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Auxiliary Magazine is an alternative fashion, music, and lifestyle magazine available online for free. FEBRUARY / MARCH 2013
manic panic / tish and snooky
jenny boa / the edwardian ball bettie page / rose mortem
is sexy
heavy red / blushing cupid
dripping pastels / bowie
lingerie / binding corsets
This is probably our sexiest February/March issue yet! February/March has been informally dubbed our sexy issue. Obviously one reason being Valentine’s Day in February but also it’s a good time to heat things up and keep warm in the dead of winter. As we were putting together this issue, which seemed to be getting sexier and sexier with each new feature, we started thinking about what made it sexy. There are some more clearly sexy features such as our Heartbreakers fash-
ion editorial, with lots of skin and heated scenes of a love triangle gone awry. Or our PinUp, this issue featuring Jenny Boa in a perfectly binding corset. And let’s not forget, a lady who helped define what alternative subcultures view as sexy, Bettie Page, who is our featured Icon this issue. But when all the features of this issue were paired together, it was clear that others, not just the obvious ones, were pretty sexy as well. That’s where this issue’s tagline comes in: style is sexy. Beau-
ties rocking bold hair colors and dripping silicone tops (our Candy Coated beauty editorial), music icons who have always been strangely sexy (our Bowie beauty editorial), a legend of a band that through the years has branded their own distinct sexiness with a message (our KMFDM interview), and clinging velvet dresses that are feminine and sexy without being overstated (our Rose Mortem designer feature). Style, staying true to who you are and wearing it for all to see, is sexy. Sincerely, Jennifer Link
Auxiliary Magazine. auxiliary = alternative, supplementary, to provide what is missing, 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 its way out, is suffering, is dying, is dead. Today 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.
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.
Editor in Chief
Jennifer Link
Fashion Editor
Tasha Farrington aka Pretty Deadly Stylz
Music Editor
Mike Kieffer
Copy Editor
Dylan Madeley
email :
email :
issue 26 : february/march 2013
ISSN 1948-9676
No part of this publication may be reproduced in any form or by any means, elec-
tronic or mechanical, without the permission in writting from the publisher, except small excerpts for review purposes. Submitted work, reviews, ads, and photo-
graphs are copyrighted by their respective owners and fall under previous declara-
tion. Copyright Auxiliary Magazine 2013.
Photographs / Illustrations
Bailey Northcott
Amena Assaily
Jennifer Erickson
Sequoia Emmanuelle
Jennifer Link
Saryn Christina
Ron Douglas
Drew Fritschel
Ian Compton
photograph on 26
Jennifer Link
photograph on 28
Karen Moskowitz
photograph on 30
Jacques Sehy
photograph on 31
Matthew Burgess with processing by Kallisti Design
photograph on 39
Steve Prue
illustration on 40
Michael Maglio
photograph on 42
Cody Molica
photographs on 43
Arthur Koch and Jessica Jewell
Aaron Andrews
Dan Cosgrove
Tasha Farrington
Ashley Godwin
Jessica Jewell
Mike Kieffer
Arden Leigh
Jennifer Link
Dylan Madeley
Paul Morin
Ariana Paoletti
Jessica Rowell
Vanity Kills
Graphic Design
Logo Design
Melanie Beitel
Layout Design
Jennifer Link
Let us know what you think! Share with us your thoughts on the issue, current events, or whatever is on your mind! email :
february/march 2013 AUXILIARY beauty
5 runway to vani ty
Jean Paul Gaul ti er’s Boy George
6 candy coated
14 bowi e
20 rel i quary
26 eyel i ner rai nbow
