said. “I feel like me and Nic just kind of became very analytical with films and we love to dissect them and look at them and think about how they were made.”

Left: Nic Brockhouse works behind the scenes of "Femoral."

Photo Courtesy of Tyler Phibbs Below: Stills from "Femoral" starring Alex Tyler Meyers, Michael Kuhlman and Spencer Newman.

Newman and Brockhouse have been independent filmmakers since day one, which allows them to work on projects they choose on their own terms. Of course, being independent is not without its struggles as it can be difficult to complete their visions properly without needed resources.

“I always feel like my best self when I’m on a film set. That’s where I’m happiest,” Newman added.

“We need people for lighting and camera moves, for gaffing and set dressing. Which we still don’t have that of course. We also don’t have a real budget, so that’s another thing. We don’t wanna spend too much money on something we’re not going to make money on. We’ve definitely gotten some support from our family and friends, but we don’t make money off of the films. We’re just doing it because we want to.”

“We’re pretty excited to work on something else.

We’ve got a western in the pipeline. We are still racking our brains about it because obviously we are in the Midwest. It’s gotta be more frontier-y.”

In spite of the difficulties they’ve faced, the two filmmakers have been able to find a sense of purpose in what they do.

The pair has already begun work on their next project, which, according to Newman, is still in the early stages of development.

You can check out “Femoral” on Amazon Prime, along with their previous film, “Assassins.” The rest of their films can be found on YouTube under the channel “Director Nic Brockhouse.” However, if you would like to hear more about this filmmaking duo, check out the full interview with Newman on episode 2 of “The Fizzy Fellows Podcast,” the official podcast of Warm Soda Magazine.

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Artists Unamped with Inner Outlines Drummer Cody Walker Written by Elizabeth Ames | Photo Courtesy of Tommy Holstein

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Photo By Elizabeth Ames I welcomed Cody Walker of Jacksonville band Inner Outlines into my home to chat about his journey to what he calls the best seat in the house.

He began his story in the kitchen of his childhood home as he told me, "I can remember pictures that my mom took of me as a baby, surrounded by pots and pans to bang on."

Walker’s love for music was deeply rooted in the church, as his mother played piano there and spent all her time practicing at home. Driving to and from church, he told me how his father would blare Van Halen in his truck.

"I felt like a little guy in a video game, constantly leveling up," Walker reminisced.

The boys came together naturally, bonding as the years passed to create the energetic rock band Inner Outlines.

Perspective on “Perspective” “Perspective,” Inner Outline’s newest album, has been killing it since its release. Walker provided some insight on the album’s process and how the band cranked out such a remarkable album.

"I have never said this on record, but I love old country music.

It was always around. My mother would open all windows, turn on the ‘CMT Top 100 Countdown’ and clean the whole house."

"It has been a two-year process of writing and recording, a roller coaster of emotion. Some songs took 20 minutes whereas others took weeks. There were times that we were just screaming at each other, clashing over the smallest things — it was beautiful.

I believe it's because we are all so passionate. All of our opposite tastes create a melting pot. Out of all the time spent together, my favorite is when we are all just jamming out, ideas flowing. I am so proud of all of our personal character growth over the years.”

Fast forward to fifth-grade band class, he wanted to play the drums but his mother wasn't quite down with that. With continuous persistence, his band director decided to cut him a deal. To get what he wanted, he would have to learn all the percussion instruments.

As for advice for aspiring artists trying to get their voices recognized, Walker suggested, "Word of mouth is the best way to branch out. All of the guys [band members] know someone who knows someone. And never stop, keep pushing."

When it came time to practice outside of school, his band director sent him home with a snare drum. He walked past his mother doing dishes in the kitchen, who took a double take, dropped what she was washing to say, "Fine! You win!"

RIP Billie Dean Smith A soul who has left this earth leaving others with only good things to say about him. Walker described Billie Dean Smith as someone who instantly brought joy to the lives of anyone who met him, "He sang like a songbird, played bass and might have been the best guitar player out of all of us."

Yet when the warmer months came along, the tune changed in the family's home.

Walker's first full drum kit changed his game; at only 11 years old, he knew that drumming was exactly what he wanted to do with his life. Watching hours of videos of others drumming helped him along the way, learning different groove techniques, stick techniques and more.

Only in the band for a short time before he passed, Smith was able to play three shows as a member. Including the band’s first show in front of the taco shop in Carrollton, Ill.

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Conspiracy Theory Corner Five Music Mysteries

By Alex St. Peters Graphic by Bryan Bethel Suge Knight killed Eazy-E, Tupac Shakur and Biggie Smalls Suge Knight, the mastermind behind the successful Death Row Records in the 1990s, is currently in prison serving a 28-year sentence for a fatal hit-n-run in 2015. However, according to some people, this wasn't the first time Knight killed. Knight was an influential figure in the East and West Coast hip-hop rivalry of the mid to late ’90s. He controlled some of the most popular artists of the time from Tupac Shakur to Dr. Dre. He is also linked to assisting in the murders of some the most popular artists of 58

the time as well.

