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Auxiliary №09

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Auxiliary Magazine is an alternative fashion, music, and lifestyle magazine available online for free. APRIL / MAY 2010 auxiliarymagazine.com
APRIL/MAY 2010
spring
forward
plastik wrap
downtown vamp
sugar sweet accessories
transform and emerge
scavenge for fashion
mind.in.a.box
on R.E.T.R.O. and performing live
2
contributors
Spring is here! It is the time of the year for all things fresh and new. This issue contains many features for the season, bright and sugarery accessories to liven up your wardrobe, tons of new album reviews to freshen up your music library, futuristic fashions to protect you during those April showers, a spring cleaning guide to get your abode squeaky and updated, and many great interviews to bring new perspec-
tives. This issue we had the opportunity to interview some notable personalities; Adriana Fulop the designer behind the highly successful clothing company Plastik Wrap, Acey Slade musician and rocker who has been a part of a long list of bands including Acey Slade & The Dark Party, Dope, and Wednesday 13, Arden Leigh the mistress of seduction, and mind.in.a.box creating some of the best electronic music out there today. The writers at Auxiliary have dug into the creative projects, passions, and influences of these people, and I think the interviews offer lots of inspiration and new perspectives perfect for the time of year when everything around us is in a process of renewal. Now that the issue is complete and ready for your enjoyment, I am off to enjoy this beautiful spring day! As always thank you to all our contributors this issue and thank you for your continued support.
Sincerely, Jennifer Link
Auxiliary Magazine. auxiliary = alternative, supplementary, to provide what is miss-
ing, to give support. We have always had a love for the different, the unique, the creative. But from all sides we’ve heard what we love is on it’s way out, is suffering, is dying, is dead. To-
day an alternative aesthetic is seen more than ever. Yet the core, the base, the scene; everyone is telling us is in a sad state. Reality is what you make it.
Our goal is to provide high quality fashion editorials, photographs, and articles; unique reviews and insights on the best media out there; and to create discussion and passion about alternative subcultures. There is a lot of amazing and creative stuff happening. We hope to find it, highlight it, and encourage it to grow.
That is why we’ve created Auxiliary Magazine; an online and print magazine dedi-
cated to fashion, music, and lifestyle with a darker aesthetic. There are no other boundaries than that. That is the strong point of alternative culture; and we hope to include it all.
And that is a lot of ground to cover. So contribute! Send us your fashion, your music, your events, your opinions, your projects, your ideas. This magazine isn’t for a select few, we don’t know it all, this magazine is for you and what we all love.
Staff
Editor in Chief
Jennifer Link
Fashion Editor
Meagan Hendrickson
Music Editor
Mike Kieffer
Associate Editor
Luke Copping
Copy Editor
Zach Rose
Dan Barrett
www.auxiliarymagazine.com
email : info@auxiliarymagazine.com
issue 9 : april/may 2010
ISSN 1948-9676
No part of this publication may be reproduced in any form or by any means, electron-
ic or mechanical, without the permission in writting from the publisher, except small excerpts for review purposes. Submitted work, reviews, ads, and photographs are copyrighted by their respective owners and fall under previous declaration. Copy-
right Auxiliary Magazine 2010.
Photographs / Illustrations
Photographers
Jennifer Link www.jennifer-link.com
Stephanie Bell www.emergingdesign.ca
Laura Dark www.lauradark.net
Luke Copping www.lukecopping.com
Steve Prue www.teamrockstarimages.com
Billy Archos www.theunspokenwords.com
Photographs on 7
Kidtee Hello www.kidtee.daportfolio.com
Illustrations on 16, 40, and 41
Maki Naro www.page8productions.com
Image on 17
A Snake Of June image courtesy of Tartan Films
Illustration on 46
Jinx in the Sky www.diamondsoul.synthasite.com
Photographs on 47- Luke Copping
Fluevog images courtesy of Fluevog
Photograph on 30
Jeff Turner www.jeffturnerphoto.com
Advertising
email : advertise@auxiliarymagazine.com
with inquires and for our advertisers guide
Contributors
Aaron Andrews
Acid PopTart
Luke Copping
Yone Dundas
EJTower
Meagan Hendrickson
Eric Kendall
Mike Kieffer
Jennifer Link
DJ Mighty Mike Saga
Paul Morin
Numi Prasarn
Adam Rosina
Lizz Schumer
Jennifer Seaman
Vanity Kills
Graphic Design
Logo Design
Melanie Beitel
Layout Design
Jennifer Link
Luke Copping
editor s letter
�
mission statement
editorial
4 the cul ture cri si s i n the U.S.
6 styl e weaves a story
an edi tori al by Aci d PopTart
beauty
8 emerge beauty l ooks that wi l l transform you
14 aestheti c
downtown vamp
16 el ectroshock
spri ng forward i nto an el ectri c equi nox
media
17 the essenti al s : Harol d and Maude and A Snake of June
18 Ti m Burton’s Al i ce i n Wonderl and
music
22 mi nd.i n.a.box
an i ntervi ew wi th the duo behi nd the musi c
26 qui ck pi cks
27 DJ tracks
DJ Mi ghty Mi ke Saga
on the cove pl asti k wrap : 42 downtown vamp : 14
sugar sweet accessori es : 48
emerge and scavenge : 8 . 58
mi nd.i n.a.box : 22
27 musi c revi ews
Gol dfrapp, Archi tect, These New Puri tans, Absurd Mi nds, and more
30 guest musi c revi ew
Yone Dudas of Decoded Feedback
lifestyle
20 the bohemi an l egacy
31 the Pi nUp - Acey Sl ade
36 the Pi nUp take 2 - Arden Lei gh
40 a squeaky cl ean spri ng
42 Adri ana Ful op
an i ntervi ew wi th the desi gner behi nd Pl asti k Wrap and Bi tchCraft
45 my l i fe as a goth gi rl
fashion
47 styl e - under the bi g top
48 sugar pops
sweet accessori es to rev up the col or
58 scavenger
garments for the future
65 where to buy
67 fashi on essenti al s
the summer dress
3
contents
Photographer : Stephani e Bel l
Styl i st : Pretty Deadl y Styl z
Makeup : Wendy Rorong
Hai r : Anna Crooke & Matthew James Genser
Model : Al yci a Gal l agher
april/may 2010 AUXILIARYAUXILIARY april/may 2010 EDI TORI AL
According to the Urban Institute, there are four main ways that (most) people par-
ticipate in the arts: they, “attend programs and events, encourage their children to participate, make or perform art as amateurs, or support the arts through donations of time and money.”
1
Among the many benefits of the arts I will address, including education, economics, and quality of life, research with the Urban Institute shows that, “the more ways people participate, and more often (in the arts), the more likely they are to engage in other activities that support community life.” Very few of us, I believe, need to go far in our own hometowns to notice the general pattern of crum-
bling, desolate communities, or the general lack of cultural involvement with the arts or each other in creative, stimulating, empowering ways. Our “culture” in the U.S. these days tends to be projected at us through advertising-
hyped consumerism. Cheap goods, high-tech escapism, ADD-inducing television programming, and drive-bys past the “bad part of town” for an overpriced drink, movie, or bite to eat are the cultural activities that prevail. A major part of the prob-
lem is that many citizens aren’t engaged in their own culture, neither part of it nor creating it. We’ve basically been told to take what culture we’re given. What we are left with is more spending into the corporate machine and ignoring the jaded pangs of the daily grind. How many PeopleofWalmart.com and inner city cultural wastelands do we need to have to acknowledge that something is DEFINITELY wrong here in the U.S.?
GDP Rich, Culture Poor
Welcome to the crisis. The National Endowment for the Arts (NEA) has reported a consistent overall decline in American adult arts participation since WWII, with last year’s results from a 2008 national survey marking an alarming rate of cultural stagnation. This latest NEA Survey of Public Participation in the Arts highlighted that audiences, creators, and performers in the arts alike are all getting older and declining in numbers, while young adults arts participation is at a near standstill. Culturally, our population is dying. Looking at U.S. spending on the arts up to 2008 may clue us into why this is happening. From 1993 to 1996 per capita public arts funding was below Australia, Canada, Fin-
land, France, Germany, Ireland, Netherlands, Sweden, and the United Kingdom, as much as 90% below the spending of many of these nations!
2
For being the most af-
4
by Jennifer Seaman
Let us know what you think! We think it is important that alternative culture has a voice on important and current topics. Our editorial section is for your opinions.
email : editorial@auxiliarymagazine.com
culture
U.S.
AUXILIARY april/may 2010 the
thein
The ideas and viewpoints of our readers published to voice an alternative perspective on current day society, topics, and events.
fluent country compared to the previous seven, bursting with the wealth of the highest GDP, the U.S. spent a whopping 1-2% of it on the arts, thus proving cultural health to be a very low priority in the U.S. when compared to competing innovative nations (and leaving me wondering where the heck all my taxes are going). It was no better after the dot-com bubble burst. In 2004 Britain’s government arts budget was “30 times higher” than that of the U.S. (NEA) despite the fact that Britain’s funding rate was one of the lowest of all of Western Europe.
3
During that same year, Italy’s 2.5% budget cuts left that country’s “per capita cultural spending (only) about 56 times higher than the NEA (U.S.) budget!
4
The Arts “Poverty Gap”
Okay so public arts funding is kinda, um, low. So what? Why does “public assis-
tance” in the arts matter anyways? Actually, studies of the art museum-going public and national arts participation have shown that for decades that U.S. arts participation is lower in lower income groups. Those who participate in arts and culture more come from, “upper educational, occupational, and income groups.”
5
New national data corroborates that, “the strongest predictors of arts participation are arts education, level of education, income level, and in some cases age.” That means the majority of the U.S. population is culturally deprived. Why might this be? Rather than feign delicacy I’m just going to go ahead and say it. Rich people have nicer things. They have nicer schools, well-funded art education programs, and more income at their disposal to pay for additional non-school art classes. According to the 2008 NEA national survey, “those with higher incomes tend to have more education, more education in the arts, and humanities, and community-based arts education.”
6
As lean property taxes in low socioeconomic areas starve off public school budgets, art programs are one of the first “specials” to be reduced or cut. A sad fact consider-
ing that “arts education” was the “strongest predictor” of increased arts participation, “reducing the effect of SES (socioeconomic status) substantially.”
7
Museums and other arts agencies, many of which stress educational programs and resources to increase lower income audiences, have also felt the pinch resulting from our measly national spending on the arts. Thus we are left with an art-based mi-
crocosm of the low-income conundrum of the American Dream: what comes first, wealth or education? And can you really get one if you don’t have the other? “Al-
though SES (socioeconomic status) was not as important in increasing participation as was arts education, it did function as a resource factor, contributing to whether or not a person received education in the arts.”
8
We are a nation that is culturally starving one community at a time. Ultimately, it is the majority of U.S. citizens who suffer from poor public arts funding. Jonathan Katz, CEO of the National Assembly of State Arts Agencies notes, “when a state arts agency’s funding is cut, communities throughout the state feel the consequences. Cuts in funding diminish the benefits state arts agencies provide to strengthen education outcomes, promote civic vitality and ensure that all citizens have an opportunity to enrich their lives through participating in the arts.”
The proof and the research is out there: the arts improve our communities. They focus skills and ways of thinking that benefit the economy, learning, and future employ-
ability that are not found easily in other school subjects. They attract tourism and industry to our cities. They improve health, happiness, fulfillment, and quality of life. Rich or poor, the arts matter in many ways left to be explored in depth here. Because they matter so much, they are worth the effort to resurrect them into your own com-
munities, cultures, and lifestyles.
Go Grassroots!
Since, “there is a significant correlation between the amount of amateur, informal arts activity and neighborhood stability/improvement,”
9
one of the best, easiest, and most effective places to get reacquainted with the arts is in your local community. Producing in the arts as an amateur is just as valid and worthwhile as participating as an artist, so don’t be afraid to get messy or try new things! The following is a list of ways to participate: 1. Volunteer for a local museum, art organization, or gallery. Even if you know noth-
ing about art there are always skills you can offer. If you are comfortable with arts or crafts, offer to do activities for local organizations such as making ornaments with The Salvation Army, a nursing home, etc. Plan and practice beforehand with the same materials you will be teaching with for your sanity. The message is even more valu-
able when you do this with your kids.
2. Decide on the radius you are willing to travel for free cultural events. Sign up for email newsletters at individual art institutions and local arts agencies. Check out websites every month. There are plenty of great adult and family-friendly free cul-
tural events you can attend each month. Some examples are: ventriloquist show at the library, art show opening at the local community college, gallery hop organized by several galleries on the same night- offering free wine and cheese. Volunteer at any given art event you’d normally have to pay for: you’ll still get in for nothing and feel like a part of it all!
3. Participate in local arts collectives, quilting circles, poetry groups, book clubs etc. Internet and public bulletin boards are a good resource for finding such groups. These people tend to do their art for love, not money, and may be happy to teach their skills to an interested newbie!
4. Start your own art club or collective. Pick your focus, post flyers at cafes, creative businesses, and public centers. Collect dues from members to purchase materials. How democratic! Search online for more information about starting a collective (it’s there).
5. Hit up the arts and music sections of the public library. Become an amateur expert in Mexican folk art or Medieval music for free! If you want fresh literary material, check out newpages.com’s listings of available contemporary literary magazines. Al-
ways try to get things through inter-library loan first before paying for them!
6. Look for the discounts. I have never been in a city that didn’t have reduced perfor-
mance tickets for same-day purchasers. The best time to show up is right before for deep discounts. Sometimes, they will have so many no-shows who buy full season tickets that they will just let you in for free. Many community arts centers also offer reduced class tuition in certain cases.
7. Create a zine. Collaborate with local writers and/or artists and distribute the zine at local sites. Sometimes all you need to make your own zine is paper, felt pens, a photocopier, and a stapler! Find more about making your own zine online!
8. Engage in public art and beautify (or politicize) your community. Guerilla garden-
ing, wheatpasting, and temporary public art are less costly options to you than graffiti (if you get caught) if you can’t get a permit/permission. For more info check out Keri Smith’s great book The Guerilla Art Kit.
9. Pick up an art hobby and learn to experiment and solve creative problems again! Have fun and relax. Put your work in a local show. Become part of the cultural landscape.
10. Become an arts advocate. This is especially needed at school board and city bud-
get meetings! Just because you don’t like making art doesn’t mean you can’t become a pillar of your local arts community!
1 “Arts Participation: Steps to Stronger Cultural and Community Life,” an Urban Institute publication.
2 “An International Glimpse of Public Spending on the Arts” by Jeffery D. Mason
3 “Some Stats for European Funding,” by William Osborn, referencing statistics from a Guardian May 3, 2004 news article.
4
Bloomburg news article, Feb. 2, 2004
5
“The General Public and the Art Museum,” a research study by Hendon, Costa and Rosenburg, 1982.
6
National Endowment for the Arts 2008 “Survey of Public Participation in the Arts.”
7
“Effects of Arts Education on Participation in the Arts,” an NEA publication.
8
“Effects of Arts Education on Participation in the Arts,” an NEA publication.
9
“Magnetizing Neighborhoods Through Amateur Arts Performance” by D. Garth Taylor, an Urban Institute research publication.
5
april/may 2010 AUXILIARY
by Acid PopTart
AUXILIARY april/may 2010
photographer Ki dtee Hel l o fashi on styl i st The House of Smoke & Mi rrors
makeup arti st The House of Smoke & Mi rrors
hai r styl i st Heads Wi l l Rol l
model Aci d PopTart
fashi ons Kambri el
6
Life in all its forms has always been art, an expression, no matter how painful or joyous the picture that might have been painted. The way we choose to express our-
selves through fashion can tell so much; whether it be a well-constructed lie or a love driven passion, clothing will always weave a story. The fabric, the colors, and the cut are used in dramatic punctuation in films, videos, photographs, and most importantly, in everyday life. But the grandest stage I’ve watched the show unfold on and participated in myself, was the tumultuous punk-splattered goth scene of the 80s and early 90s.
I won’t sit here and tell you how cool I was in high school; that I was that morbid looking girl in all blac writing dark poetry in the corner of the classroom. How I knew I was so goth before there was even a word for it. No, I’m sure at one time I wore obnoxious neon, had claw bangs and, oh my gawd, I can remember getting quite a few perms. I was outspoken and dramatic. Not shy at all and never really knew when to keep my mouth shut. I was a rebel in high school, lashing out at everyone and everything around me. I listened to Elvis Presley and Bon Jovi, most likely in the same hour. I sung out to Guns-n-Roses but would dance to Bell Biv DeVoe. Even now, my iPod is a true freak show of auditory delights of schizophrenic proportions. I was wearing acid washed jeans that had been sliced with a razor all the way up to my crotch, knee high boots, tank tops, and a damn bolero hat. Clearly if fashion was my statement, it would read, “just what were you thinking?”. My senior portrait was a threat from my mother to not look like a whore, since she was paying for the pictures and, shockingly, I guess she still had hope that I might be a lawyer one day. Now I have a photographic memory of looking like a Jersey mall rat or an up-and-coming country western singer, depending on how you look at it.
But a lot of finding myself all came into perspective the day I walked into my junior
math class and saw Siân, a striking dyed-burgundy hair vintage punk rock vixen. I don’t think anyone in my school had ever seen anything like her. Fishnets and stiletto boots with her leather jacket and retro pillbox leopard-print hat. Although a year apart, fate made sure we kept running into each other and we eventually became best friends and roommates. Straight from England, she introduced me to a lot of stuff I might have otherwise missed in the at-least-5-years-behind-the-trend state I lived in called North Carolina. There were no Hot Topics for us then, malls were yuppie-
ridden hellholes littered with pastels and “Betties”. Siân and I haunted thrift stores and vintage boutiques, dying things black and ripping them apart to be safety-pinned back together. If I heard the word vinyl, I was immediately thinking of my next DJ gig (which is yes, where the name Acid PopTart originated) and taking a trip to buy
some Psychic TV or Skinny Puppy record. The scene was driven by its music, a cha-
otic journey of life and death, littered with too much alcohol and drugs, capped off with broken jaws and bar fights. I fought like I danced, like it would be my last.