beauty pi cks to make wi nterti me l ess bl eak
27 fi l m revi ews
Si ni ster and Cl oud Atl as
31 musi c revi ews
Combi chri st, Team Ghost, Shi v-r, Androi d Lust, Legend, Psychi c Il l s, Lusi ne, Ul ri ch Schnauss, and more
kmfdm : 28
mani c pani c : 44
j enny boa . the edwardi an bal l . betti e page : 35 . 42 . 40 rose mortem . bowi e . heavy red . bl ushi ng cupi d : 48 . 14 . 60 . 51
l i ngeri e . bi ndi ng corsets . dri ppi ng pastel s : 51 . 35 . 6
35 the Pi nUp
Jenny Boa
39 ask arden
advi ce on rel ati onshi p strategi es
40 i con
Betti e Page
42 The Edwardi an Bal l
44 Mani c Pani c
an i ntervi ew wi th Ti sh and Snooky
48 desi gner spotl i ght
Rose Mortem
51 styl e
bl ushi ng cupi d
52 heartbreaker
60 must
overbust corset
61 where to buy
Photographer : Bai l ey Northcott
Fashi on Styl i st : Pretty Deadl y Styl z
Makeup : Andrea Brown
Hai r : Vana Gl ory
Model : Mi ss Madi son Skye
AUXILIARY february/march 2013
THE VANITY : Starting off with a clean slate apply an even coat of foundation to the face and neck with a sponge applicator, subtly contour by blend-
ing your highlights into the forehead, bridge of the nose, upper cheeks, and chin. Continue this technique by blending your shadowing into the cheekbones and jaw line. Set the contour with powder, and redefine any highlights or shadows with pigment. For the cheeks use three shades starting off with a hot pink at the highest point of your cheekbones. Slightly blend this out with rose pink using a pale shade on the ball of the cheeks. For the eyes, create an extended winged shape with a red lip liner, fill in with a fuchsia pink and be sure to blend the liner and shadow into one another. Using a pearlescent light pink pigment highlight the inner corners of the eyes, brush the pigment upward toward the brow and blend. Finish the eyes by lining the upper and lower lids in a charcoal grey liner; blend this into the shadow with an angled brush. To get a bold brow, use black liner to drastically angle the shape. Start by widening the front of the brow, and extending it in a similar winged shape by arching the line at the highest point of your brow bone and curving the ta-
pered edge upward. Top it off with a lined red lip and some gloss and you’re set.
The creativity and innovation of the runway reinvented for recreation at your vanity.
THE RUNWAY : This bold and alluring beauty look channels the es-
sence of Jean Paul Gaultier’s S/S 2013 showcase at Paris Fashion Week, drawing inspiration from his 80s influenced Boy George look.
february/march 2013 AUXILIARY 5
written by Jessica Rowell
photographer Drew Fritschel of BlueSparrow Photography
makeup artist Jessica Rowell of J-Chan’s Designs model Valeri Kimbro
location Perigee Studios Denver
On the eyes, Nicka K NK HD Eye Shadow in #3039 and #3003 and L.A. Colors Shimmering Loose Eyeshadow in Sweet Tart. On the brows, Jesse’s Girl Kohl Liner in Black.
On the lips, Beautique Lip Liner in Sienna, Revlon Colorburst Lip Butter in Candy Apple, and Revlon Colorburst Gloss in Fire Red.
photographer Bailey Northcott
creative director Pretty Deadly Stylz
fashion stylist Pretty Deadly Stylz
makeup artist Andrea Brown of Andrea Brown Makeup
hair stylist Vana Glory
models Elle Sugar, Miss Madison Skye, Sasha Glitter & Vieve
Candy Coated
february/march 2013 AUXILIARY OPPOSITE PAGE
Mint Drip Sling Bodysuit by Candy Drip paired with Neon Red xl Ziggurat necklace by I Still Love You NYC. On the eyes, Ben Nye Cake Eye Liner in Black, MAC Powerpoint Eye Pencil in Engraved, Benefit BADgal Lash Mascara, and MAC Eye Shadow in Gleam, Stars N’ Rockets, and Brule. On the cheeks, MAC Blush in Pinch Me. On the lips, Obsessive Compulsive Cosmetics Lip Tar in Plum and Yaoi.