The first victim of Knight’s murders was NWA’s Eazy-E. Eazy-E had just split from NWA and Knight’s business partner Dr. Dre. However, Eazy-E had the publishing rights to any music Dr. Dre put out. According to some, Knight didn’t like this so he had Eazy-E dealt with.

Next on Knight’s list is Death Row Records own Tupac Shakur. Shakur’s contract with Death Row Records was coming to an end and he

wanted to go make his own record label. Knight near the toe. Once Marley tried these boots was not the kind of guy to share the wealth, so on, it sealed his fate and ultimately led to he had to do something about Shakur’s his death. People also believe the failed assassination attempt on Marley in 1976 was departure. There was an altercation between orchestrated by the CIA. Shakur and a member of the Los Angeles-based South Side Crips gang at the MGM Grand in Blondie Lead Singer Debbie Harry was Las Vegas. Shortly after the fight, Shakur and Abducted by Ted Bundy Knight’s car was hit by a drive by. Shakur would end up dying from his injuries, but Knight would Debbie Harry swears during a late night walk in come out unharmed. Many seem to believe the early 1970s in New York City, she was picked Knight set the altercation up as a way to deal up by the notorious serial killer Ted Bundy. with Shakur’s plans to leave Death Row Records. She claims she took the ride from the stranger Another clue possibly left by Shakur himself is because she was having a difficult time finding found on the first song of his posthumous album a cab. Not long after she got in the car, she under the name “Makaveli.” A few seconds in sensed something was off. She noticed the car the intro you can faintly hear a voice that sounds had no door handles and the inside of the car like “Suge shot me.” was stripped. She became increasingly uneasy about the stranger and his actions and opened A similar rumor is linked to the death of Biggie the car door through the window and jumped Smalls. It is said Knight wanted the beef out of the car. between East and West Coast to finally come to an end. However, in order for this to happen Harry’s story sounds convincing and may be Knight needed to take care of Biggie Smalls. true. However, Bundy’s crime spree didn’t officially start until early 1974 on the West Gangster Rap was Invented as a Way to Fill Coast. Also Bundy was never linked to coming Prisons to New York City at any point in his life. It’s quite possible this meeting between Bundy The rumor goes in 1991 a meeting was held and Harry scared him away from the Big Apple, by music business insiders and leaders who and he decided to move to the west coast to had invested in private prisons and decided commit his crimes. gangster rap was the perfect way to promote criminal culture. These insiders held power and Elvis Presley is Still Alive influence over the public and popular music before the digital age took over. They believed Most people believe Elvis Presley left the the country’s youth would mimic lyrics artists building Aug. 16, 1977, but some people don’t were rapping about in their songs and lead believe he actually died. Many people over to higher incarcerations and profits. Gang the years claimed to see an aging Presley and violence is often linked to gangster rap and believe there are clues to prove he’s alive. The many gangster rappers were part of gangs. first clue is Presley’s cause of death as cardiac arrhythmia, which can’t be determined in a dead The CIA Killed Bob Marley body. There’s the misspelling on his tombstone that says “Aaron” instead of his real middle Bob Marley’s death is a little strange, which name “Aron.” There’s a rumor Presley’s body led many people to believe he was murdered. was sweating during his funeral, which led many After a foot injury sustained in a soccer match, to believe there was a wax figure in the casket doctors found a lesion under Marley’s toenail. and not Presley. Also, it’s said his life insurance Marley was then diagnosed with malignant policy was never claimed, and the fact there is melanoma, but Marley refused to have his toe a 50-year seal on his autopsy reports. amputated as a way of stopping the cancer.

The cancer eventually spread throughout his Many people think Presley was fed up with entire body killing him. all the fame and was starting to become ill.

He then decided to fake his own death so he Many don’t believe that story, but believe the could live a more simple life. Or Presley was CIA actually wanted Marley dead. Apparently, actually put into the Federal Witness Protection Marley’s influence and messages of peace Program because he gave them information didn’t go over too well with the CIA. The going against the mob. We may never know if son of former CIA director, William Colby, Presley actually died or not, well, until we see supposedly gave Marley a pair of boots the rumored 663-page document the FBI has adapted with a poison-coated copper wire on him.

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Give us a listen https://spoti.fi/2H7wpmj

Fizzy Fellows is Warm Soda Magazine’s official podcast, covering art, music, and culture around the Greater St. Louis area. Hosts Cal and Rosita offer support to the amazing artistic community through interviewing artists and musicians, discussing the sometimes difficult creative process and exploring the endless types of art all around and its impact on us.

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