The scene in Raleigh bled into other cities as we frequented clubs there; Chapel Hill, Durham, Greensboro, Winston-Salem and Ft. Bragg maintained one of the best in-
dustrial clubs that I’ve forgotten how I’ve gotten home from many times. The fashion would change as quickly as the songs; we were all artists finding our voice through the medium of what we wore, from switchblade eyeliner and ripped up fishnets to mohawks and studded leather. If there was a style to follow, we never saw it; we did what worked for us. Siân was fond of boots and vintage kimono-inspired dresses and I’d shift from Boy George drag looks to some sort of Siouxsie-meets-Madonna col-
lision. One day it’s leopard print skirts for Siân and I’m wearing tape on my nipples. It was deliciously insane.
The music was loud and so were we. We were fearless with our lives; we made sure it showed in what we listened to, in what we wore. Confidence came through in the experimental industrial sounds of Front 242 and Einsturzende Neubauten, deathly ro-
mantic Moev (with one of my favorite songs ever, “Crucify Me”) & Cocteau Twins, and the familiar wail of Danielle Dax and Siouxsie Sioux.
Everyone wants to be an individual; it’s a deep human need to stand out and be origi-
nal, even if that desire turns into a paralyzing fear and the shy become more introvert-
ed and begin to follow paler imitations of the ones they look up to and admire. Haute couture will trickle down into the mass market as a watered down substitute for those with less gumption. Somewhere, the true spirit of the designer’s intent might linger, but by now it’s more or less a societal acceptance; it becomes a trend. A way for people to stand out but be included. To boil it down to its basis; a way to be the cool kid in whatever clique you’ve identified with. Today’s alternative fashion is no differ-
ent, and it has come a long way from the DIY spirit of my punk youth, where looking like I did came with the price of verbal attacks, or in my case, physical attacks which I wore as a badge of honor. My bruises and cracked ribs showed my independence. Then, the underground surged with electric inspiration and it came through even on high fashion catwalks. Today’s pseudo punk bands didn’t bring rebel fashion to light, and Avril Lavigne wasn’t the first to wear skintight skater pants. Wendy O turned her music and her look into performance art that would rival some heavy metal shows. Joan Jett and Pat Benatar were taking their best shots and holding their own way before Amy Lee of Evanescence was held as some goth princess with an angry edge. april/may 2010 AUXILIARY7
And the legendary shrieks and sinister ululation of Diamanda Galas were fighting the Catholic Church and society in general long before it was cool. The punk rock queen of fashion, Vivienne Westwood was clothing musicians instead of models, making rebellion a high fashion statement in the 1970s. Thierry Mugler was taking film noir and modern rock into his designs in the 1980s and doing album covers for Depeche Mode. Joined by the “enfant terrible” himself, Jean-Paul Gaultier, who took street fashion into high fashion and brought his edgy style to films such as The City of Lost Children and The Cook, The Thief, His Wife and Her Lover. Much like the late Alexander McQueen who carried his own club days into his runway with an unique vision that remains unmatched today.
It would seem it’s all been done before; corsets are now as commonplace as stilettos in the scene, pvc and latex don’t even raise an eyebrow, fishnets and stripes are expected, and the ever popular “stompy boots” that rival the platforms of KISS now cover the dance floor. In the warm Carolina spring of 1990, EDI TORI AL
a newspaper report er wandered i nt o t he Fal l out Shel t er, t he l ocal cl ub, i nt ervi ewi ng mysel f and numerous ot her al t ernat i ve faces. He wrot e how i t was onl y a mat t er of t i me before t he experi ment al Berl i n bands of t he 80s hi t Engl i sh cl ub goers, whi ch event ual l y hi t t he t ransi t i onal New York scene, and event ual l y t ri ckl ed down t o t he rest of t he Ameri can underground; how much l onger before t he “new scene” we were al l up t o our spi ked hai r i n, woul d expl ode mai nst ream? I woul d have never dreamed of a Hot Topi c bei ng i n a mal l t hen, but t hey are everywhere now.
The scene feel s l ess dri ven by pul sat i ng beat s & l yri cal ant hems of anarchy, and i nst ead i t bl eeds weak el ect roni c not es wi t h repet i t i ous l yri cs. The cl ubs are overrun by t he pet t y drama of sel f-appoi nt ed ki ngs and queens who’s hi gh poi nt i s work-
i ng at t he gas st at i on (not t hat t here’s anyt hi ng wrong wi t h t hat ). It ’s a t rai l er park bubbl e, becomi ng more t rashy and i nbred by t he moment, wi t h fashi on as a st al e aft ert hought. It t akes even more t o st and out now. Fort unat el y t here are easi l y acces-
si bl e desi gners, t hanks t o t he i nt ernet, t hat come t o t he rescue. There’s a refreshi ng revol ut i on now, where t he knock-offs and cheap hacks fal l away, l eavi ng vi si onary desi gners t o st orm t he cast l e of t he expect ed and overdone. Pvc and rubber t ake on new l ooks such as Ei ri k Aswang’s apocal ypt i c vi si ons and Art i fice Cl ot hi ng’s sl eek sci -fi i nspi red fet i sh l ooks. The romant i got h at heart can find decadent desi gns among Kambri el ’s t i mel ess creat i ons t hat have appeared on t he red carpet of t he Oscars as wel l as openi ng al ongsi de Gal l i ano and McQueen i n t he FIT Got h exhi bi t. As some l ooks may di e wi t h overuse, ot hers wi l l come forward. The sub genres of got h and punk rock have spl i nt ered i nt o fasci nat i ng sub-sub-genres of st eampunk, deat hrock, rockabi l l y/got habi l l y, Japanese i nspi red st reet fashi on, and t he l i st goes on. There are st i l l t hose rebel s of fashi on, findi ng t hei r voi ce out t here, and maki ng a scene. Refus-
i ng compromi ses and maki ng no apol ogi es. It ’s how I l i ve. Passi onat el y.
Emerge
photographer Laura Dark
makeup arti st mascarai d.com
hai r styl i st Gray Arti stry
model s Bri anne Jeannette, Bre Rhodes, and Natasha Fatal e
retoucher Jay Leavi tt
april/may 2010 AUXILIARY
THIS PAGE
On the skin Illamasqua Rich Liquid Makeup and Pressed Powder. On the cheeks and eyes Make Up For Ever Eyeshadow #75. On the lips Illamasqua Lipstick in Corrupt with Illamasqua Intense Gloss in Indulge and Make Up For Ever Silver Flash Color. On the nails OPI for Sephora in Access 24/7.
AUXILIARY april/may 2010 april/may 2010 AUXILIARY
THIS PAGE
Tarina Tarantino Sparklicty Powder creates a dramatic effect on the skin. On the cheeks Illamasqua Powder Blush in Sin. On the eyes Make Up For Ever Eyeshadows #71 and #92 and Make Up For Ever Gold Flash Color. On the lips Illamasqua Intense Gloss in Fierce with Yves Saint Laurent Gloss in Golden Lavender. On the nails OPI for Sephora in Iris I Was Thinner.
AUXILIARY april/may 2010 february 2010 AUXILIARY
april/may 2010 AUXILIARY
THIS PAGE
On the cheeks Make Up For Ever Gold Flash Color and Make Up For Ever Eyeshadow #71. On the eyes Make Up For Ever Eyeshadow in #101 and #71 with Urban Decay Eyeshadow in Graffiti. On the lips Make Up For Ever Flash Color in Leaf Green with Kat Von D Gloss in Retox. On the nails OPI for Sephora in Absinthe Makes The Heart Grow Fonder.
AUXILIARY february 2010
Downtown Vamp
Combining elements of urban Asian street fashion with elements of punk, runway, and cybergoth; the downtown vamp is a cocktail of visual influences that conglomerates to form something new and fresh. The key to this look is to always make sure it is polished and well produced. There is a definite air of raw sexuality and confident sophistication to this style that requires a certain amount of dedication and commitment to pull off. This is a look that can accidentally appear as a costume rather than an extension of your own personality. The styling must be perfect, but the attitude must say that you don’t care about the perfection that goes into it.
Bright and bold colors are the key to the makeup of the downtown vamp. Electric colors applied liberally are one of the trademarks. Take influence from the neon of Tokyo signs, applied with the hard and severe edge of the best hip-
hop fashions. Yellows, chartreuse, teal, white, and bold red are good choices for eyes. Basic black is always an option as well, but the shaping must be severe and dramatic. Often the bright colors and black are not mixed. White and clear eyeliners and mascara are a common element of this theme.
The hair is an important factor to consider. One must strike a balance between sleek and over the top large. Braids are often incorporated into the styles as accents; be they long braids or tight cornrows, often combined with large, teased out mohawks or large, messy Robert Smith inspired style. Alternatively, one could go super sleek with an anime-inspired look; one that is highly sectioned and built high in the back of the head into an exaggerated shape. Short, blunt cut bangs can also be incorporated into the style, with tight braids in the back to provide contrast and additional style references.
photographer & author Luke Copping
hair stylist Kristin Draudt
makeup artist Shianne Valletta
models Kerry Quaile & Lauren Mentkowski
AESTHETIC
BEAUTY
AUXILIARY april/may 2010 april/may 2010 AUXILIARY
by Vanity Kills
acid bath
16
april/may 2010 AUXILIARY
Dangerously refreshing, like poison-infused limeade on a warm April day; shocking greens meet their match in high-voltage yellows for a double dose of drama.
1 Lightly coat your entire eyelid area with an eyeshadow primer to build a smooth base for your shadows, pigments, and liners. [Too Faced Shadow Insurance is a best-
selling favorite.] 2 Using a dampened Brush #1, gently tap (DO NOT SWIPE) a bright primary yellow pigment [such as Obsessive Compulsive Cosmetics Loose Colour Concentrates in Pollencount] across your entire eyelid from lash line to crease. Electroshock Spring forward into an electric equinox with 1000-watt jolts of unapologetic color.
Cutie pie pastels get amped up with the intensity of neon. Think watching Sofia Cop-
pola’s Marie Antoinette while consuming LSD laced baked goods. Off with the head of fools that dare to tell you to “grow up”.
1 Lightly coat your entire eyelid area with an eyeshadow primer to build a smooth base for your shadows, pigments, and liners. Urban Decay’s Eyeshadow Primer Po-
tion in Sin will prep your eyes for color and give your lids a hint of slight champagne shimmer that will harmonize nicely with intense pinks and purples. 2 Dip a slightly dampened Brush #1 into a bright purple pigment [such as Royally Fucked by Miss X Aesthetic Industries] and gently tap, DO NOT SWIPE, the pig-
ment across the outer 1/3 portion of your eyelid from lash line to crease.
3 Clean Brush #1. Using the same technique, add some cotton candy pink pigment [I recommend Lime Crime Magic Dust in Pink Poodle] onto the middle 1/3 portion of your eyelid, from lash line to crease. Blend it into the bright purple pigment using Brush #3 to ensure a smooth transition. 4 With the help of a moistened Brush #2 carefully add more of the bright purple pig-
ment onto the inner 1/3 portion of your lid, from lash line to crease. Blend into the cotton candy pigment with a Brush #3 to prevent harsh lines. 5 Highlight your brow bone with a shimmering pinky mauve pigment [try MAC Kitschmas] applied with Brush #3.
Rock the neon, don’t let the neon rock you. Remember that subtlety is for the weak and wear those in-your-face brights loud and proud.
3 Dab a tiny amount of a mid-tone forest green pressed eyeshadow [Sugarpill Pressed Shadow in Midori being a great choice] onto Brush #2 and draw a line that follows the natural crease of your eye. Making the line as straight and precise as you can is key! Using the same brush, blend the color outward. This technique is called cutting the crease.
4 With the help of Brush #3, blend vivid green pressed eyeshadow [try MAC Bitter] up and outwards. Make sure to blend the vivid green into the forest green that you added to your crease to avoid harsh lines. 5 Sweep some shimmery white shadow [like Illamasqua Powder Eyeshadow in Moonflower] directly under your eyebrows with the help of Brush #4.
6 Starting at the inner corner of your eye, line your upper lash line with bright metal-
lic lime liquid eyeliner [such as Urban Decay Liquid Liner in Acid Rain]. 7 Line your bottom lid starting from the outer corner of your eye, slowly making your way toward the inner corner with a bright medium green eyeliner pencil [Urban Decay 24/7 Glide-On Pencil in Graffiti rocks]. Most of the color should be concen-
trated in the outer corner. 8 Finish off the look by applying two thin coats of volumizing black mascara [try Urban Decay Big Fatty Mascara in Black-Black] to your top lashes. Follow up with one coat to your lower lashes.
6 Starting at the outer corner of your eye, line your bottom lash line slowly making your way toward the inner corner with metallic gold liquid eyeliner [such as Urban Decay Liquid Liner in Honey].
7 Last but not least, a pair of falsies with alternating pink and purple lashes [like Elise Faux Eyelashes #354] adds some extra icing to this already yummy cake of Technicolor tastiness. To apply, add adhesive to the back of the eyelash strip. Grab a false eyelash with a pair of tweezers and adhere to the outermost part of your eyelids, keeping them as close to your own lash line as possible. You know that they’re in the right place when they’re sitting right on top of your natural lashes. Gently hold them down in place with your finger for about 30 seconds or so until the glue dries.
let them eat cake…
BEAUTY
Fol l ow al ong wi t h t hi s gui de t o hel p you choose t he best brushes t o use f or t hese l ooks.
Brush #1 : Brush wi t h a rounded edge [t ry t he Eyeshadow “C” brush from t he st udi o brushes col l ect i on by eyes l i ps face].
Brush #2 : Eyel i ner and det ai l brush [such as Smal l Preci si on Brush from t he st udi o brushes col l ect i on by eyes l i ps face].
Brush #3 : Bl endi ng brush [I recommend t he Sephora Col l ect i on Professi onnel Bl endi ng Eye Brush #29].
Brush #4 : Smal l eyeshadow brush [I l ove t he versat i l i t y and affordabi l i t y of Sephora Col l ect i on Professi onnel Al l Over Shadow Smal l Brush #23].
brush guide
17
film
MEDI A
essentials
by Luke Copping
the
directed by : Shinya Tsukamoto
released : 2002
starring : Asuka Kurosawa, Yuji Kohtari, Shinya Tsukamoto
There are the classics, there are the cult films, there are the masterpieces; there are many films that are obvious essentials. These are essentials that may have gone unnoticed.
a snake of june
directed by : Hal Ashby
released : 1971
starring : Bud Cort, Ruth Gordon
Was it predestined that Hal Ashby, a director who met such a tragic end, would ulti-
mately direct one of the most tragically humorous and interesting films made within the American studio system in the last forty years? Harold and Maude is a truly interesting exploration of emotion in film. Wrapping a film about morbidity, humor, tragedy, love, laughter, the embrace of life, and the acceptance of death up in an upbeat early seventies Cat Stevens soundtrack was simply a stroke of genius on the filmmakers part. Harold and Maude is the story of 19 year old Harold, played by the infinitely inter-
esting Bud Cort, a young man obsessed with death and his own morbid pranks he plays to scare away the blind dates his mother sets him up on. Harold is one of those aimless characters, at first content to amuse himself with his own little games without any real drive in one direction or another. This changes when he meets Ruth Gor-
don’s Maude, a septuagenarian with more energy and lust for life than a sugar addled ADD kid, albeit much easier to relate to. Upon the catalyst of Maude coming into his life, Harold begins to undergo a change; not so much becoming more normal by his families standards, but by becoming even more himself, albeit with new outlooks and drives the evolve within him throughout the film. Whether laughing at Harold’s many mock suicide attempts, appreciating that he harold and maude
While most western audiences know him for his earlier films in the Japanese cyberpunk genre, or for his appearances as an actor in well known films like Takashi Miike’s Ichi the Killer, Shinya Tsukamoto is a far more accomplished di-
rector than most casual view-
ers give him credit for. While well known for the legendary Tetsuo: The Iron Man, his list of credits also includes masterfully made films like Tokyo Fist, Bullet Ballet, Vital, and his masterpiece A Snake of June. A step away from the hyperactive physicality of Tetsuo, A Snake of June is a tense psychosexual study that makes use of an isolationist atmosphere and a mood reminiscent of the neo-noir movements. A discussion of plot in anything but the loosest terms would be a disservice to you. For one, it ruins much of the suspense of the film, which Tsukamoto layers on more and more until your head is reeling with anticipation. Secondly, while this is one of Tsukamoto’s more coherently plotted films, when compared to mainstream western or eastern cinema still leaves one feeling confused and disoriented. This dizzying effect is one of the true joys of watching Tsukamoto’s work, and to go into the film for the first time with anything more than the barest inkling of the storyline will only soften the psychological blows the film deals you. Whereas his past films have dealt mostly with the transformation of the body, A Snake of June moves Tsukamoto’s area of focus to the psyche. Shot in a haunting blue tinted black and white, A Snake of June seems to pull from several eras of film making as an influence, all the while keeping the viewer firmly entrenched in the twisted mundan-
ity of the repressed marriage of a couple living in an all too real dystopian cityscape. Sexual awakening, an obsession with hygiene, and nightmarish production design are only a few of the elements that will undoubtedly leave you with more questions than answers after viewing this film. Tsukamoto should be held in the same regard as Da-
vid Lynch in many ways, and Lynch may in fact be the closest analogue for western audiences through which to relate to Tsukamoto’s style and vision.
builds what may be the cool-
est car of all time, ruminating over the philosophical nuggets that Maude presents through-
out the film, or enjoying the soundtrack (perhaps one of the best recorded during the seventies) Harold and Maude is one of the more touching films from an era obsessed with poor slapstick, melodra-
matic attempts at romantic films, and histrionic self-ob-
sessed characters presented as some sort of undeserving anti-
hero. Ashby’s film stands out as something fresh and almost innocent despite the morbid and dark humor it presents.
AUXILIARY april/may 2010 As I entered the theater showing Tim Burton’s Alice in Wonderland, I had a mountain of reservations. Burton hasn’t turned in a decent film in damn near a decade, and his most recent handling of preexisting intellectual property (Roald Dahl’s Charlie and the Chocolate Factory) didn’t go so well, to put mildly. Yet, I walked in a with sliver of hope that Burton could pull off a miracle and create a film that meshed his own dark, idiosyncratic vision with that of Lewis Carroll’s nonsensical fairytale. Sadly, this was not the case. What’s more, Alice in Wonderland is assuredly the worst Tim Burton film yet, if not the worst big budget genre film of the last decade.