Peach Drip Crop T-shirt by Candy Drip paired with Neon Pink Triple Calos necklace and Blue Ziggurat earrings both by I Still Love You NYC. On the eyes, Ben Nye Cake Eye Liner in Black, MAC Powerpoint Eye Pencil in Engraved, Benefit BADgal Lash Mascara, and MAC Eye Shadows in Orange, Paradisco, and Brule. On the cheeks, MAC Blush in Pinch Me. On the lips, Obsessive Compulsive Cosmetics Lip Tars in Feathered and Beta. AUXILIARY february/march 2013
Pink Drip Collar and Pink Full Drip Mini Dress both by Candy Drip paired with White xl Nightmare Catcher necklace by I Still Love You NYC. On the eyes, Ben Nye Cake Eye Liner in Black, MAC Powerpoint Eye Pencil in Engraved, Benefit BADgal Lash Mascara, and MAC Eye Shadows in Clarity, Aquadesiac, and Brule. On the cheeks, MAC Studio Careblend Pressed Powder in Lush Light Bronze and Satin Blush in Fleur Power. On the lips, Obsessive Compulsive Cosmetics Lip Tars in Feathered and Femme and MAC Lipstick in Up the Amp. On the nails, Essie Nail Polish in Main Squeeze.
february/march 2013 AUXILIARY THIS PAGE
Blue Drip Crop Halter by Candy Drip paired with Neon Pink xl Feather Knife necklace by I Still Love You NYC and Neon Pink, Acid Yellow, and Ice Blue Stackable Feather Knife rings by I Still Love You NYC. On the eyes, Ben Nye Cake Eye Liner in Black, MAC Powerpoint Eye Pencil in Engraved, Benefit BADgal Lash Mascara, and MAC Eye Shadows in Clarity and Brule. On the cheeks, MAC Studio Careblend Pressed Powder in Lush Light Bronze and Satin Blush in Fleur Power. On the lips, Obsessive Compulsive Cosmetics Lip Tars in Feathered and Chlorophyll. On the nails, Essie Nail Polish in Movers and Shakers.
AUXILIARY february/march 2013
Blue Drip Choker and Blue Drip Crop Halter both by Candy Drip paired with White sml Daisy earrings by I Still Love You NYC. On the eyes, Ben Nye Cake Eye Liner in Black, MAC Powerpoint Eye Pencil in Engraved, Benefit BADgal Lash Mascara, and MAC Eye Shadows in Clarity, Brule, and Vellum. On the cheeks, MAC Studio Careblend Pressed Powder in Lush Light Bronze and Satin Blush in Fleur Power. On the lips, Obsessive Compulsive Cosmetics Lip Tar in Feathered and MAC Lipstick in The Amp.
february/march 2013 AUXILIARY THIS PAGE
Peach Drip Crop T-shirt and Peach Drip Necklace both by Candy Drip paired with Acid Yellow sml Nightmare Catcher necklace by I Still Love You NYC worn in the hair and Hot Pink lrg Daisy earrings by I Still Love You NYC. On the eyes, Ben Nye Cake Eye Liner in Black, MAC Powerpoint Eye Pencil in Engraved, Benefit BADgal Lash Mascara, and MAC Eye Shadows in Orange, Paradisco, and Brule. On the cheeks, MAC Sheertone Blush in Peaches. On the lips, Obsessive Compulsive Cosmetics Lip Tars in Feathered and Chlorophyll.
AUXILIARY february/march 2013
Mint Drip Sling Bodysuit by Candy Drip paired with Neon Pink xl Be Here Now Mantra necklace by I Still Love You NYC. On the eyes, Ben Nye Cake Eye Liner in Black, MAC Powerpoint Eye Pencil in Engraved, Benefit BADgal Lash Mascara, and MAC Eye Shadows in Gleam, Stars N’ Rockets, and Brule. On the cheeks, MAC Blush in Pinch Me. On the lips, Obsessive Compulsive Cosmetics Lip Tars in Feathered and Beta. On the nails, Essie Nail Polish in Pink Diamond. AUXILIARY ONLINE CONTENT See more of this editorial by searching “Candy Coated” on
february/march 2013 AUXILIARY THIS PAGE
Blue Drip Choker and Blue Drip Crop Halter by Candy Drip paired with Black & Neon Pink Eyelash Glasses by I Still Love You NYC. On the eyes, Ben Nye Cake Eye Liner in Black, MAC Powerpoint Eye Pencil in Engraved, Benefit BADgal Lash Mascara, and MAC Eye Shadows in Clarity, Brule, and Vellum. On the cheeks, MAC Studio Careblend Pressed Powder in Lush Light Bronze and Satin Blush in Fleur Power. On the lips, Obsessive Compulsive Cosmetics Lip Tar in Feathered and MAC Lipstick in The Amp. photographer Jennifer Erickson
makeup artist Sunny Bonanza Drissia
hair stylist Sunny Bonanza Drissia
model Laura Brown
february/march 2013 AUXILIARY BOTH PAGES
Iron Fist vest. On the eyes, Obsessive Compulsive Cosmetics Loose Colour Concentrates in Cherry Bomb and Datura. On the lips, Smashbox Reflection High Shine Lip Gloss in Nude.