Whether this is an adaptation, re-imagining, or sequel to the works of Lewis Carroll is up for debate. It mixes and matches parts of Alice’s Adventures in Wonderland, Through the Looking Glass, and What Alice Found There (not an uncommon practice for adaptations of Carroll’s first Alice book), with elements of the poem “Jabber-
wocky” thrown in for good measure. Burton chose not to classify the film as any of the categories listed above, further complicating the issue. It doesn’t really matter, I suppose, as Burton and screenwriter Linda Woolverton don’t hold the source texts (which, mind you, are classics of children’s literature beloved by young and old) in high regard, as they stomp through Carroll’s books, cutting and pasting as they see fit. In the end, the story doesn’t much resemble the works it’s supposedly based on, save for taking most of the main characters, altering their characterizations, and dropping them in a generic fantasy adventure film. The setup is that Alice, now 19, is taken by her mother to some stuffy high society get-together, only to find out that it’s her engagement party. When her foppish suitor pops the question, she spies the White Rabbit and make’s a b-line for the rabbit hole. Soon enough, she’s in Wonderland (renamed Underland in this film for, well, no good reason), reuniting with all the talking critters she met as a child, although time has whittled her memories down to near nothing; what little she does recall being chalked up to recurring childhood dreams. Soon, she meets up with the Mad Hatter, finds her way to the Red Queen’s castle, and almost gets date raped by the Knave of Hearts (I�m only slightly exaggerating here). She gets the hell outta dodge after the Queen says, “Off with her head!”, and heads for the White Queen’s castle, where she learns that she is Underland’s messiah and must do battle with the Jabberwocky in a climactic battle that amounts to a boring rehash of Gandalf verse the Balrog, as re-enacted by an adolescent girl and a bad CGI dragon voiced by Christopher Lee. That’s roughly the gist of it. If we’re going to begin dissecting this film, let’s start with the cast, which is, for the most part, a collection of exceptionally talented performers and gifted newcomers slumming it to the highest degree. The titular character of Alice is portrayed by rela-
tive newcomer Mia Wasikowska, and while she certainly doesn’t do a bad job, she doesn’t have much of a screen presence here either. She’s certainly approaches the role with the requisite amount of bewilderment that a portrayal of Alice demands, but much of her performance comes off flat. And when the battle with the Jabberwocky gets into full swing, she fails to convince as a heroine of any note. Then again, the idea of transforming the role of Alice into that of dragon slayer is questionable to begin with. However, there is enough of a spark in this young actress’s performance to indicate that down the road she will mature into more than merely a serviceable actress, provided she’s given better material to work with than the likes of this.
Johnny Depp takes a stab at the role of the Mad Hatter, his performance alternating between a dandyish lisp and a brooding Scottish brogue. The many faces of Depp are all on display here, each performed with less enthusiasm and to lesser effect than usual. I have a question or two to ask Mr. Depp regarding his performance, by Adam Rosina
18
MEDI A
april/may 2010 AUXILIARY
19
such as, “What the fuck is with the break dancing?” Or, “Why does the Hatter take a Highlander-esque turn at the climactic battle with a claymore?” One sympathizes with Depp’s dilemma, as his good friend Burton (who, let us not forget, helped es-
tablish Depp as a star by casting him in Edward Scissorhands) keeps casting him in films of increasingly poor quality. So he tries to do Burton a solid while attempting to rise above the material given to him, which works in varying degrees. God knows, he tries here, but he had to know how sub-par the script for this train wreck was before he signed on. Even a great actor can only swim against the tide for so long before he’s pulled under by it. At the end of the day, though, if he signed up for it, he’s responsible for the performance that ends up on screen. And once again, what is with the dancing?!
Helena Bonham Carter, who is usually a fine actress of considerable skill, lays down maybe the most abrasive, over the top acting to be committed to film in the last de-
cade as the Red Queen. I get it; she’s playing a larger than life character (literally), but she doesn’t have to do it in such a way as to simulate razorblades being scrapped against my inner ear. Most other critics have pointed to Miss Carter’s performance as one of the film’s saving graces, but it’s easily one of the least enjoyable parts in what is already a hard film to tolerate.
Alan Rickman makes what more or less amounts to (in terms of screen time) a cameo as the caterpillar smoking a hookah that so many dumb hippies love to get tattooed above their ass cracks. He turns in a performance that so humps the leg of the one he does in the Harry Potter films that one begins to wonder if he hasn’t been playing the same character for so long that he’s lost all range as an actor.
Crispin Glover turns up as the Knave of Hearts, which is a bit of casting I question. Not that I take issue with Glover himself, who is an incredibly individualistic actor who brings something original and terribly authentic to any part he plays, or rather, inhabits. The problem here is he is given a role that is written with very little for him to do. I have to wonder why they hired an actor as talented as Glover at all if all he’s asked to do is say a few villainous lines and commit a few dastardly deeds. The Knave of Hearts is written here as such a blank character that any actor could fit the bill. It’s just a waste of Glover’s talent that he’s cast in such an indistinct role. On the plus side, I have nothing but good things to say about the performance of Matt Lucas (probably best known for his work on the hilarious BBC comedy series Little Brittan and its HBO spin-off Little Brittan USA) in the roles of Tweedledee and Tweedledum. The characters may be birthed into existence by a combination of live action and CGI, but Lucas infuses them with life with his gut-busting performance.
The disappointments don’t stop with the acting. Burton once again turns to his go-to composer Danny Elfman, who has slowly let his work slip to the level of tedious repetition over the years. Elfman once stood as one of the most inspired composers in film, something of a quirky and bizarre John Williams. But it seems in recent years the creative juices aren’t flowing as freely as they used to, with Elfman resorting to near-cannibalization of his own scores in some instances, such as his work on Hellboy II: The Golden Army (Elfman doesn’t get to pass off old material as new just because no one saw Nightbreed). Such is the case here, with Elfman recycling much of what he has done in previous Burton films, sans any pomp and devoid of the wonder his music used to inspire. The effects are dreadful as well. For as much money Disney threw at this production, one is amazed at the poor quality of the CGI. It comes off at roughly the same quality as that of a video game cutscene. Actually, that’s not a fair comparison, as video game developers are not given much money at all to work with in comparison of all but the most modest Hollywood productions, yet yield results that are astounding in light of their limited resources. By contrast, this film was given $200 million to play around with (compared to the average video game budget of $23 million), and comes up with CGI that would have been laughable half a decade ago. If you’re going to have this much of the movie hinge on the visual effects (by “this much”, I mean that outside of four and a half actors, damn near everything else on screen is a computer-generated clusterfuck), they’d better be mind-blowing. After viewing the film, one wonders what creative control Burton actually wielded over the production, and to what extent Disney neutered his vision. If Disney indeed laid down content restrictions and coerced Burton into making Alice more commer-
cial and marketable, the fact that Burton stayed on board and put his name on the final product makes him equally as guilty as he would be if this is in fact was his own bland, pitiful creation. In fact it’s worse; instead of being a simple hack, it makes him a complete whore. The bottom line is this: a film where everyone aimed low and hit accordingly. Armed with a pool of high caliber talent and a fat wad of cash, Burton and company should have turned in quite a gem of a flick, if not a minor masterpiece of mainstream fan-
tasy film-making. Instead, what we get stuck with is a piece of trash that no one involved in seems to have had their heart in, and projected that lack of care and pas-
sion up on the screen.
If it sounds like I’m being harsh, it’s likely because I am. I feel cheated and betrayed by this film, primarily because it’s Burton in the director’s chair. I, like many of my generation, grew up on Burton’s early films. They introduced me to a dark and fantas-
tic world that urged my imagination to run wild. While I’d hardly call him one of my favorite directors today, I’d be lying if I said his films didn’t have a significant impact on my artistic and personal development. Burton’s heroes are always the weirdos that triumph not in spite of, but because of, their strangeness and individuality, and that’s certainly a comforting and encouraging message for those of us that grew up feeling like Martians. But as time went on, Burton’s films lost a lot of the soul that propelled them previously, and his work became less endearing as his personal vision took a backseat to crafting bland blockbusters designed to please everyone and guarantee a decent box office return. While there have been glimmers of hope in Burton’s body of work in the last decade (Big Fish comes to mind), most have been boring at best and dismal at worst. But this film is the final insult, and it cements Burton as a soulless husk of a man without any of the desire to infuse his works with the passion of old. Shame on you Tim Burton. Instead of wasting your time and money on this banal failure of a film, one might be better served (especially if one wishes to pursue more adventurous cinematic fare) by tracking down a copy of the 1988 Czech film Alice, directed by Jan Svankmajer. Brought to life by a combination of live action and stop motion animation, this sur-
real and sometimes grotesque film attains a strange kind of beauty at times, and is by far superior to Burton’s effort.
AlicE In
wOnderlAnd
With all the hype around Tim Burton’s Alice in Wonderland, and with endless options for Alice themed merchandise courtesy of Disney and Hot Topic, does the film offer anything more than pretty images and a cute Queen of Hearts handbag?
AUXILIARY april/may 2010 AUXILIARY april/may 2010 20
by EJTower
There is a hidden country of criminal artists, heretical philosophers, and radical cou-
turiers. A land made from abandoned buildings and forgotten neighborhoods, ig-
nored by authoritarian eyes. Here, in this secret place, western culture has its dreams and nightmares. Here works of art explode like mariner flares over the gray row houses. Here new ideas mingle with old ideas, transforming society in ways both great and terrible. This land is called Bohemia, and it exists both everywhere and nowhere at all. It is a virtual land that is the homeland of all countercultures, created amongst artists and intellectuals as a space for experimental living and aesthetics in spite of mainstream society.
Bohemia is a land that has been settled by many tribes, but the founding genera-
tion who lent the land their name, began flooding into the impoverished left bank neighborhoods of Paris in the early 19th century. It is fitting that these early settlers of our virtual land received their name through a case of mistaken identity. The alternative lifestyles and romantic outlooks of these penniless artists were confused with the stories of nomadic gypsies from Eastern Europe, and so they became known as bohemiГ©n.
Immigrating into left bank Parisian neighborhoods like Montparnasse, the bohemians unlike many others did not come to seek a career in a worldly economic center, but instead to tend to artistic obsessions protected from conventional society. Life in Montparnasse was cheap, but far from the romantic ideal of an artistic commune. Taking society amongst other artists in cafГ©s that rented tables out by the hour, they crafted works of art with all available time, but often fell on panhandling or working odd jobs to cover the food and rent money. Henri Murger, author of ScГЁnes de la Vie de BohГЁme (Scenes of Bohemian Life) that would later be adapted into the opera La BohГЁme by Giacomo Puccini, characterized the daily lives of his bohemian friends in his stories:
Their daily existence is a work of genius…they know how to practice abstinence with all the virtue of an anchorite, but if a slice of fortune falls into their hands you will see them at once mounted on the most ruinous fancies, loving the youngest and pret-
tiest, drinking the oldest and best, and never finding sufficient windows to throw their money out of. Then, when their last crown is dead and buried...they go poaching on all the callings that have any connection with art, hunting from morn till night that wild beast called a five franc piece.
The bohemians were carefree idealists filled with the sense that life should not be commanded by the demands of money and career. Money corrupts the person with impulses to save and invest in a system that demands they work harder for nothing. It would be subverted by the new commands of the bohemians to spend, drink, gorge, fuck, and make art.
The pattern of creating a world outside of mainstream standards in the urban slums would become a cultural legacy that would last into contemporary times. These alternative places known as bohemias, have spread wherever artists have gone and have served as incubators for current day countercultures. They are arguably the cur-
rent incarnations of bohemians. Greenwich Village, a bohemia in New York City, has given rise to generations of artistic counterculture such as Dadaism, surrealism, and the beatniks since the dawn of the 20th century. Fundamentally about far more than art, bohemias offer shelter from persecution and a chance to act freely away from the eyes of “moral” society. Homosexuals, political radicals, criminals, and anyone else rejected by the majority have historically taken shelter amongst the bohemians. As such, these places have also become the breeding grounds for destructive political upheaval and positive expansion of civil rights.
If the founding principles of our hidden country are the subversion of the “moral” majority and the sheltering of alternative life, then we might ask why bohemia mani-
fests in urban centers instead of trying to make completely independent communities. This paradox of bohemia, a desire to separate and subvert, but a dependence upon the economy they loathe has been a problem since the early bohemians in Paris.
Poverty is hellish, and the life of the impoverished often short because of it. For the poet Charles Baudelaire bohemia was not a life full of romance, but one full of naked, unsettling realities. Through the realities of his bohemia in Montparnasse, Baudelaire he penned a volume of poetry titled Les Fleurs du Mal (The Flowers of Evil) that he hoped would lift him from his debts and hunger. As a writer he had been terribly unsuccessful, and his health was poor. In 1857, the year that Baudelaire would publish Les Fleurs du Mal, those who pub-
lished and purchased his literature were not his fellow bohemians but ironically the very society he had sought to avoid. Earlier in that year, Gustave Flaubert, the author of the sexually explicit novel Madam Bovary, would publish his novel and immedi-
ately be put on trial for offending the public morality. In Flaubert’s case his book was well defended and he won the trial. The sales of his book enjoyed a huge bump because of the public controversy, and he made a fair amount of money. As the bohemian becomes wealthy and escapes the confines of his impoverished life, the question of if he remains a real bohemian arises. However, this question also has an antithesis that involves mainstream society. Flaubert remained true to his bohemian nature and did not compromise the erotic themes of his novel. It was the mainstream society whose public morality was shown to be a façade when they were seduced by his dangerous art. Here mainstream values were the real sell out, and the real relationship between bohemia and society is shown, each challenging the other april/may 2010 AUXILIARY21
in a contest of values. We see the outcomes of these contests around us every day, the informal use of first names, casual fashion, and sex in the media. Bohemia has chipped away many outmoded ideas and useless formalisms over the past 170 years, but the reverse is also true.
When Baudelaire published Les Fleurs du Mal he hoped for a similar experience to Flaubert. He was also put on trial for offending the public morality, but in the intervening months, campaigns for morality had bolstered the public against such bo-
hemians, and so Baudelaire became a public example. His case was poorly defended by a timid lawyer, and the subject matter of his poetry was far more explicit than Madam Bovary. Lesbians, drug use, poverty and death, and direct appeals to Satan himself, were all subjects Baudelaire wrote about because he wanted to talk about reality, but this defense of his work would not stand because it was exactly the charge leveled against him. The prosecution accused him of offending public morality with “realism”, and as a result his book of verse had six poems redacted, most of them related to homosexuality.
Bohemia is a land of paradox, and all the artists who have ever settled there have dealt with its complexities. The American beat poet Allen Ginsberg was also put on trial and vindicated much like Flaubert, but many others before him experienced the moral rejection of mainstream society more like Baudelaire, who would die at a young age only a decade later. Bohemia serves as much as a refuge for the radi-
cal artist as it serves mainstream society as a reservation where people with mutant ideas can be quarantined. Though most artists enter Bohemia willingly, seeking a place of free expression, in more recent years, the rise of boutique marketing firms and just-in-time production lines has made the bohemia’s of some cities into prison farms for artists.
Today the cool hunter walks amongst the bohemians like the looter anthropologists of the 19th century, seeking valuable artifacts to sale in the mainstream marketplace. These cool hunters are always on the look out for the possibility that some new style or kind of art might become popular and therefore highly valuable. This method of “product research” has now been in use for more than twenty years, and is respon-
sible for the wide availability of countercultural products in stores like Hot Topic and Urban Outfitters. Criticism of these stores as unauthentic and mass produced are well known, but few have explained the insidious nature of the cool hunter. In the past, bohemia faced either acceptance or rejection of their alternative lives and artistic messages. Today, the cool hunter abstracts the bohemian into product form and sells it to the masses. Lost in this process is the actual substance of the original work and culture. Is a metal studded leather jacket purchased from a wrack in a store convey-
ing the do-it-yourself message of the punk movement? Is a beat-up lamp shade, distressed by Chinese factory workers, actually an anti-consumerist product?
Bohemia once survived in the places mainstream society did not want to look, of which it did not care to know. If bohemia is to survive this epidemic of simplified commodification, it will have to find new invisible places and begin doing what soci-
ety avoids, offering cool hunters poison apples.
legacy
Bohemian
the
LI FESTYLE
“Au Salon de la rue des Moulins” painted in 1894 by Henri de Toulouse-Lautrec, an artist who lived the Bohemian lifestyle
MIND.IN..A.BOX
Your new album R.E.T.R.O. is out now, musically, how is it different and yet similar from previous albums?
Stefan Poiss : There is quite a difference between R.E.T.R.O. and our previous al-
bums. Whereas our other albums focus on emotions and are connected in the back-
ground by a continuing storyline, our latest album is most of all a homage to the good old days of the Commodore 64 and the early days of home computer and video games. We tried to bring back the emotions, we personally connect with those times, using our music. So I think the feeling of the album is quite different from the other ones, but I hope people will still be able to recognize a lot of our sound in it. Also, the Commodore 64 produced very particular sounds and melodies, and I was hoping to capture that as much as possible on R.E.T.R.O. So the album is a tribute to those times and a homage to some of the incredibly great composers on the C64.
Markus Hadwiger : We were thinking about something like this for a very long time, and Stefan started to work on new interpretations of some of our favorite C64 songs. We liked the mood and feeling of nostalgia this created a lot, so at some point we also started to do completely new material like “8 Bits” and “I Love 64”. It was a nice break from our other work, and an awful lot of fun.
R.E.T.R.O. doesn’t fit into the storyline that was established with the previous albums, was there any hesitation in labeling the album as mind.in.a.box rather than a separate side project?
MH : Yes, we were thinking about that for a long time, and the initial plan was to release the album as a separate project. But in the end we decided to release it as mind.in.a.box, and our label also liked the idea a lot. Fortunately, it seems as if almost everyone who already liked mind.in.a.box also really likes R.E.T.R.O., which makes us very happy.
The subject matter of R.E.T.R.O. will appeal to the video game fanatics, yet mu-
sically I feel it could appeal to people with no interest or knowledge of the Com-
modore 64 and games you reference. Was there any concern that this album would isolate your market or alienate mind.in.a.box fans? SP : Yes, we were quite anxious about what our fans would think of such an album. But we had a really strong desire to release this material and were hoping that people that had known us before would also like it. So we finally made the decision together with our label to release R.E.T.R.O. as a mind.in.a.box album, and we are very happy with how this decision has turned out. Of course, the album is very different from our regular albums, but musically it has a lot of similar traits, and now we can see that a lot of the same people that liked our previous stuff also like R.E.T.R.O.
MH : The reception so far is extremely positive, which is wonderful. So there also seems to be no problem of a very isolated market, but I think we got some additional fans from the chip tune scene, which is terrific. Of course you cannot always do what pleases every single fan, but I think in the end the best thing is not think too much about that and do what you think is the right thing. Then you can never be really wrong.
With R.E.T.R.O. it seems you’ve created an homage to early 80s video games, how have video games influenced your music and your life? SP : They have influenced us a lot! For me, the Commodore 64 was the beginning for making music on a computer. My early efforts were really bad, but it was so much that it got me addicted to making music with a computer. The C64 was the best selling home computer and the community was just huge. A lot of people made very good music with this computer, although it was technically so extremely limited with only three available channels that could play a sound at the same time. On the other hand, these technical restrictions generated so many ideas and workarounds that I still am extremely fascinated how people could do all of this. When you wanted to do a good track on the Commodore 64, you had to have this rare mixture of creative and technical thinking.
MH : Video games were always a very important part of our lives. I was always especially interested in how they work technically, so even as a child I spent more time programming than actually playing games. These days there is not enough time, but even just looking at current games and playing them at least a little bit is great, so I buy lots of games. So now I am more of a collector, I guess it still gives me this nostalgic feeling of my childhood. [smiles] I also like to follow what’s going on in game design and development. Over the years, video game culture has influenced me a lot and it still does.
Would you say you have a greater passion for video games or music? SP : We have lots of passion for both. [smiles] Especially Markus collects a lot of stuff in both areas. But we both don’t have a lot of time to actually play games be-
cause it just doesn’t allow you to get enough work done. But we always stayed in touch with video games.
Mind.in.a.box is the musical colaboration between Stefan Poiss and Markus Hadwiger. Often described as technopop, mind.in.a.box emerged in 2004 with a highly impressive debut album, Lost Alone. The name being a metaphor for everything that prevents our minds from truly being free, mind.in.a.box then released two more albums that weaved a narrative building on that metaphor. Their hard to categorize style of electronic music garnered the respect of fans and critics alike. In 2010, mind.in.a.box is in full force, after years of being a studio-only project, they are performing live and have a brand new album, R.E.T.R.O., with the goal of re-inventing the past for an advanced future. interview by Mike Kieffer and Jennifer Link
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april/may 2010 AUXILIARY23
MH : That’s hard to say, they are both very important. I think music can convey much stronger emotions, and many great games are also supported by great music. But I would not pick one over the other. [winks]
Where is mind.in.a.box, the video game?
SP : We actually have thought about that. [smiles] That would be terrific, but the problem is that if you want to make a video game today it needs A LOT more time than making an audio CD. You cannot do a video game with two people in your spare time anymore. But it would be great if some game studio would want to do a mind.
in.a.box game. It would be a pleasure, and of course I would want to make the music for it. [smiles]
MH : There is quite a renaissance right now in smaller games that have great game play without a blockbuster movie development effort. But this only works for neat little ideas. For a mind.in.a.box science-fiction themed game, the development effort would be very high. But who knows. [smiles]
Recently mind.in.a.box went live, how do you feel your songs have been received by your audiences?
SP : I think really well. We have had some awesome experiences, especially in Ar-
vika, Sweden, and Oslo, Norway. It was unbelievable for us and I never expected this. I still have to learn a lot, because for me it is not easy to be on stage. But for the first three big shows we did, it couldn’t have worked better for us. At this point a big thanks to our hardcore miab fans! We always meet some people who travel very large distances only to be able to see us. Thank you guys!
Many electronic acts have morphed their sound to be more stage friendly. Did you find yourselves thinking about how songs will sound on stage when compos-
ing new material?
SP : In the past I never thought that I’ll be on stage some day so it did not play any role for me while working on music. Now I try to think about it a bit, but not for every song. In the “mind.in.a.box goes live” clip that we released some time ago you can hear a new song called “Remember”. As I was working on that song, I was thinking a lot about how we would be able to play it live. It was the first song in this direction. On R.E.T.R.O. there is also a song that I thought would work very well live while I was working on it. It is the last song on the album, “Whatever Mattered”.
The question that has to be asked, are there any plans for a full tour? What about hitting some cities in North America?
SP : Yes, that’s a hot topic for us at the moment, but it’s not easy. You know, we are four people on stage with a lot of stuff that we have to bring with us, so I think we have more costs than other electro bands. That’s especially not easy when you have to fly some place. But I’m sure we will be able do it in the future. This year we might only play more European cities, but next year maybe we will be able to do a small US tour.
Mind.in.a.box is a well-rounded project; it is more than just music and has many visual elements. How do you plan to continue to develop these visual elements?
SP : For our live shows we made a special visual for every song. We have actors who play the main characters from our mind.in.a.box story in these visuals. Through all of this, mind.in.a.box has grown to a little family with a lot of people involved. It is really a lot of fun to work with them and we are all friends. I’m very proud to have all these guys around me. Of course, the basis for all the story elements are the lyrics and written stories from Markus and our author friend Andreas Gruber.
I find it very interesting that only one voice is behind all the vocals one hears with mind.in.a.box. When I first heard Lost Alone and had no background knowledge, I imagined three vocalists, and even now when listening to your al-
bums I picture multiple people delivering the lyrics. My guess is that they are different characters in the mind.in.a.box story but are they also perhaps fascists of yourself as the true person behind them?
SP : I always tried to use my voice in different ways to tell the story and represent either different characters, emotions, or moods. Or a combination of those. If you change the vocal style or the sound of your voice, it allows you to create different layers on which you can convey emotions or tell something. This is one of the ma-
jor parts of mind.in.a.box. I think if someone tries to tell someone else what mind.
in.a.box sounds like, they probably first mention the variety of vocal styles that we are using. I can see myself in some songs more than in others but of course I always try to put all my emotions into what Markus wants to convey through the lyrics, and I always really love the process of adding the vocals to our songs. MH : I most of all think of different emotions and moods when I am writing, but also about different characters. Stefan and I then sit together and talk about how the vocal style should support that. I like the idea of different vocals conveying different emo-
tions even more than simply different characters. But I think both of these directions work very well together.
What is the dynamic of the creative collaboration between the two of you?
SP : Markus and I have known each other since our childhood and our musical tastes are very similar, so the cre-
ative collaboration is very easy for us. I think Markus knows very well what kind of lyrics work best when I sing them afterward, and usually it is very easy for us to make both sides work together very well.
MH : It is really quite easy for us to work together. Although we are working with different means, I think we have a great understanding of what the other one needs and how we can make everything fit together.
You both seem to be drawing off many things to create the project that is mind.in.a.box: a narrative story, emotions, each other. What often is the starting point for a track? Or is it different with every song?
SP : It is changing a lot and I’m not sure which of all variations we tried was the best. Sometimes we work sepa-
rately and Markus gives me the finished lyrics which I then add to the music. Other times we are sitting in a café or at home talking about a lot of details how everything should fit together. Sometimes we have a lot of fun and crazy ideas when doing this, for example for the song “8 Bits” on R.E.T.R.O. That was extremely funny you can imagine. [smiles] When I sing a part of Markus’ lyrics, I send that to him and often he then edits them again and vice versa, so we can make the two fit together smoothly.
What are the musical influences on mind.in.a.box? What are you personally listening to right now? SP : Right now I’m listening to ELO (Electric Light Orchestra). For example “Here Is the News” or “Ticket to the Moon” are some of my childhood favorites, and I still love these songs. Yesterday I thought about covering “Ticket to the Moon”, but I’m not sure if we can do it. If I’m honest there are not so many electronic acts in our scene to which I am listening constantly. The latest two great electronic songs that come to my mind are “Pitch Black Ocean” from Biomekkanik and “Undisclosed Desires” from Muse.
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MH : I am l i st eni ng t o a l ot of di fferent t hi ngs, bot h el ect roni c and com-
pl et el y non-el ect roni c. Now aft er l i st eni ng t o a l ot of Commodore 64 musi c, I feel t hat I need a bi t of a change and am l i st eni ng more t o gui t ar musi c. Ri ght now, for exampl e, Cal exi co.
It was stated i n a past i ntervi ew that when mi nd.i n.a.box was created you both were unaware of the musi c bei ng pl ayed i n goth/i ndustri al cl ubs and the popul ar bands i n the synthpop/EBM genre such as Cove-
nant and VNV Nati on. Di d you find your musi c changed after becomi ng aware of that scene and findi ng that mi nd.i n.a.box was becomi ng a part of i t? I di d noti ce some more cl ub fri endl y tracks on Dreamweb.
SP : Yes, I t hi nk we are al ways changi ng t he st yl e a l i t t l e bi t, but we defi-
ni t el y want ed t o do our own st yl e and st uff. I do not have so many CDs at home from our col l eagues i n t he scene; Markus knows many more bands t here t han I do. But you are ri ght regardi ng Dreamweb. There were some songs t hat were a bi t more cl ub-fri endl y, al t hough t hat at l east was not a consci ous deci si on. I t hi nk i n general t he st ruct ure of our songs i s oft en t oo compl i cat ed t o be pl ayed i n cl ubs. Of course i t i s al ways very ni ce when some t racks are pl ayed t here nevert hel ess. [smi l es]
MH : That ’s onl y t rue for St efan. [wi nks] I l i st ened t o a l ot of Covenant, VNV Nat i on, and Apopt ygma Berzerk, for exampl e. But i n our yout h we were more i nt o comput er musi c and art i st s l i ke Jean-Mi chel Jarre or Vange-
l i s t han i ndust ri al musi c, t hat ’s t rue.
Do you pl an on conti nui ng the narrati ve that was establ i shed wi th the first three al bums? When can your fans expect i t?
MH : The narrat i ve was al ways a very i mport ant part of mi nd.i n.a.box, and we real l y enj oy worki ng on i t, so of course i t wi l l cont i nue aft er R.E.T.R.O. Bl ack and our ot her charact ers wi l l be back on t he next al bum.
SP : I hope t hat we wi l l be abl e t o rel ease t he next al bum t oward t he end of t hi s year. It i s done about 70 percent, so st ay t uned!
the duo behi nd mi nd.i n.a.box, Stef an Poi ss (l ef t) and Markus Hadwi ger (ri ght)
AUXI LI ARY apri l/may 2010 Phillidalphia’s goth/industrial DJ, DJ Mighty Mike Saga, has been spinning for eight years now, pushing the music and local scene to new heights. He is also featured in NYC frequently at various events including SMack!, MotherFucker, and Stimulate parties. In addition to the clubs, he has played major North American fesitivals such as Black Sun Festival, Dark Star, and the upcoming Kinetik Festival in Montreal, Canada. Mike Saga’s biggest, personal acomplishment to date so far has been spinning at the world’s largest goth/industrial event, Wave Gotik Treffen in Leipzig, Germany in 2008. These are merely the highlights... the future for this DJ has no end and for more info and free DJ mixes go to www.mikesaga.com.
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dj tracks
DJ Mi ghty Mi ke Saga
“We Are Machi nes” Kombat Uni t A cooperat i on bet ween Sui ci de Commando and X-Fusi on aka Noi suf -X! To me t he most geni us combo of t wo art i st s EVER. I spi n t hi s t rack nearl y every t i me I pl ay a gi g! Thi s song i s so good t hat i t made i t t o my l at est free promo DJ mi x!
“Face Down” Shaol yn
Ok , any 2 Li ve Crew reference i n any song i s cool wi t h me! Ni ce crunchy beat s for peak hour floor st ompi ng pl easure! I hope t o see more from t hi s awesome producer! “Ni ne Dudes Freaki ng Out ” The Gothsi cl es
Thi s song j ust ROCKS… i t gi ves you a ment al i mage of j ust t hat, ni ne dudes freaki ng out, and DarkNES’s voi ce i s j ust out of cont rol!
“Lebensl auflang” Grossstadtgeflüster
Anyone heard of t hese guys? There a el ect ropopi sh t ype band from Germany! Thi s song i s so much fun! It ’s l i ke drum n bass meet s el ect ro… cal l ed el ect rost ep! Good t i mes!
“Ways to Dance” Ki te
At first gl ance i t sounds l i ke a gi rl si ngi ng but i t ’s act ual l y a guy! Such a great raspy voi ce wi t h t he most awesomeness ret ro synt h l i nes… I l ove t hese guys!
“Stei n Auf Stei n” Schwef el gel b
A fun 125bpm dance t rack! Cool openi ng synt hs, I have a feel i ng t hi s wi l l be a hi t song soon! Wel l i f no one el se feel s t hat way I sure do and I’l l keep pl ayi ng t i l i t i s! Haha!
“Now You Know” Angel s On Aci d Screami ng t error EBM get s me fucki n’ amped! And t hi s t rack does j ust t hat for me!
musi c revi ews
De/Vi si on - PopGefahr
rel eased by Popgefahr Records on 23 March 2010
genre : synt hpop
One of t he l eaders i n t he synt hpop genre De/Vi si on has rel eased a fant ast i c new al bum, PopGef ahr. The t racks are cri sp and cl ean bri ngi ng a ni ce pop t o t he musi c. The rhyt hms and l yri cs are i nfect i ous and wi l l have you hummi ng t hem al l day l ong. I was surpri sed how much I act ual l y enj oyed t hi s al bum aft er bei ng di sappoi nt ed by t hei r 2007 at t empt Noob. The si ngl e off PopGef ahr, “Rage” wi l l be a De/Vi si on cl assi c, and t he vi deo t hey produced for i t wi l l hel p sol i di fy t hat. Whi ch song on t he al bum i s t he best? Wel l each of t hem are great i n t hei r own way and as t i me goes on my favori t e wi l l change from t rack one al l t he way t o t rack t en. 9/10 - MK
qui ck pi cks
Dest roi d - Si l ent Worl d EP
rel eased by Scanner on 19 February 2010
genre : EBM
Dest roi d i s anot her of t he al ways act i ve Dani el My-
er ’s proj ect s, t hi s one i n cooperat i on wi t h Sebast i an Ul l mann. Thi s i s a more pop ori ent ed out l et wi t h very st rai ght forward song wri t i ng and l yri cs. Thi s EP has t hree ori gi nal songs, t wo versi ons of a “Lucret i a My Reflect i on” cover, pl us remi xes by [: SITD:] and As-
sembl age 23, and t oppi ng i t off i t revi si t s t he previ -
ous al bum wi t h a “Bi rd of Prey” remi x and a fant ast i c l i ve cut of “Let Me Leave”. Al l t he songs are cat chy as hel l and I found i t fun t o l i st en t o as I found new t hi ngs I l i ked every t i me. The Si st er ’s cover i s very enj oyabl e. 7/10 - AA
Omega Li t hi um - Dreams I n For mati on
rel eased by Art offact Records on 6 Apri l 2010
genre : got hi c met al
Thi s Croat i an i ndust ri al got hi c quart et has been buzz-
i ng around t he worl d for a whi l e, and now t hey have made t hei r way here wi t h an offici al Nort h Ameri can rel ease. Front ed by t he dashi ng young femal e, Mya Mort enssen, and backed by… um, t he ot her t hree (sorry guys i t ’s a market i ng t ool ), t hey ri p i t hard. Powerful ri ffs and st rong vocal s bri ng t he energy on ful l force. The mal e backi ng vocal s by Mal i ce Ri me are anot her st rengt h and real l y hel p t hi s al bum st and out from t he ot hers i n t he genre. Lyri cal l y t he songs cover upl i ft i ng subj ect s; mi sery, pai n, hat red, apoca-
l ypse; and real l y I do enj oy t he song “Hol l ow March”, a song about t he end of days. Hol d me. 7/10 - MK
“Born I n Si n (DJ Psycon mi x)” Vi rgi ns O.R Pi geons Wi t h AWESOME horror movi e sampl es of St ephen Ki ngs St orm Of The Cent ury you can’t go wrong! Ni ce fast paced song for t he hei ght of t he part y!
“Stage 2” [X]-RX Thi s song rocks my si ze t wel ve socks! Innocent l y st art i ng out l i ke a Jane Fonda work out vi deo, you soon real i ze t he sexy robo gi rl has a secret! Hehe. Defini t el y a dance floor crowd pl easer! PS, check t he whol e al bum out cal l ed St age 2. It get s t he “DJ Mi ght y Mi ke Saga dance floor approval ”! Long l i ve t echno i ndust ri al!