AUXILIARY february/march 2013
Outfit by Pretty Star Clothing. On the eyes, NARS Eyeshadow in Cairo and California.
february/march 2013 AUXILIARY THIS PAGE
Outfit by Pretty Star Clothing. On the eyes, Obsessive Compulsive Cosmetics Loose Colour Concentrates in Cavu Blue and Static.
AUXILIARY february/march 2013
AUXILIARY ONLINE CONTENT See more of this editorial by searching “Bowie” on
february/march 2013 AUXILIARY BOTH PAGES
Jewelry by London Manori. On the eyes, Sugarpill Loose Eyeshadow in Goldilux. On the brows, Sugarpill Pressed Eyeshadow in Flamepoint.
photographer Sequoia Emmanuelle
fashion stylist Sequoia Emmanuelle
makeup artist Alicia Marie Campbell hair stylist Lorenzo Diaz
model Deavon Coleman @ JE Models
february/march 2013 AUXILIARY THIS PAGE
On the lips, Shu Uemura Lipstick in Black with gold sequin stars.
On the lips, Shu Uemura Lipstick with black rhinestones.
AUXILIARY february/march 2013
On the lips, Shu Uemura Lipstick in Black and Silver.
february/march 2013 AUXILIARY THIS PAGE
On the eyes, Shu Uemura ME Eyeshadow in Gold. On the lips, MAC Lipliner in Mahogany with gold leaf in center. On the cheeks, NARS Multiple Stick as contour and Shu Uemura ME Eyeshadow in Gold as highlight.
AUXILIARY february/march 2013
On the eyes, Shu Uemura ME Eyeshadow in Gold. On the brows, metallic sequins. On the lips, MAC Lipliner in Mahogany with gold leaf in center.
AUXILIARY ONLINE CONTENT See more of this editorial by searching “Reliquary” on
february/march 2013 AUXILIARY THIS PAGE
On the eyes, MAC Eyeshadow in Cinderfella with sequin silver stars around eyes. On the lips, Shu Uemura Lipstick in Silver.
Red Ready to rendezvous with the ultimate edge-of-your-seat shade? Bloody Mary Red Eye Liner, evocative of luxury sports vehicles and slasher flicks alike, captures the essence of liner in the fast lane. $5
Orange Old Man Winter’s greatest hits (bitter wind chill, sub-zero temperatures, and ice sheets) brew the perfect storm for keeping spring wardrobes under lock and key indefinitely. Ward off parka-induced fashion fatigue with a daily dose of orange eyeliner (like Styli-Style Line & Seal 24 Semi Permanent Eye Liner in Tangerine). $6
Yellow Lime Crime Liquid Eyeliner in Citreuse lets you easily throw your hat into the neon arena (without going full on candy raver). www.limecrimemakeup.