“No Escape” Doctri ne
A perfect speci men of i ndust ri al and EBM meet s t rance. One of t hose songs I can’t st op pl ayi ng out when I spi n and l ove l i st eni ng t o i t at home. Thi s song IS seri ous busi ness! Absurd Mi nds - Serve Or Suffer
rel eased by Scanner on 5 March 2010
dat a : 5t h al bum . 13 t racks . run t i me 58:11 . www.absurdmi nds.de
revi ewed by : Mi ke Ki effer
genre : EBM
Serve Or Suf f er fol l ows up Absurd Mi nds’ amaz-
i ng 2005 rel ease Noumenon and marks Absurd Mi nds fift h ful l -l engt h al bum. Much l i ke t hei r previ ous al bums, Serve Or Suf f er grows bet t er wi t h t i me. Once you l earn al l t he l yri cs and can si ng al ong wi t h t he t al ent ed St efan Grossman, t he songs j ust get bet t er. The mel odi es, synt hs, and bass l i nes are t ypi cal of Absurd Mi nds, and you won’t find anyt hi ng uni quel y di fferent here. Throughout my many l i st ens, I found t hat I was compari ng some of t he new songs t o ol der songs and i n a few of t hese i nst ances I j ust want ed t o hear t he ol d song. There are a few st andout s on Serve Or Suf f er such as “Human Bomb”, “Pendul um Swi ng”, and “Tear It Down”. The t i t l e t rack i s t he i nst a’ hi t and most l i kel y t o be heard at t he cl ubs, t he t rack has a cert ai n pop t o i t t hat wi l l make i t enj oyabl e t o new l i st eners and has t he t rademark sounds t hat wi l l i nst ant l y peak t he ears of l ong t i me fans. Consi deri ng t he al bum as a whol e has brought my rat i ng down; t he consi st ency of great t racks i s j ust not t here and upon furt her i nspect i on I bel i eve i t i s a t rack arrangement i ssue. My experi ment s found t hat when I pl ayed t he al bum at random I l i ked t he songs t hat I di dn’t much care for before. Serve Or Suf f er i s not my favori t e rel ease by Absurd Mi nds; t here were t oo many songs t hat were j ust average maki ng t he al bum j ust good, not great. So as t he l ong wai t has ended, now t he new wai t begi ns. recommended tracks : Serve Or Suffer, Tear It Down
i f you l i ke you may l i ke : Rot ersand, Covenant, Assembl age23
grade : overal l 7 - musi c 7 - l yri cs 7 - recordi ng qual i t y 9
photo by Dal e May
mi nd.i n.a.box - R.E.T.R.O.
rel eased by Met ropol i s on 9 March 2010
genre : fut urepop
Mi nd.i n.a.box’s fourt h rel ease, R.E.T.R.O., i s a sl i ght depart ure from t hei r previ ous work and has a bi t of a di fferent concept i n mi nd. The focus i s 80s sounds and equi pment i ncl udi ng some covers of Commodore 64 game soundt racks. MIAB usual l y makes musi c wi t h a fut ure concept and i n t rut h t hey do i t here t oo, onl y i t ’s t he fut ure you i magi ned i n 1984. The songs are easi l y i dent i fied as MIAB si nce t he vocal s and programmi ng al l have t he band’s si gnat ure sound. Wi t h t hi s al bum, t he duo have t urned t hei r i nt erest i n vi deo games i nt o a col l ect i on of songs t hat are pret t y, somet i mes epi c, and possess l ot s of ret ro flai r. 8/10 -AA Sant a Hates You - Cruci fix Powerbomb
rel eased by Tri st ol on 19 February 2010
genre : el ect ro-i ndust ri al
Pet er Spi l es (of Proj ect Pi t chfork) and Ji nxy’s second rel ease under t he name Sant a Hat es You bri ngs t he hard st ompi ng el ect ro wi t h an odd set of l yri cs. You can t el l t hat t hey have fun wi t h t hi s proj ect and t hat t hey wi l l i ngl y l et t hei r creat i ve wri t i ng ski l l s t ake over. Musi cal l y t hi s al bum i s sol i d and t he bombs are t here; “Z.O.M.B.I.E.”, “Rocket Heart ”, and “Sl i me Green Spaceshi p” (my favori t e) wi l l pl ease any dance floor at peak hours. As a whol e Cruci fix Powerbomb wi l l not wi n any awards for al bum of t he year, but somet i mes i t ’s ni ce t o break t he monot ony t hat can pl ague t he norm. 7/10 - MK
Zeromancer - The Death of Romance
rel eased by Tri sol on 5 March 2010
genre : al t ernat i ve, i ndust ri al rock
Pumpi ng out t he al bums, The Deat h Of Romance i s a fol l ow up t o 2009’s hi t al bum Si nners Int ernat i onal. Thi s al bum bri ngs dark romant i c, angst dri ven, ma-
l evol ent songs t o a new l evel. Wi t h songs l i ke “The Hat e Al phabet ” and “Revengefuck” i t i s pret t y easy t o see t hat you won’t have any of t hese as your wed-
di ng song. Al t hough dark l yri cal l y, t he act ual product won’t put you i nt o a murderous frenzy but fil l your st ep wi t h l i vel i ness. The al bum demands you t urn t he vol ume up t o 11, t he gui t ars are heavy, t he synt hs are bl ari ng, t he bass i s t humpi ng, and t he vocal s del i ver. Hi gh energy from st art t o fini sh. 8/10 - MK AUXI LI ARY apri l/may 2010 apri l/may 2010 AUXI LI ARY2726
music reviews
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Gol df rapp - Head Fi rst rel eased by Mut e on 23 March 2010
dat a : 5t h al bum . 9 t racks . 38:10 run t i me . www.gol dfrapp.com
revi ewed by : Eri c Kendal l genre : dance, gl am, el ect roni ca
Al i son Gol dfrapp and Wi l l Gregory have al ways made musi c wi t h a sympat het i c and l ovi ng nod t o new wave, and t hi s t i me i t appears t hey have gone off t he deep end. Head Fi rst sounds l i ke i t ’s st rai ght out of t he 80s (fingers crossed for a del uxe edi t i on packaged wi t h i t s own pai r of l egwarmers). Whi l e 2008s soft -core depart ure, Sevent h Tree was an exerci se i n a more l ush, or-
gani c, and past oral soundscape, Head Fi rst i s unapol oget i c i n i t s di ve i nt o ful l bl own dance-pop. The first si ngl e, “Rocket ”, woul dn’t sound t oo out of pl ace as t he openi ng t heme t o Fame, wi t h i t s st ut t eri ng synt h flouri shes and si ng-al ong chorus. A fri end of mi ne has gone far enough t o say i t remi nds hi m of Ol i vi a Newt on John�s “Xanadu”, whi ch coul dn’t be more accurat e. “Al i ve” keeps t hi ngs goi ng wi t h a bounci ng bass l i ne, t ouches of pi ano and t ast eful l y cheesy gui t ar l i cks t hrown i n for good measure. Now, I’l l be t he first t o admi t t hat t he l ast t hi ng t he worl d needs i s anot her al bum t hat revi t al i zes t he decade of shoul der pads. In Gol dfrapp’s case, I t hi nk t here’s room for ONE more. They manage t o pul l i t off wi t h j ust t he ri ght bal ance bet ween t ast eful-
Xi u Xi u - Dear God I Hate Mysel f
rel eased by Ki l l Rock St ars on 23 February 2010
dat a : 8t h al bum . 12 t racks . 37:02 run t i me. www.xi uxi u.org
revi ewed by : Paul Mori n
genre : experi ment al, i ndi e
The openi ng t rack, “Gray Deat h”, set s t he pace and answers al l quest i ons. Confusi ng, cl aust ro-
phobi c, and poi sed bet ween art, pop, and noi se wi t h Jami e St ewart ’s t rembl i ng fal set t o ful l of anxi et y and exci t ement, i t wi l l i mmedi at el y po-
l ari ze l i st eners i nt o t wo groups of yea and nay. Lyri cal l y t he band del ves i nt o such dark corners of t he psyche as sel f-l oat hi ng, angst, and sel f-
i ndul gence whi l e t he musi c, more el ect roni c t han previ ous al bums, i s chock ful l of l o-fi 8-bi t j unk-t roni c sampl es and moves from qui et acoust i c passages i nt o over-
st i mul at ed moment s of vi deo game noi ses cl acki ng and crashi ng whi l e t he band bangs on everyt hi ng but t he ki t chen si nk. Xi u Xi u’s pri mary aest het i c on t hi s al bum seems t o be one of i nt errupt i ng. Lay down an i dea or t wo and t hen t urn somet hi ng on l oudl y t o drown out everyt hi ng present ed before. Whi l e t hi s produces several real l y i nt erest i ng moment s, many of t he t racks spi n out of focus det ours i nt o ambi ence t hat fal l i n t he cracks of t he al bum l i ke a fil m noi r score (read: fil l er). Fort unat el y t hese are more oft en t han not fol l owed by bri l l i ant sl i ces of pop songwri t i ng, and t he al bum’s hi ghl i ght s far out wei gh t he excursi ons i nt o t he subconsci ous. “Thi s Too Shal l Pass Away (For Freddy)” i s t he best song New Order never wrot e, “Chocol at e Makes You Happy” i s i mpossi bl y bri ght despi t e i t s dark l yri cal underpi nni ngs, and t he t i t l e t rack “Dear God I Hat e Mysel f” wi l l gi ve t he l ost chi l dren of Morri ssey and Robert Smi t h somet hi ng t o si ng al ong t o. Eccent ri c, ori gi nal, di fficul t and dense, i t makes a good soundt rack for t he l i t t l e depressant screami ng beneat h t he smi l es i n al l of us.
recommended tracks : Chocol at e Makes You Happy, Dear God I Hat e Mysel f
i f you l i ke you may l i ke : Joy Di vi si on, Swans, Add N To X
grade : overal l 8 - musi c 8 - l yri cs 8 - recordi ng qual i t y 8
AUXI LI ARY apri l/may 2010 apri l/may 2010 AUXI LI ARY
2928
ness and bei ng TOO over-t he-t op. There’s al ways an el ement of t ext ure t hat can be so easi l y l ost when t ackl i ng t hi s ki nd of musi c. Al i son and Wi l l know when t o pul l t hei r punches j ust enough as t o not become a parody of t hemsel ves. Thi s met i cul ous at t ent i on t o det ai l ensures t hat Head Fi rst comes out a wi nner. I do have one qual m (and i t �s a bi g one); t he apparent l ack of t he dark and sexy “hurt s so good” vi be t hat Gol dfrapp have al ways been known for. It ’s a bi g pi ece of t he puzzl e t hat ’s mi ssi ng and i t ’s a shame t hat i t had t o be t he one t hi ng t hat was l ost ami dst al l t he flash and gl i t t er. recommended tracks : Rocket, Hunt, I Wanna Li fe
i f you l i ke you may l i ke : Ladyt ron, Coct eau Twi ns, Erasure, M83 grade : overal l 7 - musi c 6 - l yri cs 7 - recordi ng qual i t y 8
These New Puri tans - Hi dden
rel eased by Domi no on 2 March 2010
dat a : 2nd al bum . 11 t racks . 42:59 run t i me . www.t hesenewpuri t ans.com
revi ewed by : Paul Mori n
genre : post -rock, post -punk, experi ment al
Horns! Woodwi nds! Sampl es of swords! Peopl e pl ayi ng chai ns! Tri bal drum l i nes! Chant i ng! Yep, t hi s al bum has al l t hat. Combi ni ng el e-
ment s of modern cl assi cal, post -rock, post -punk, noi se, and one song t hat sounds l i ke Joe Jackson snuck i nt o t he cont rol room (“Hol ogram”), t hi s al bum moves l i ke a puzzl e t o some dark secret kept cl osel y guarded by occul t forces. There i s a l ogi c t o i t, a concept and repeat ed t hemes t hroughout, but i t ’s not easi l y grasped and requi res your ful l at t ent i on as i t moves i n unexpect ed di rect i ons. Most songs are carri ed by a bat t ery of percussi on t hat t hunders and expl odes wi t h enough force t o make Bl ue Man Group bl ush whi l e Jake Barnet t ’s t al k-chant -si ng del i very gi ve t he songs’ di rect i on and focus. Hori zont al l y, t he not es pepper across t he page i n compl ex harmoni c st ruct ures and l ei t mot i fs, favori ng at mosphere and odd t ransi t i onal phrases t o fami l i ar pop st ruct ure. Vert i cal l y t he i nst rument s pi l e up on one anot her under t he wei ght of dramat i c, cl i mact i c concl usi ons. Less “songs” and more “composi t i ons”, t he al bum const ant l y runs t he ri sk of fal l i ng i nt o t he abyss of Spi nal Tap-esque pre-
t ensi on and sel f parody, but somehow, even bet ween t he backi ng of a boys’ choi r and t he t uba and t he flut es, TNP have managed t o avoi d such pi t fal l s, presumabl y by at -
t acki ng every not e and i nst rument wi t h so much convi ct i on t hat even t he most j aded cri t i c of art rock has t o st and back and t ake not i ce. Endl ess compari sons t o Wi re and The Fal l wi l l abound, but t hi s al bum sounds l i ke nei t her and i nst ead t akes more of t he spi ri t of bot h bands, t hei r wi l l i ngness t o experi ment even at t he ri sk of compl et e fai l ure, and breat hes new l i fe i nt o t hei r aest het i c. Wi l dl y ori gi nal and t rul y l i ke not h-
i ng el se out t here, t hi s al bum i s a t ower bui l t by a band ful l of fai t hful devot i on and st rong pract i ce.
recommended tracks : We Want War, Hol ogram, Fi re-Power
i f you l i ke you may l i ke : Ei nst urzende Neubaut en, Bark Psychosi s, Tal k Tal k
grade : overal l 9 - musi c 10 - l yri cs 9 - recordi ng qual i t y 9
Archi tect - Consume Adapt Create
rel eased by Ant Zen on 22 February 2010
dat a : 5t h al bum . 13 t racks . 74:02 run t i me . www.ant -zen.com/archi t ect
revi ewed by : Aaron Andrews
genre : IDM, drum n bass
Dani el Myer ’s Archi t ect proj ect has, i n t he past, been a pl ace t o pl ay wi t h soundscapes. He’s ex-
pl ored t he ambi ent and l ai d back real ms and al so dri ven t he l i st ener t hrough some more i nt ense l andscapes where gl i t chy beat s are ki ng. Here, on Consume Adapt Creat e, he’s st i l l expl ori ng soundscapes but wi t h more t radi t i onal st ruct ure t han before. The composi t i ons are j ust as moody and experi ment al but t here’s a sol i d back bone t hrough t he ent i re al bum i nformed by drum n bass, a genre t hat ’s been weaved i nt o Myer ’s many proj ect s for a whi l e now. Myer ’s sl ow movi ng dubst ep/drum n bass sound i s everyt hi ng I had expect ed from Phot ek when he rel eased Form & Funct i on II but di dn’t get. Consume Adapt Creat e i s an al bum wi t h t he moody experi ment at i on and t he drum n bass soul t hat I t hi nk many of Myer ’s fans knew hi m t o be capabl e of. Mi ni mal sampl es and synt h ambi ence are fit t ed wel l wi t h t he bass and beat st ruct ure, t he composi t i ons are bal anced wel l. Onl y a few of t he t racks, l i ke “The Beaut y And The Beat (Rokka)” for i nst ance, are fast enough for t he dance floor but t he ent i re al bum has t he same care and underst andi ng and t hat ’s what makes i t so good t o l i st en t o. It ’s a sol i d mi x of a musi cal di rect i on we’ve heard from t hi s art i st before and t he st rengt hs he has di spl ayed i n t he previ ous Archi t ect rel eases. Movi ng t oward a more song-based formul a hasn’t hurt t hi s rel ease i t act ual l y hel ped i t. These songs wi l l appeal t o bot h t hose fami l i ar wi t h and fans of hi s previ ous Archi t ect work and al so l end t hemsel ves t o be pi cked up and enj oyed by l i st eners who are fami l i ar wi t h i nt el l i gent drum n bass art i st s but not Myer. recommended tracks : The Shadow Of Eve, Fast Lane (Freeze Frame), The Beaut y And The Beat (Rokka)
i f you l i ke you may l i ke : Phot ek, Hauj obb, Bl ack Lung
grade : overal l 8 - musi c 8 - recordi ng qual i t y 8
Aut echre - Oversteps
rel eased by Warp on 23 March 2010
dat a : 10t h al bum . 14 t racks . 71:15 run t i me . www.aut echre.ws
revi ewed by : Paul Mori n
genre : IDM, ambi ent
I’l l admi t i t: Aut echre are so damned smart t hei r musi c oft en el udes me. I usual l y have no i dea what t hey’re doi ng, how t hey’re doi ng i t, or where t hey come up wi t h t hei r i deas, much l ess t hei r song t i t l es (“Pt 2ph8” and “Yuop”, for i nst ance don’t offer much hel p i n t he under-
st andi ng depart ment ). The musi c j umps, ski ps, and t wi st s i n pat t erns l i ke a kal ei doscope sl owl y t urni ng, maki ng i t di fficul t t o find somet hi ng t o hol d on t o i n t he song. Al l of t hi s i s a good t hi ng, and has al ways been Aut echre’s st rengt h, and I’m happy t o report t hat on t hei r l at est effort, Overst eps, t hey are st i l l drawi ng on t he same ri ch ambi gui t i es t hat made previ ous effort s so i nt erest i ng. Somewhere bet ween t he Bl ade Runner and Tron soundt racks but backed wi t h an arsenal of t he l at est t echnol ogy and a degree or t wo i n how t o use t hem, Overst eps present s dark, i nt ri cat e soundscapes t hat seem t o expl ore t he promi se and fear of t he fut ure. Not so much a change i n t he band’s sound as j ust addi ng new t ool s i nt o t he t ool bel t, Aut echre cont i nue t o search for new t ex-
t ures and at mospheres t hat sound bot h al i en and haunt i ngl y fami l i ar at t he same t i me. Overst eps focuses pri mari l y on ambi ence, wi t h most t racks float i ng al ong wi t hout a beat t o speak of, and when t here i s a beat, i t ’s usual l y qui rky, gl i t chy, and more a part of t he ambi ence t han anyt hi ng t o t ap your foot t o. Al l of t hi s i s t o say t hat despi t e t he fact t hat Aut echre are so grounded i n t hei r own st range worl d and t hat t hose al ready fami l i ar wi t h i t know what t o expect, t hey are st i l l mi l es ahead of t he compet i t i on and provi ng once agai n t hat t hey are t he mast ers of t he genre.
recommended tracks : known(1), Qpl ay
i f you l i ke you may l i ke : Aphex Twi n, Bri an Eno, Kraft werk
grade : overal l 7 - musi c 7 - recordi ng qual i t y 10
Groove Armada - Bl ack Li ght
rel eased by Cooki ng Vi nyl on 23 February 2010
dat a : 6t h al bum . 11 t racks . 52:37 run t i me . www.groovearmada.com
revi ewed by : Aaron Andrews
genre : new wave, el ect ro
Groove Armada i s fami l i ar t o many as t he duo t hat makes mai nst ream fri endl y house bangers and i t woul d have been an easy t ask t o go t hat rout e for t hei r si xt h rel ease, aft er al l t hi s i s t he band t hat most Ameri cans know for t he t rack “I See You Baby”. Inst ead t he duo of Andy Cat o and Tom Fi ndl ay deci ded t o t ake a di ffer-
ent road. Taki ng cues from newer groups l i ke MGMT and cl assi cs l i ke Roxy Musi c, t hey produced an al bum t hat mi xes nost al gi c new wave sounds wi t h a fresh t ake and underst andi ng of more recent dance and pop musi c. Bl ack Li ght ends up bei ng a great marri age of t hen and now, sl i ck produc-
t i on meet s up wi t h 80s synt hs and t i mel ess pop el ement s. The songs are beaut i ful l y composed and recorded, most of t hem have a personal feel and pul l you i n qui ckl y. A l ot of t he credi t for t he al bums fant ast i c feel can go t o t he performances on t hi s al bum. Groove Armada l ai d t hese t racks down wi t h a l i ve band and great sel ect i on of vocal i st s. Vocal s are cont ri but ed by Ni ck Li t t l emore (Empi re of t he Sun), Sai nt Sav-
i our, Jess Larrabee (She Keeps Bees), and final l y Bryan Ferry (Roxy Musi c) on t he wonderful l y l ai d back “Shamel ess”. Each cont ri but or i s an i mport ant pi ece of t hei r song and I can’t i magi ne what any of t hese woul d sound l i ke i f someone el se had performed t hem. Bl ack Li ght i s t he ki nd of al bum t hat somet i mes feel s l i ke a gui l t y pl easure, t here are t i mes when I’m l i st eni ng and want t o scol d mysel f for enj oyi ng somet hi ng so ent i rel y pop, but t he qual i t y i s so good I j ust brush i t off t o keep goi ng t o t he next fant ast i c song. Groove Armada have t aken t he best of modern el ect ro-dri ven rock and combi ned i t wi t h t hei r l ove and respect of new wave t o make one of t he most fun al bums t o come out so far t hi s year.
recommended tracks : Not Forgot t en, Shamel ess, Paper Romance, Fal l Si l ent
i f you l i ke you may l i ke : MGMT, Gary Numan, Roxy Musi c, Way Out West
grade : overal l 8 - musi c 8 - l yri cs 7 - recordi ng qual i t y 8
Yone Dudas of Decoded Feedback
guest music review
MUSI C
level of talent. I am in true awe as a fan and as a musician. It is always an honour when people compare one of our most popular songs “Phoenix” to Suicide Com-
mando, it makes my day every time. If you are a fan of Suicide Commando, you won’t be disappointed with Implements of Hell! This is classic Johan at his best. He doesn’t follow the trends; he is true to himself and his style. My favourite track has to be “God is in the Rain”. It is a wonderful slower track that has incredible power that develops into a soundscape. The strings compliment the textured vocals. The use of the vocoder is superb. I love this track. I must admit that I am more of a fan of the slower tracks because the song development is stellar. Each instrument and sample has its place and enters the song at the perfect moment. As a composer myself, I just love this and appreciate how articulate he is at expressing his musical vision. recommended tracks : God is in the Rain ,The Dying Breed, Death Cures All Evil, Die Motherfucker Die, Come Down With Me, Until We Die, Severed Head
if you like you may like : Wumpscut, Hocico, Amduscia, Decoded Feedback :)
grade : overall 9 - music 9 - lyrics 8 - recording quality 8
The Duo of Marco Biagiotti and Yone Dudas, known as Decoded Feedback, formed in the mid nineties and were quickly picked up by record labels on both sides of the ocean. Their dark electro-industrial style has brought them success over the years including multiple rankings on the German Alternative Charts (DAC). They are no strangers to the stage having headlined European tours and played major festivals all over the world. Listening through their seven-album discography shows continual evolution and reinvention of their sound. Instead of being complacent, they con-
tinue to push the boundaries of their music and continue to keep fresh, leaving their new and old fans satisfied. In May Decoded Feedback will be performing at Kinetik Festival in Montreal, Canada and on May 11, 2010 they will release their eighth full-
length album, Aftermath.
Be sure to check out www.decodedfeedback.com
Suicide Commando - Implements of Hell
released by Metropolis & Out of Line on 26 January 2010
data : 11th album . 11 tracks . 53:05 run time . www.flint-glass.com
reviewed by : Yone Dudas
genre : harsh EBM
Meeting Johan van Roy for the first time back-
stage at M’era Luna in 2004 was an incredible honour. He was very gracious and humble, but when he got on stage, he came alive with an-
ger and passion. It was incredible to see this transformation and how his music embodied his body and soul. His music has always been on my top ten list of favorites and even though our styles might not be the same, his genius has immensely influenced us throughout our musical career. So, for me, it is a pleasure to review his latest creation Implements of Hell.
Implements of Hell opens with an intro, a sample from old film, that perfectly sets the tone for what is to come. The album is like a story unfolding with different chapters and characters. There is a beginning, a middle, and an end. The progression of this album is excellent. The heavier tracks capture you, then the slower tracks bring in more context. Overall, this album was wonderful. Great use of arrangement, instru-
ments, vocal effects, and samples. I have always been a huge fan of samples and Johan uses them to his advantage. Each sample fits in its place and is an intricate and vital part of the song. I like how you can hear each instrument and how he uses each one in the right way. He doesn’t overload your ears with too much noise, unless he finds it necessary to achieve the desired effect. He is truly a master at orchestration. There have been many who have tried to copy him, but no one can ever touch his Decoded Feedback,
Yone on right,
photo by
Jeff Turner
ACEY SLADE
Auxiliary
Magazine
Presents
the PinUp
Auxiliary’s playful take on the sexy centerfold pin up. Flip the page, cut out, and tac on your wall! photographer Steve Prue
hai r styl i st Jamie Starr
model and makeup Acey Slade
Jewelry by Justin Davis.
advertise in
auxiliary magazine
email advertise@auxiliarymagazine.com
for more details
name : Acey Slade
nickname : Bone Daddy, Pumpkin King, Creep
birthday : December 15th
birthplace : Downingtown, PA
eye color : brown/green hair color : changes like the seasons
turn-ons : natural beauty, a sense of humor but still sensual
turn-offs : name droppers, excessive make up
favorite musical artist : The Cult
favorite movie : Nighmare Before Chrismas
favorite tv show : Dexter
favorite book : Let the Right One In
favorite cocktail : coffee
favorite color :
dark black, black, and light black
favorite tattoo : pumpkins!
favorite article of clothing : Doc Martens or my new John Fluevog shoes!
favorite fashion designer : Vivian Westwood or Rick Owens
favorite fashion style : 77 UK punk or draped high end black stuff. It’s a paradox I know, but that’s me.
favorite star/icon : David Bowie
favorite outdoor activity :
...The Coffee Sprint! It’s when you put on your sunglasses and walk on the shady side of the street as quickly as you can for a double espresso! If the sun touches you, you’re disqualified immidately!
favorite indoor activity : Hee, hee...
favorite club/club night/place to go out : Rated X in NYC, Decadence in London, Rock Rock in Tokyo
anything you’d like to say to our readers? : Look sharp, be sharper!
Shirt and pants by Amalga NYC with jacket by Helmut Lang.
Moving forward with both his music and personal life into new projects, Slade is also known as something of a style maven in the rock scene, sporting attention grabbing looks. While the PinUp section has usually been about the ladies, we decided this month to give the ladies a treat of their own!!!
Your new project, Acey Slade & The Dark Party, seems to have such a hybrid-
ized style of rock, punk, metal, and electronic music. Where there any specific influences that you drew from in building the bands sound?
Acey Slade : I am on tour quite a lot of my living life. A lot of times when you are driving at night or trying to sleep in the back of the van, you may not be in the mood for the three chords and a cloud of dust type music I am associated with. So, what I listen to is stuff like Manic Street Preachers, Primal Scream, Depeche Mode, Prodigy, Pendulum, DJ Shadow, Tricky, Portishead. I wanted to explore that stuff and not alinate my fans. Make an album that might be an �alternative’ for people who like KISS, Janes Addiction, or other guitar rock stuff.
You have played in bands covering a variety of musical genres from punk to hard rock, industrial metal to glam tinged horror rock. Is there a genre yet to tackle that you’ve been dying to get at? Something itching to come out in the future? AC : I’d love to do something even more dance and electronic, but I wouldn’t do it under my name.
Being that you live in NYC, and travel extensively on tour, where are some of your favorite hotspots to pick up clothes? Where do you find the most unique finds for your style?
Acey Slade is the driving member of Acey Slade & The Dark Party, but many know him from his roles in bands such as Trashlight Vision, Vampire Love Dolls, Dope, The Murderdolls, and Wednesday 13.
AC : Oh…well Harajuku in Tokyo is great. Especially Sex Pot Revenge and Justin Davis Jewelry. In England I love Camden and in Manchester I love Affleck’s Palace. There was a shop there called Bats that was amazing. But lately, I’ve been leaning to Rick Owens as a designer. I like Ben Sherman a lot; he cuts his clothes for skinny guys. Century 21 is a great spot to get some designer finds.
We often feature women of style in this article, I think it’s important to have a male perspective on the issues of style verse fashion. Do you see your style more as a personal extension of your personality or do you work with stylists? Do you follow fashion trends much?
AC : No, I never work with stylists. To be honest, I get a lot of �model’ work just for that reason. �Hey we need a sharp tattooed rocker guy!’ I show up being me and it’s done. [laughs] Beyond that, there are two issues I have with fashion right now. One, American men’s fashion is pretty terrible. Guys for the most part are bad dressers. They are always worried about being too �metero-sexual’. I mean when you look at what men wear in Europe and Japan it makes you want to blow up every Abercrombie and Old Navy you can find. A lot of it is the way they are cut. Two, it used to be that musicians dictated what was going to happen in fashion. Now, it’s so follow the leader. I mean I just saw Dave Navaro with a YSL guitar strap? Really? I mean, YSL is like the McDonalds of fashion now and remember when Janes Addic-
tion came on the scene? How cutting edge they were? I’ll bet they inspired a ton of designers, now the bands are dressing to impress the designers. Vivian Westwood is a great example. She was designing with the bands in mind back in the day, now look! But… I still love Vivian Westwood… so we will take it easy on her. [laughs] But that’s one of the things I like about John Varvatos, how he is inspired by the bands. Not the other way around. april/may 2010 AUXILIARY What two essential basics should every stylish rock-
star at heart own?
AC : 925 Silver. A ring, necklace, silver is like the �bling’ of rock n roll and look beyond Chrome Hearts, who is cool, but get creative! At least one pair of Doc Martens at least somewhere in your wardrobe.
Outside of your own projects are there any acts you’re following right now? Newer bands that are really grabbing your attention, or even older guilty pleasures that you keep coming back to?
AC : I’m a sponge musically. I still love the classics, KISS, Sex Pistiols, Ramones. But somehow, Tricky An-
gels with Dirty Faces passed by me! So I play that a lot. The new Pendulum is great and so is the last Placebo. Any thoughts on Auxiliary deciding to make you our sex symbol of the month?
AC : Wow. I’m very excited about that. [laughs] I just dress myself up well, that’s all. Be sure to visit www.myspace.com/aceyslademusic
LI FESTYLE
interview by Luke Copping
ACEY SLADE
The Sirens Seduction Forum was set up in response to male pick up communi-
ties… which in turn was in response to men feeling that women already had the upper hand in the art of seduction. What do you think is the biggest difference between the two movements?
Arden Leigh : Definitely the end goals. I mean, there’s a reason that there are no books for men on how to get into relationships and no books for women on how to get laid. This actually goes back to evolutionary psychology; in order for us to further the species, it’s best for women to pair with one mate who’s going to protect and provide for her, while it’s in men’s best interest to pass on their genes by pairing with as many partners as possible. We’ve been at odds with one another since the dawn of man, when you think about it. What the pick-up community did was to equip men with a strategy to achieve their goals of having access to a wide range of women. What I bring to the table for women is a strategy on how to stand out, how to compel, attract, and add value in a manner that will make the man they want feel that being with them is a better deal than having all their other options.
In your writing you describe the art of seduction as being something very me-
thodical and almost calculated, yet coming from a place of love, an act of care and devotion. Do you find a lot of resistance to this idea of seduction as a positive form of deception?
AL : Oh absolutely. I think people place such a value on honesty that anything that is at all underhanded is immediately seen as bad. (Of course, if we were to go to the other end of the spectrum with honesty, we’d be where Russell Crowe’s character was in A Beautiful Mind, at the bar approaching a girl and saying, “I don’t exactly know what I am required to say in order for you to have intercourse with me, but could we assume that I said all that?”) I believe that seduction is essentially a gener-
ous action in that at its core it is thinking of what the other person wants. But I keep a lot of ethics in mind, both for myself as well as to assuage the doubts of others. In the end though, I think my own best argument in defense of seduction is that I truly wish that people were able to seduce me the way that I do others. I even wrote a blog on how to seduce me! My business partner James said I was essentially handing Kryptonite to the masses. Fine with me! Please, feel free to exploit my fantasies and desires for the betterment of the excitement and pleasure in my life. Often in people’s minds, dressing up and lingerie go hand in hand with seduc-
tion. What do you think the growing popularity of shops focusing on luxury lingerie (i.e. Agent Provocateur, Kiki de Montparnesse, even H&M) says about modern day seduction?
AL : I think we’re seeing a big swing back from the dark ages, the days when you couldn’t walk into Victoria’s Secret and find a single garter belt. I think it’s great that mid-range lines like Victoria’s Secret, Elle Macpherson, and those offered at H&M are now offering affordable options that are still sexy in the style of AP and Kiki D’s. I’m a huge AP fan in addition to loving all sorts of European brands you can’t find easily in the US (Carine Gilson, Guia la Bruna, ID Sarrieri). I’m not sure what the growing focus on lingerie says about seduction except to say that the fashion world seems to be placing value once again on the kind of sexiness that starts when you get out of bed in the morning, and by that I mean that seduction, ideally, is a 24/7 lifestyle, and there’s no reason to wear anything under your clothes or in the bedroom that makes you feel anything less than ridiculously desirable.
This past season, mainstream designers from Dior to Marc Jacobs have been sending “lingerie as outerwear” looks down the runway for spring, do you have any advice for those thinking of trying this trend out with a little bit of edge?
Co-founder of The Sirens Seduction Forum, Arden Leigh’s interest lies in seduction. She most recently honed her skills of seduction as the Director of Training and Marketing at New York’s most renowned house of professional domination, where she trained neophyte young dominatrices to seduce their male clients into spending lots of time and money on them, and became one of the most successful professional dominant to ever tout a whip there. She has written her own seduction guide for everyday women, Whipped: A Professional Dominatrix Shares the Secrets to Wrapping Men Around Your Little Finger.
interview by Numi Prasarn
Agent Provocateur with gloves by Other World Kingdom.
april/may 2010 AUXILIARY Auxiliary Magazine Presents
ArdeN LeIgh
the PinUp
This issue we bring you a second PinUp, for twice the eye candy!
photographer Steve Prue
model, makeup, and hai r Arden Leigh
second model Helena
AUXILIARY april/may 2010 name : Arden Leigh
birthday : January 27th (which I share with Mozart, Donna Reed, Lewis Carroll, and Leopold von Sacher-Masoch; if that doesn’t sum me up I don’t know what does!)
birthplace : Phoenixville, PA
eye color : blue-green
hair color : brown
turn-ons : eyeliner, tattoos, plausible deniability, teasing
turn-offs : people who don’t pay attention
favorite movie : Edward Scissorhands
favorite tv show : The Mentalist
favorite book : Other than mine, due out in spring 2011? The Art of Seduction by Robert Greene.
favorite cocktail : The Benton’s Old-Fashioned, from Please Don’t Tell in the east village. I make my own bacon-infused bourbon at home now.
favorite color : burgundy
favorite tattoo : Oh... I just went to a happy place, excuse me. I’ll be just a moment.
favorite article of clothing : Oh, are we back already? Um, red jersey wrap-dress.
favorite fashion designer : McQueen, with a nod to John Varvatos for menswear.
favorite fashion style : A mix of high fashion, goth, retro, punk, and fetish, with a dash of pirate thrown in.
favorite star/icon : Johnny Depp
favorite outdoor activity : Anything I can still do in five-inch heels. favorite indoor activity : Other than the obvious? Sitting on my couch with my colleagues and plotting great seduction moves. We sometimes refer to this as Evil Genius Camp.
favorite club/club night/place to go out : I’m going to quote Clifford Odets on this one and say, “A place isn’t a place; a place is who you’re with.”
anything you’d like to say to our readers? : Life is too short to not go after what you want!
AL : I think the most important thing is to keep in mind where you’re wearing it! [laughs] I’ve gone to parties in NY where I wore nothing but lingerie that wasn’t even remotely disguised as outerwear, and it was terrific. But the situation was so anything-goes that I didn’t look out of place. In slightly more conservative venues, like when I’m teaching, I like to wear a dress that allows a tasteful bit of bra to show. It’s also always sexy to cross your legs and have a garter belt and stockings appear. I think it’s important to make sure that people know you’re doing it on purpose, so when I do that, I make sure to match it to the outfit. As a burlesque performer, you must be used to taking your clothes off to seduce an audience, but what clothes/designers would you reach for to seduce your-
self?
AL : I love Dolce & Gabbana’s cocktail dresses; I have one each in red, white, and black. They’re so flattering and really accent a good waist-to-hip ratio. Obviously I love McQueen; his leather thigh-high boots are among my prized possessions, and I have an ivory half-corset of his that I love as well. Louboutin should go without saying, I think! On the high street end I really love All Saints. I think their dresses make you feel mythic.
Last but not least, what was the last thing that floored you (good, bad, small, or large)?
AL : I was at a club recently with a group of friends and there was a very attractive, very New York-renowned man there whom I knew socially, by reputation. Come 3:00am when everyone else was letting loose, he fixed me with an intense stare and beckoned me to him from across the room. Feeling almost in a trance, I walked up to him and he embraced me, running his fingers over my arms and back, drawing me in, bringing his face very close to mine. I arched my back, closed my eyes, and parted my lips, anticipating an amazing kiss. And then he stopped. And he just stayed there, holding me, his mouth an inch away from mine. He never once said a thing. Finally I just licked his lips and walked away. But wow did that get my attention! Check out Arden’s blog at www.ardenleigh.typepad.com and www.seductionsirens.com.
april/may 2010 AUXILIARY From left to right, top to bottom, Carine Gilson, I.D. Sarrieri, Agent Provocateur
with gloves by Other World Kingdom, Mimi Holliday, and Louboutin.