com $14
Green March 17th marks the prime time for everything lime. To try your luck of the Irish (and dodge those all too eager pinchers) rim eyes with Styli-Style Line & Seal 24 Semi Permanent Eye Liner in Lime. $6
Blue President’s Day is a time to reflect on the greatness of the three-day week-
end. So wherever your celebrations may take you, be it shoe sales or judging the sexiest Abe Lincoln look-alike pageant, pledge allegiance to red lips, white nails, and blue liner (such as Illamasqua Medium Pencil in Debonair). www.illamas- $20
Indigo Three things to help you anchor maritime style: Sailor Jerry tattoos, octo-
pus print dresses, and indigo-lined lids (try Ulta Automatic Eye Liner in Indigo). $8
Violet The non-tween way to rock birthstones (February’s is violet-hued am-
ethyst) sidesteps gem-encrusted trinkets in favor of a more versatile medium: MAC Pearlglide Intense Eye Liner in Designer Purple. Smoked out, tight-
lined, or flicked past the outer corners, this jewel-toned pencil packs enough beauty replay value to warrant a cult following. $16
Wearable rainbows are the cheeriest by-product of commercial unicorn farming. Sourced from the naturally-shed horn of this legendary horse beast, the rainbow concentrate undergoes a closely guarded extraction process. It is then mixed with tincture of mermaid scales before finally being condensed into eyeliner form. In laboratory tests, nine out of ten doctors agreed that cosmetics derived from genuine unicorn parts were known to loosen Jack Frost’s icy grip on your mood (forlorn), sex life (permanent hat hair isn’t the stuff of seduction), and metabolism (must no carb be left unturned?). The prescription: seven bright liners a week make wintertime less bleak.
Eyeliner Rainbow
by Vanity Kills
AUXILIARY february/march 2013 MEDI A
DVD release : 02.19.13
directed by Scott Derrickson
In Sinister, Ethan Hawke plays Ellison Oswalt, a true crime writer investigating a murder. Ellison’s life kind of goes to hell when he finds a box of related snuff films and instead of going right to the cops, decides to study them. But Sinister does its job well, despite requiring the viewer to forgive the characters for not behaving rationally.
Tension is a constant thing during the film, and as a result it’s very difficult to pre-
dict when anything creepy is actually going to happen. The audience is constantly left feeling off balance, on edge, and waiting during the movie. Sinister makes great use of the spaces in between the action, building and not letting up. When things actually do occur, the audience doesn’t even get a chance to feel a sense of relief afterward.
Once the snuff films finally come into play, the director does an excellent job of making them as creepy and authentic as possible. What makes them so terrifying is just how basic they are. The murders aren’t supernatural or spectacular in any way. They’re more like if the Saw killer Jigsaw had to murder people with things that he’d found at a garage sale. The methods are so basic and steeped in the audience’s reality, that they are much more threatening and believable than some elaborate trap. These scenes were even filmed on genuine Super 8 cameras and film stock, giving them a gritty, real feeling.
My main complaint is that I would have preferred a different protagonist. There are a lot of times, most of the movie really, when it’s difficult to be sympathetic with Ellison. He lies to everyone, acts like an entitled jerk, and in general acts like your typical horror movie cliché without adding any redeeming qualities. The big-
gest plot hole that I saw was that since the murders hold similar aspects, you would think that the police would have made the connections between them at some point. It’s not like these are completely dissimilar scenes. There are aspects of each scene that are literally identical. They look like gang or cult murders, and there’s no way a little thing like being in different towns would stop the FBI from looking into this and building some kind of file on them. Giant, very specific similarities at the scene of ritual multiple murders tend to get noticed. But despite the lack of logic in some aspects, I would recommend Sinister to any horror fan.
DVD release : 02.05.13
directed by Andy Wachowski, Lana Wachowski, and Tom Tykwer
I’m fairly certain that Cloud Atlas was created simply so that Tom Hanks could play a role other than “Tom Hanks”. Well probably not, but if nothing else, the makeup in Cloud Atlas is incredible and is the best that I’ve ever seen. Some-
where, there is a team of makeup artists with an amazing demo reel comprised completely of any one actor from this movie.