AUXILIARY april/may 2010 40
by Lizz Schumer With spring knocking down the door, many cool-weather residents are climbing the walls. Whether you live in a hundred feet or ten hundred, there are ways to air out your space and spice it up for the coming season. But who wants to spend the warming weather inside scrubbing? A little design motivation can go a long way to make spring cleaning seem worthwhile.
a squeaky clean
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april/may 2010 AUXILIARY
LI FESTYLE
spr i ng
ki tchen
cl eani ng
des i gn
Ki t chens are hi gh-t raffic; bet ween cooki ng, eat i ng, and congregat i ng i n bet ween. Frequent use means your ki t chen needs t o be careful l y cl eaned and desi gned for form and funct i on. Fort unat el y, you can have i t bot h ways. Keep cl eani ng si mpl e and st rai ght forward wi t h t wo mi racl e product s: baki ng soda and vi negar. Forget harsh chemi cal s and expensi ve formul as, t hese t wo drugst ore mi racl es are al l you need. Baki ng soda scours si nks and st ai nl ess st eel t o shi ni ng gl ory, and vi negar wi l l gi ve you a st reak-free shi ne t hat put s Wi ndex t o shame. bathr oom
cl eani ng
Forget t eari ng t he pl ace apart l ooki ng for a pi ece of paper t o j ot down a not e by t he phone, or scrambl i ng for a reci pe whi l e t ryi ng t o t hrow t oget her a di nner part y. Meet bl ackboard pai nt. Avai l abl e at most pai nt st ores, bl ackboard pai nt can t ransform t he cover of a cabi net or st ret ch of wal l i nt o an i nst ant not epad or doodl e board. Cover one cabi net by t he phone for not es, cover t he whol e wal l, or st i ck a square by t he st ove for reci pe not es. The sky (or cei l i ng) i s t he l i mi t.
desi gn
bedr oom
cl eani ng
Make room for fierce fashi on finds by cl eani ng out your cl oset. A good rul e of t humb i s t ossi ng anyt hi ng you haven’t worn i n a year, and t hen work down t o ni ne mont hs, t hen si x mont hs, unt i l you have pl ent y of space for spri ng st yl e. Anyt hi ng t hat doesn’t fit i s an aut omat i c t oss. Forget “goal pant s”. Unl ess you yo-yo si zes regul arl y, i f you don’t wear t hem now you never wi l l. Take a moment of si l ence and t urn some ol d favori t es i nt o somet hi ng fabul ous. What t o do wi t h t hat pi l e of di scards? Foray i nt o t he fiel d of fabri c. Ol d band t -shi rt s can be t urned i nt o pi l l ows or st i t ched t oget her i nt o a t -shi rt t hrow bl anket, perfect for t he end of t he bed or over t he couch. Li ke your cl ot hi ng st yl e, t ai l or your fabri c usage t o your personal t ast e. If you can rock i t, so can your room. Fi shnet pi l l ows pop agai nst wrought i ron or ant i qued fini shes, or add an edge t o any fini sh wi t h funky pat t erns and t ext ures. Don’t be afrai d t o mi x pat t erns: graffit i l oosens up gi ngham, and l eat her wi t h l ace i s a mat ch made i n home decor heaven. Feel i ng especi al l y creat i ve? Corset s aren’t j ust for t he cl ub anymore. A l engt h of ri bbon, a coupl e of measured cut s, and you can ci nch anyt hi ng from pi l l ows t o couch cushi ons for an unexpect ed accent. des i gn
cl eani ng
des i gn
l i vi ng r oom
When most peopl e cl ean t hei r l i vi ng space, t hey run around a vacuum, dust a few kni ckknacks, and cal l i t qui t s; but consi der t he surfaces out si de your fiel d of vi si on. Don’t have a dust er? St i ck an ol d sock on t he end of a rul er and voi l a! Inst ant hi gh-
reach dust i ng t ool. Make sure you get t he t ops of l i ght i ng fixt ures, hi gh shel ves, and wi ndows for a t rul y cl ean feel. Somet i mes redesi gni ng your pad doesn’t requi re buyi ng a sl ew of new st uff, j ust ret hi nki ng ol d t hi ngs i n new ways. How about t hat pai r of funky candl est i cks you use once a year? Rel ocat e t hem from t he cabi net t o your mant l e, TV st and or re-i magi ne t hem as bookends. Somet i mes fixt ures wi t h great bones j ust need a facel i ft. Try an-
t i qui ng as a fun new fini sh. For rugged brassy l ooks: spray your fixt ure wi t h bl ack or gunmet al spray pai nt (t est t he surface for adherence first ), t hen sponge gol d or bronze pai nt over t he t op. Make sure t o avoi d any deep crevi ces t o get t hat aut hent i c l ook. If t arni shed met al i s more your vi be, spray t he fixt ure wi t h gol d and appl y a greeni sh-
bl ue pai nt over t he t op, t hen wi pe most of i t off wi t h a soft cl ot h. Leave ext ra i n t he crevi ces for a nat ural feel. Thi s easy aft ernoon proj ect can revamp your ent i re space for t he pri ce of a few cans of pai nt. Bonus poi nt s i f you wi re t he el ect ri c yoursel f.
Let ’s face i t, no one l i kes cl eani ng t he l at ri ne. Thi s i s one of t hose rooms t hat needs l ess of a spri ng cl eani ng t han a regul ar once-over. Grab t he baki ng soda and vi negar from t he ki t chen and scour t he t ub or shower. Pay speci al at t ent i on t o t he count ert ops, especi al l y i f you pl an on t ackl i ng t he next desi gn proj ect. St reaky mi rrors? Use crum-
pl ed newspaper i nst ead of paper t owel s. One sheet wi l l do t he t ri ck unt i l t he mi rror i s al most dry, and t hen fini sh wi t h a fresh sheet. St reaks wi l l be a di st ant memory. Repl aci ng count ert ops can be a t i me-consumi ng and expensi ve endeavor, but most surfaces can be pai nt ed. Thi s one t akes a weekend, so make sure you have t he t i me t o commi t, or can l i ve wi t h a hal f-done bat hroom for a few days. Fi rst, sand t he count ert op wi t h a fine 200-grai n sandpaper and wi pe wi t h a damp cl ot h t o remove al l t he gri p. Make sure t he cl ot h doesn’t l eave any fuzzy resi due. Next, pai nt t he ent i re count ert op wi t h a l at ex i nt eri or pai nt. Al l ow i t t o dry overni ght. Repeat as many t i mes as necessary t o cover t he col or underneat h. (Thi s wi l l vary, dependi ng on how hei -
nous t he underneat h. Pat t erns may need up t o five coat s, so pl an accordi ngl y). Next, use an ol d rag or sea sponge t o appl y a compl ement i ng or cont rast i ng col or, depend-
i ng on how dramat i c your desi red effect. A gent l e, fli cki ng wri st mot i on works best; and don’t go t oo heavy, so some of t hat hardworki ng base shows t hrough. Repeat wi t h as many col ors as you l i ke, al l owi ng each col or t o dry overni ght i n bet ween. Fi nal l y, cover t he whol e count ert op wi t h wat er-based pol yuret hane and al l ow t o dry overni ght t o seal. Once t hi s i s done, you can use your count ert op j ust l i ke you al ways have. Any scrat ches can be repai red wi t h a l i ght buffing wi t h sandpaper and anot her coat of pol yuret hane. Al l of t he cool at a fract i on of t he cost? Wi t h a proj ect t hi s easy, you can redo your count ert ops every season.
Wi t h t hese t i ps and t ri cks, your pad can pop j ust i n t i me for t hat backyard barbecue you al ways meant t o have. Cl eani ng doesn’t have t o be a drag wi t h a heal t hy dose of desi gn t hrown i n, and none of i t has t o cost your ent i re budget. One weekend, a coupl e of bucks, and some i nspi red el bow grease, and your spot wi l l be shi ni ng and spruced-up i n no t i me. ADRIANA FULOP
Business woman, fashion designer, and stylish lady, we caught up with Adriana Fulop to talk about her highly successful clothing companies, Plastik Wrap and BitchCraft.
photographer Bi l l y Archos
fashi on styl i st Adri ana Ful op
model s Adri ana Ful op, Robi n Domander, Kassandra Merri t, and Gi ovani Perei ra
interview by Vanity Kills
If you ever found yourself ignoring the plot of a sci fi action adventure flick due to the fact that your attention was fixated on sleek and sophisticated future fashion, you are not alone. Many of us longed for dresses seemingly made of polished chrome and punctuated with bursts of vivid color. Something to hold us over until neural implants with social networking capabilities become commercially available. Luckily, Plastik Wrap’s Adriana Fulop and Ryan Webber possess the creative genius and technical skill to keep you looking like android royalty straight out of the pages of a gripping cyberpunk thriller. They can’t hook you up with the aforementioned brain implants, nor with a prototype hover car, but they can infuse your life with a little artificial fla-
vor by outfitting you in precisely tailored cyber apparel which flatter and accentuate both the male and female form.
Not quite ready to enlist in the plastik army just yet? If you crave high impact alt fashion with a more relaxed fit, then a sampling of Bitchcraft’s tasty offerings might be in order. Let Plastik Wrap’s Adriana Fulop and her creative partner Gabrielle Neveu tempt you with playfully dangerous body hugging tees adorned with prints of things that might hurt you if you’re not careful. Brass knuckles, scissors, syringes, and daggers, that’s what little girls are made of. In Bitchcraft’s world anyway. Those less fond off cutsey implements of torture can always hang with Mr. “Grumpy Octo-
pus” or overdose on girlie glam in the “Tie Me Up Pretty” tee.
Old world elegance and love of quality craftsmanship fused with durable modern fabrics and space age trimmings on one end of the spectrum. Deliciously dark tees you’ll want to live in on the other. How does Adriana Fulop do it all?
How would you describe Plastik Wrap’s current aesthetic? How did it evolve since the initial inception of the company?
Adriana Fulop : Initially we were designing simple, starch, space age styles. Which over time evolved into a darker, more utilitarian and avant-garde aesthetic.We haven’t focused on any one style category and have allowed ourselves to explore many in-
terests, which has extended our tool set and fashion vocabulary. All of this combined has helped Plastik Wrap remain a design house that is very difficult to label. At least that is how I feel about it.
What’s the primary difference between your newest fashion endeavor, Bitch-
Craft, and Plastik Wrap?
AF : BitchCraft is more playful, more of a fun evening project. Plastik Wrap is more like air to my lungs.
Where did the idea to create T-shirts with spooky fun prints, such as syringes, mechanical hearts, and steampunk invertebrates originate?
AF : Myself and my partner in bitching and crafting, Gabrielle Neveu, who is an excellent artist, were always doings some fun evening projects... making weird fabric dolls, pillow cases, and lamp shades with vintage erotica screen printed on them, which we used to call �home porn décor’. It was just a natural progression of things, me being a clothing designer and her being an artist, that we decided to start working on some shirts together. As for the prints themselves, well, we are always into things that are cutsey and dark at the same time, and sometimes with a touch of irony.
What are the must-have items from Plastik Wrap and BitchCraft for this spring season?
AF : Plastik Wrap, definitely our transformable pieces like our Vixen dress and Trans-
form top. As for Bitchcraft, our new Harmless Weapons collection, shirts and undies with daggers, brass knuckles with stars, brocade guns, handcuffs, or evil but cute scissors!
Can fans of both lines ever expect a cross over “BitchCraft for Plastik Wrap” (or vice versa) collection?
LI FESTYLE
AF : Defini t el y! We, Pl ast i k Wrap, are goi ng t o be maki ng more st ruct ured pi eces wi t h cut e and sexy pri nt s from Bi t chcraft. Expect t o see some fun col l aborat i ons t hi s summer.
I very much enjoyed vi si ti ng your bri ck and mortar Toronto shop. Any pl ans on expandi ng your retai l l ocati ons beyond the Ontari o area?
AF : The pl ans are al ways t here, we woul d l ove t o have a shop i n Mont real, bot h t eams l ove t hat ci t y and woul d be an awesome pl ace t o set up a st yl i sh bout i que. But probabl y not t hi s year.
Many desi gners credi t the ci ty they l i ve i n as an i nspi rati on for thei r garments. How has growi ng up i n Sl ovaki a shaped your outl ook on fashi on? Has the fast-
paced Toronto l i festyl e had any i nfluence on your work?
AF : I am sure t he ci t y I grew up i n, Brat i sl ava, shaped and i nspi red my st yl e. It ’s a pret t y ol d ci t y wi t h great hi st ori cal cent er. I t hi nk i t made me grow up t o l ove el egance, cl assi ness, and t ai l ori ng. I bel i eve t hat i s one of t he reasons, why I never real l y l i ked t rashy punki ness i n my personal or Pl ast i k Wrap st yl e.Al t hough I hat e so say i t, Toront o made me real i ze t hat comfort i s a t ot al must, I never real l y cared much for comfy cl ot hes back home. Al so Toront o made me desi gn more ut i l i t ari an, al ways on t he go.
In your opi ni on what di fferenti ates Toronto from other major fashi on hubs such as Tokyo or New York Ci ty?
AF : Toront o bei ng such a mul t i cul t ural ci t y, has many cul t ural i nfluences wal ki ng t he st reet s t o deri ve i nspi rat i on from. In many ways Toront o i s qui t e si mi l ar t o New York. Maybe a bi t l ess advent urous and more pract i cal when i t comes t o fashi on. Al l PLASTI KWRAP
BI TCHCRAFT
AUXI LI ARY apri l/may 2010 OPPOSITE PAGE
On Adri ana, ri ght, Fat al e dress and Oi l Sl i ck gl oves by Pl ast i k Wrap wi t h Lol l aX j ewel ry. Left, Vi xen dress and sl eeves by Pl ast i k Wrap wi t h Lol l aX j ewel ry.
THIS PAGE
Hi st ori t ek j acket and Hex ski rt bot h by Pl ast i k Wrap.
AUXILIARY april/may 2010 by Vanity Kills
LI FESTYLE
“SHANE YOU MOTHERFUUUUUUCCCCCKKKKEEERRRRRRRR!!!!” I screamed as I stomped back into Sanctum. On the way inside I allowed myself to be completely consumed by all the rage that had been bottled up inside me for the duration of my terrible relationship, and now that it was finally pouring out it was very definitely not pink furry kittens, nor rainbows. I was blinded to the normally lol-worthy mass of terrible synthetic hair and joketorian outfits, and was instead an arrow, seeking to puncture one very specific and very black heart. I was walking so fast that my legs practically lifted off the ground. I was a banshee straight from the ninth circle of hell, filled with demonic fervor. He was the Lilith who betrayed my Adam (not that I’d wear a fig leaf!) and at last he must be removed from Eden.
When I got up close to Shayne, who hadn’t stopped his causal schmoozing about his latest near-score with underage Gothy McTripp-pants to give me even a side-
glance, I erupted. My mouth flew open like the gateway to the abyss and from it spewed a terrible demon with seven heads and seven crowns, vehemently breath-
ing fire and ash and woe unto all that stood before me. The bar ceased to be the squalid dump that was Sanctum and was replaced by fields of dead cybergoths, with circling vultures and burning trees. I chanted the violent maledictions of an-
cient witches and cursed his bloodline and all future progenies, should they be unfortunate enough to be born. I envisioned the fire pouring from my mouth en-
gulfing Shayne’s mangy dreadlocked head, melting it into burnt charcoal. Sadly, I don’t think this really happened.
I recoiled in pain as my wildly swinging arm crashed into the bar, and my brief fantasy dreamworld was shattered. I realized, sadly, that I was still standing in what was probably rat droppings in a poorly lit club, and that Shayne had ignored every single word I had said, even the face melting part! So I did what any scorned woman would do (cue Suicide Commando “Consume Your Vengeance” in my head); I slapped him with as much force as my petite hand could muster, which amounted to that of a very small, pale missile. WHACK! I knew that I had a very brief period in which he would be stunned before going into quasi-roidraging ber-
serker mode, so I had to make it count. I spit in his drink and condensed all my rage into the briefest, most rambling sentence I could construct: “YOU ARE A PA-
THETIC AND DISGUSTING PIG AND HAVE NOTHING TO OFFER TO ANY WOMAN. THE ONLY ONES WHO FIND YOU ATTRACTIVE ARE THOSE 18 YEAR OLD SLUTS BECAUSE THEY JUST WANT FREE TATTOOS! YOU WEREN’T EVEN GOOD IN BED!” I made sure to yell that last part extra loud so it would not be missed by hordes of eavesdropping ears. Before Shayne had a chance to retort, I spun around and made for the doorway.
Of course, nothing is easy. I was only steps away from the exit and having the bur-
den of a sad excuse for a boyfriend lifted, when I encountered the very annoying final tribulation. The old, washed up ex-cockrocker Jaguar Steve had obviously witnessed my (assumed) ascension into single womanhood and decided it was an appropriate time to swoop in for the kill. He sauntered over and swung his thin-
The fictional stories and dramas of Kimmy, the subculture-
elitist, fetish-fashionista, yet sweetly endearing queen of the goth scene that everyone loves to hate.
over I think it does not matter where exactly you live but more so, what you create and how your present it to the world.
What was the first thing that ran through your mind when you were asked to show-
case Plastik Wrap’s designs in the Gothic: Dark Glamour exhibit presented by NYC’s Fashion Institute of Technology alongside haute couture pieces by Rick Owens, Thi-
erry Mugler, Jean Paul Gaultier, and Alexander McQueen?
AF : The first first thing was, holy shit is this for real? The second was, I still can’t believe that, are you sure those email addresses are legit? [laughs] It took us a while for it to soak through our brains I think. We were honored to be contacted by Dr. Valerie Steele and included in such an interesting book with other great artists.
Where do you see your brands in the general scheme of fashion?
AF : Plastik Wrap on the experimental fore front of fashion. Fashion forward enough to be kinda anti-fashion, if that makes sense. BitchCraft is street influenced. Whimsical ele-
ments, meant for daily wear and social expression.
What’s the one thing that you would like to change about the fashion industry?
AF : I would love to see the industry support manufacturing within North America or even your own country, rather than outsourcing overseas. Currently the fashion manufacturing industry is fading quickly in North America and this makes it very difficult for young designers to get started.
What’s your latest obsession?
AF : Color combinations... lately I am imagining color combinations, and then squeal like a little kid, they are so exciting to me. For example imagine: silver grey, black, white with a dash of sea foam; or white, charcoal grey, and a touch of electric blue and bright yellow. So exciting! Plus of course, there is the ever going shoe obsession. I make clothes so I never really shop for them, but I cannot make shoes, not yet anyway. I am obsessed with collecting interesting shoes, lately I am really into United Nude.
Plastik Wrap has always struck me as the epitome of classy cyber. The clothing fuses avant-garde futuristic concepts with accessible street wear. I’m a big fan of the “cy-
ber” style, but unfortunately I have seen it go wrong more times than I can count at this point. As the woman behind the label that “does it the right way”, could you offer Auxiliary Magazine readers some pointers in regards to wearing space age fashions without looking like an anime convention threw up all over them?
AF : Thank you. The key for me is to start simple. Pick one inspiring garment or accesory and build the outfit around it. Don’t go and grab every element/piece listed under �cyber fashion’ and put them all together thinking its the right thing to do. Please pay close atten-
tion to your makeup. This is somewhere were many have gone wrong.
Which alt fashion trend would you like to see go into early retirement?
AF : Wide legged pants with heavy chains and buckles all over them. They probably weight a ton and always look trashy to me.
If you could be the lead costume designer in the re-make of any movie, what would it be and why?
AF : Aeon Flux. I love that movie, even though it’s different from the animated series, how serene and stark it feels, but I think the costumes are a bit boring. They could have had more fun with them, they need to be edgier. They are missing Plastik Wrap-yness!
If you could choose one world-renowned photographer to collaborate with on a Plas-
tik Wrap or BitchCraft advertising campaign, who would it be?
AF : Floria Sigismondi, love the creepiness she brings into her work.
Finish the sentence “When working on pieces for a new collection I am most likely to be listening to…”
AF : Gry, The Knife, or Squidlid.
Quick! Off the top of your head what are the top five things that you’d like to accomplish before you die?
AF : Wow, I actually do not think that way. I don’t think in terms of �die’. Just do things as life and my surroundings let me. I would have to think about this one for a long while.
Was fashion a career path you chose for yourself as a child? If not then what did you want to be “when you grew up”?
AF : I wanted to be a truck driver. I saw it as a great job with lots of traveling and the aura of a tough personality. [laughs] Later I wanted to be a puppeteer, making little puppets and clothes for them.
What are the best and worst aspects of being your own boss?
AF : Best, you do not have to answer to anybody, I do not like to be bossed around. Worst, you never know when to stop working. There is never the sense of �5 o’clock’, it’s always a �I could be working’ type of mindset for me. You can’t just call in sick and you can’t just say, I will cover it with my next paycheck...
What’s the division of labor between your Plastik Wrap partner, Ryan Web-
ber and you like?
AF : Simple way to describe it would be... Ryan takes care of the website things, graphics, wholesale docs; and I take care of production, photoshoots, employees. We design together, each piece has a bit of both of us in it.
As a designer did you ever run into any obstacles that you felt you could not surmount?
AF : Not really things we could not surmount, but with time and experience you’ll learn that you can not entirely rely on third parties. You always have to have some kind of back up plan.
How did the rise of social networking media affect your business?
AF : Social networking media has changed drastically during the time we have been in business, but it’s always been there. I have always been active in cyber space and enjoy adapting to its ever changing reach. For us as a business, over time it has made it easier and easier to directly communicate with our market, no matter which part of the world they are.
Does fan feedback influence the direction of your creations?
AF : Yes, but it is hard to say how. Once again it’s a matter of being influenced by all things in your life: the feedback that you hear is one of those elements.
Do you have any advice for up-and-coming alternative fashion designers?
AF : Don’t focus on what is alternative, find your style and work hard at develop-
ing it. You will only stand out in the crowd if your designs reflect something about yourself.
Fashion design must take up a substantial portion of your life; does it leave any time for additional creative expression?
AF : Everything I creatively do, somehow evolves around fashion. If I am not working on Plastik Wrap or BitchCraft, I love to knit, take photos, style other peoples fashion shoots, make jewelry, or dance.
Can you divulge more information on the jewelry line conceived by your alter ego Lolla?
AF : Oh, that is another hobby of mine, that somehow transformed into a bigger project. However, it remains more of an artistic outlet, where I create one of a kind pieces. It has been a great styling tool for a number of photoshoots and soon to be available at plastikarmy.com.
What’s in store for the future of Plastik Wrap and BitchCraft?
AF : Soon you will be seeing collaborations between Plastik Wrap and other talented artists from a number of different disciplines. While BitchCraft will be expanding its collection and integrating technical elements from Plastik Wrap’s repertoire. All of which will be available online at the new online shopping desti-
nation, plastikarmy.com.
FROM TOP TO BOTTOM
Axiom shirt, Mistique skirt, and OilSlick gloves all by Plastik Wrap.
Mek Heart shirt by BitchCraft with Algorithm pants by Plastik Wrap.
Boot Addict shirt by BitchCraft with Mistyque skirt and OilSlick gloves by Plastik Wrap. On Adriana, Hex skirt by Plastik Wrap and On Guard shirt by BitchCraft.april/may 2010 AUXILIARY
FASHI ON
39
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Take Vi ct ori an vaudevi l l e, mi x wi t h punk rock, t hrow i n l ot s of st ri pes, and Vi ol a! you have ci r-
cus punk! The musi cal genre i s most l y known for i t s bl endi ng of punk rock wi t h ci rcus musi c, and l i ke i t ’s ecl ect i c sound, t he cl ot h-
i ng t el l s t he same t al e. There are no set rul es for st yl i ng ci rcus punk way, but i ncorporat i ng st ri ped i t ems i nt o an out fit i s one of t he most popul ar ways t o achi eve a carni val -esque ensembl e. March-
i ng band uni forms i nspi red i t ems al ong si de ci rcus ri ng mast er pi eces can be mi xed wi t h Vi ct ori-
an bust l e ski rt s, bl oomers, t uxedo t ai l s, and t ai l ored ri di ng breeches. Mi x al l t hese t hi ngs t oget her and you’l l achi eve a st yl e t hat i s comi-
cal, carni val, and l i ght -heart ed: ci rcus punk!
st yl ed and wri t t en by Meagan Hendri ckson
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p april/may 2010 AUXILIARY
1 Tattoo Lady Brooch by Mamas Little Babies
2 Trapeze Lovelies Necklace by Mamas Little Babies
3 Victorian Cameo Top Hat by Hot Topic
4 Tattoo Guy Earrings by Mamas Little Babies
5 Pinstripe Halter Dress by Carnie Couture
6 Top, part of Purple Stripe Carnival Suit by Carnie Couture
7 Circus Elephant Cuff Bracelet by Mamas Little Babies
8 Circus Acrobat Necklace by Mamas Little Babies
9 Gators with Bows by Carnie Couture
10 Waist Cincher, part of Purple Stripe Carnival Suit by Carnie Couture
11 Bellevue Ida Clark in black and striped canvas by Fluevog
12 Bellevue Ida Clark in purple and beige leather by Fluevog
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ning, poorly bleached skullet (whatever that move was supposed to do…it wasn’t doing it) and began his usual drunken pick-up technique, which began with un-subtly showing off his faded tattoo of a naked woman embracing a snake which looked more like a burnt earthworm, and ended with something to the extent of, “Hey you know, my band toured...uh… with…uh… Poison back in ’78,” all the while making a point to show off his fugly animal-print kilt and moldy thrift-store boots. I wanted to barf all over him. If I had been any drunker there would have been no hesitation. In-
stead I just hissed and shouted, “EW, get away from me you fat old loser! Don’t you have any fucking manners!? You’re not relevant and you never will be!” Normally I would have been more composed and at least feigned interest, in hopes of acquiring a free, albeit watered-down beverage, but I really didn’t have time for this asshole at the moment. The girls and I will surely have a good laugh at our next late night diner adventure about how I shot down his corny ass (and how they were eager to be the next to jump on the diss-the-Jaguar bandwagon). How can these jackasses seriously have no clue, I wondered. Just before I got to the door, it was opened and heavenly light poured in like a dream, for it was Eli holding it open for me. My friends were gathered outside, waiting for me to spill the good news of how I brutally cut Shayne off in any number of horrible ways. Cheering ensued. I was greeted with excited hugs and kisses. “Yes!! You totally rock!” Cassy exclaimed, and, “You totally did it, High five!” from Justine. Sheesh, it seems like they were even more excited than me! There were no members of the Shayne fanclub here indeed(I believe that the age cut off for that is 20). Just then, Eli grabbed me from behind and kissed my neck and ears. “Mmm…oh I missed you so much! I’m so glad that’s finally over!” I yelled a little louder than I probably should have. It didn’t matter though; I was so relieved not to have to hide my super secret boycrush any longer.
“OK!” Cassy cut in, “before you two go into make-out marathon ’99, we need to get the hell out of here and get some food!” This was met with a chorus of approval, and we decided it was time to be rid of the goddamn club for another week and take temporary and delicious solace at our favorite 24 hour diner. The feasting horn of delicious 2am pancakes had sounded and the call could not be ignored.
LI FESTYLE
conti nued . . .
SUGAR POPS
SUGAR POPS
Sweet accessories for girls who
like to rev up the color!
photographer Stephani e Bel l
fashi on styl i st Pretty Deadl y Styl z
makeup arti st Wendy Rorong
hai r styl i sts Anna Crooke and Matt hew James Genser
model s Mi ss Monoxi de, Zi l l y Li l l y, and Al yci a Gal l agher
THIS PAGE
Silver sequin hair bow by Fashion Whore. Adoring middle of neck, Black Bow & Heart Necklace by Fashion Whore. Attached to shoulder chain from right to left; White Sequin Bow by Fashion Whore, Pink Leopard Print Hair Bow by Cherry Riot Accessories, Black Bunny with Leopard Print pin by Kaotic Ekko’s Curiosities, Pink Cupcake Bow by Cherry Riot Accessories, Rubber Cupcake Necklace by Fashion Whore, Black Rose Cameo by Cherry Riot Accessories, Pink Poodle Hair Bow by Fashion Whore, Leopard Print Bow with mini skull by Cherry Riot Accessories, and White Bow Ring by Fashion Whore.
THIS PAGE
Adorning hair; Pink Iris with Jewels by Cherry Riot Accessories (on left) with Leopard Bunny with Pink Heart by Kaotic Ekkos Curiosities and Purple Skull Rose by Cherry Riot Accessories (on right). Neck decor, from left to right; Zebra Bow by Fashion Whore, Black and Blue Rose Cameo by Cherry Riot Accessories, and Pink Bow & Sundae Necklace by Fashion Whore. Pink Delux purse by Revamp Productions provided by Dollabella.
april/may 2010 AUXILIARY
AUXILIARY april/may 2010 april/may 2010 AUXILIARY
OPPOSITE PAGE
Dark Purple Bat pin in hair by Kaotic Ekkos Curiosities with Pink Cotton Candy Earrings by Cherry Riot Accessories. Adorning the neck from left to right; Light Purple Cat pin, Dark Purple Bunny pin and Light Purple Bunny pin. Purple & Black Skull Cameo Necklace by Cherry Riot Accessories with Key To My Heart Necklace by Healing Heart Designs.
THIS PAGE
Dollabella White Veil Hair Fascinator with Red Glitter Platform Pumps by Bordello. On the eyes, MAC Penultimate eye liner in rapid black.
AUXILIARY april/may 2010 april/may 2010 AUXILIARY
THIS PAGE
Racheal purse with silver handcuff detail by Brook Alviano. Attached to shoulder chain from right to left: White Sequin Bow by Fashion Whore, Pink Cupcake Bow by Cherry Riot Accessories, Rubber Cupcake Necklace by Fashion Whore, Pink Poodle Hair bow by Fashion Whore, and Leopard Print Bow with mini skull by Cherry Riot Accessories.
OPPOSITE PAGE
Adorning hair; Black Cat pin by Kaotic Ekkos Curiousities with Red Leopard Shoe with PVC bow by Delicious. Black & Red Icing Cupcake Earrings with Black & Red Rose Cameo Necklace by Cherry Riot Accessories.
AUXILIARY april/may 2010 april/may 2010 AUXILIARY
OPPOSITE PAGE
Pink Jeweled Iris hair flower with Pink & White Polka Dot Ring and Pink Ice Cream Ring by Fashion Whore. Zebra Bow and Pink Bow & Sundae Necklace by Fashion Whore with Black & Blue Rose Cameo Necklace by Cherry Riot Accessories.
THIS PAGE
Paris Poodle Purse by Revamp Productions, available at Dollabella. Hair; Dark Purple Bat pin by Kaotic Ekkos Curiousities with Pink Cotton Candy Earrings by Cherry Riot Accessories. On the neck from left to right; Light Purple Cat pin, Dark Purple Bunny pin and Light Purple Bunny pin. Purple & Black Skull Cameo Necklace by Cherry Riot Accessories with Key To My Heart Necklace by Healing Heart Designs and Black Mirror Ring by Fashion Whore.
OPPOSITE PAGE
Cherry Red Rose by Cherry Riot Accessories. Adoring lips; MAC Lady Danger lipstick and Rue d’Rouge dazzleglass.
THIS PAGE
Hair from left to right; Leopard Print Pink Rose by Cherry Riot Accessories, Light Purple Cupcake Bow by Fashion Whore, and Leopard Print Purple Rose by Cherry Riot Accessories. Lightning Bolt Filigree heel by Iron Fist.
AUXILIARY april/may 2010 april/may 2010 AUXILIARY
AUXILIARY april/may 2010 SCAVENGER
photographer Jenni f er Li nk
fashi on styl i st Meagan Hendri ckson
makeup arti st Chri sti na Ruf i no
hai r styl i st Jessi ca Jean
model Ti na Ti mebal m
utility and protection : garments for the future
april/may 2010 AUXILIARY OPPOSITE PAGE
Max Vintage Twill Neck Corset in military/black by Jessica Darwin, Moto Vest with zipper details in black by Buddhaful, and Jessica Darwin Rider Low Rise Ponte Leggings.
THIS PAGE
Yesod Sweater Coat in black with brass button details by Buddhaful paired with Rider Low Rise Ponte Leggings by Jessica Darwin.
OPPOSITE PAGE
Steam Punk Ninja Jacket in black with olive sleeves and grey Moto Capris with black stitched details by Buddhaful.
THIS PAGE
Phase 3 Jacket in burgundy with black strap arm detailing by Crisiswear, 2013 Skirt with rivet and snap front design by Buddhaful, and Phase 1 Leggings in burgundy with adjustable straps by Crisiswear.
AUXILIARY april/may 2010 april/may 2010 AUXILIARY AUXILIARY april/may 2010 april/may 2010 AUXILIARY OPPOSITE PAGE
Shift Dress in black with hip pockets, rivet details, and asymmetrical front zipper
by Crisiswear.
THIS PAGE
Kensen cowl neck hooded shrug in olive by Crisiswear. Tran Twisted Drape Halter Vest in grey with Deri Latex Cuff Gloves and Ree Leather Leg Holster in black/coral all by Jessica Darwin.
AUXILIARY april/may 2010 THIS PAGE
Cropped Jacket in black with asymmetrical zipper and neck strap details by Buddhaful, with Jessica Darwin Sioux Drop Back Halter Tank in green, and Cyberdoll Skirt with adjustable strap details
by Crisiswear.
Dollabella www.dollabella.com
Elise
www.madamemadeline.com
Fashion Whore
www.fashion-whore.com
Fluevog
www.fluevog.com
Healing Heart Designs
www.etsy.com/shop/HealingHeart
Heartbreaker Fashion
www.heartbreakerfashion.com
Helmut Lang
www.helmutlang.com
Hot Topic
www.hottopic.com
I.D. Sarrieri
www.sarrieri.com
Illamasqua
www.sephora.com
Iron Fist
www.ironfist.tv
Jessica Darwin
www.jessicadarwin.com
Justin Davis
www.jd-jewels.com
Kambriel
www.kambriel.com
Kaotic Ekko’s Curiosities
www.kaoticekkoscuriosities.artfire.com
Kat Von D for Sephora
www.sephora.com
Lime Crime www.limecrimemakeup.com
Louboutin
www.christianlouboutin.com
MAC
www.maccosmetics.com
Make Up For Ever
www.sephora.com
Mamas Little Babies
www.mamaslittlebabies.com
Mimi Holliday
www.damaris.co.uk
Miss X Aesthetic Industries
www.angelspit.net
Obsessive Compulsive Cosmetics www.occmakeup.com
OPI for Sephora
www.sephora.com
Other World Kingdom
www.owk.cz
Plastik Wrap
www.plastikwrap.com
Sugarpill www.sugarpillshop.com
Tarina Tarantino Cosmetics
www.sephora.com
Too Faced
www.toofaced.com
Urban Decay www.urbandecay.com
Yves Saint Laurent Cosmetics
www.sephora.com
where to buy
Agent Provocateur
www.agentprovocateur.com
Amalga NYC
114 Wooster Street NYC
BitchCraft
www.bitchcraft.ca
Brook Alviano
www.brookalviano.com
Buddhaful
www.buddhaful.com
Carnie Couture
www.carniecouture.com
Carine Gilson
www.carinegilson.com
Cats Like Us
www.catslikeus.com
Cherry Riot Accessories www.cherryriot.com
Crisiswear
www.crisiswear.com
Delicious www.fortunedynamic.com
fashion essentials
The Summer Dress
Infuse color into your summer wardrobe with swirled prints mixed with cool toned colors. The halter style dress is an essential grab-n-go piece for effortless daily chic. This piece can be paired with heels, flats, or sandals, and a bracelet or two for a versatile summer look with no need to over accessorize!
Pucci Turquoise Halter Dress
by Heartbreaker Fashion
available at Cats Like Us
FASHI ON
fashion stylist & author Meagan Hendrickson
photographer Luke Copping
makeup & hair Jessica Jean
model Lacy Ellinwood
april/may 2010 AUXILIARY www.auxiliarymagazine.com
next issue
june/july 2010
keep in touch!
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Tyrion
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