Cloud Atlas’ main draw is that it’s a series of interlocking stories that share a theme and central message. All of the main actors play several roles, spanning dif-
ferent ages, personalities, and even races and genders. Sometimes, they are simply in the background, and it gets to a point where it feels like actors are actually making cameo appearances in their own movie! Even if you keep a watchful eye, don’t expect to catch all of them. But don’t worry, the credits include images of each actor’s assorted roles. There’s a very strong urge to give Cloud Atlas a second watch, simply to see the things that were missed the first time around. Somehow, this never reaches a point where it feels gimmicky. This is definitely not Eddie Murphy in Coming to America or The Nutty Professor. Actors each play so many dissimilar characters that it feels more like a series of short and unrelated stories. And while they do link up, each of these stories is interesting and engaging enough without the linking, that the audience is kept invested and curious about all of the different storylines. When the movie was over, I felt like the stories didn’t quite lock together as obviously as I would have expected or hoped, but I still felt sat-
isfied. There was no point when I felt like anything was missing, which is good considering that the movie’s about three hours long.
Above all, Cloud Atlas feels very human. Any emotions that are drawn up from the audience are the results of empathy with the characters and their circumstances, and nothing feels forced. Violence is brutal and has consequences to all involved. Comedic scenes aren’t jammed down our throats, but just happen as a result of circumstance. Romances aren’t trite and obvious, mostly because so many differ-
ent pairings of the same actors occur.
There are many times when Cloud Atlas feels much more like a “day in the life” movie instead of an epic story. But this makes it much more accessible to people who don’t necessarily like movies of any specific genre. Everything that happens is simply a result of characters trying to survive their situations, and we’re along for the ride.
by Dan Cosgrove
february/march 2013 AUXILIARY Auxiliary’s own Hangedman had a chat with Sascha Konietzko, frontman of the legendary indus-
trial band KMFDM. Sascha reflects on their new album Kunst and their upcoming tour, the wonderful and crazy place that is the United States, and what keeps KMFDM going strong after thirty years.
Sascha Konietzko is the magnetic front man for KMFDM as well as several other side projects. He’s a man who is unafraid to be outspoken in both his music and personal opinions. On the eve of the band’s 18th studio album Kunst, there is no sign of both him and his band stopping! Sascha joined Auxiliary’s own Hanged-
man for a conversation covering everything from Pussy Riot in Russia, living in America, children in Germany, and the amazing decades long legacy of music that has made KMFDM among the most forthright and enduring pioneers of industrial rock. You have a new album coming out, Kunst, and you have this against a vast discography. What’s different about this album compared to the rest?
Sascha Konietzko : The newest one is always important to the artist. I think nearly every artist feels this way. I haven’t actually given much thought about it yet in regards to what is so different about it. Once you have spent twelve to fourteen months working on something it actually blurs your capability to be objective about it. We worked on Kunst for a little over a year and as usual without thinking too much about what is supposed to be done, things just kind of happened in such a way that it developed by itself.
You have many years behind you. KMFDM is one of the pioneers of indus-
trial and industrial rock. You have a very iconic brand and very consistent artistic message. What holds all that together?
SK : It’s basically a personal thing. If you are opinionated, informed, and in the business of writing music and lyrics than it’s pretty much inevitable. There is some firmness around the vision and resounding message resulting from this place. This is not something you can sort of want to have, you either have it or not.
Exploring this idea, you have this kind of theme, it’s been expressed from interview by Hangedman
AUXILIARY february/march 2013 K
a blue collar, proletariat point of view, you continue to have a lot of socially minded stuff. How does your social/political barometer influence your music and the band’s vision?
SK : Within the band we have five sets of different visions and opinions but it hap-
pens that we’re all pretty much coming from the same background. We all endorse similar types of values in life. We do explore freedom of speech and a very liberal point. We explore religion, sexuality, and stuff that forms our society. I think in terms of what fans get from this, I get a lot of correspondence from people who are going through hard times and say without KMFDM they wouldn’t make it through those hard times. For some the vision of KMFDM is like a beacon of hope. This is of course very very pleasant and a very big responsibility for us. This seems to be a thing in industrial culture and I often wonder if industrial culture is shifting away from the social message or if it is still very much a part of the music’s background.
SK : That’s hard to say. With the advent of accessible computer technology and the fact that literally anyone can go get a piercing, get a mohawk, and make indus-
trial or techno records. This has possibly watered down the initial sense of strong minded visions from the early days of the genre. It seems to me that there might be a bit of a dying breed going on. This is one of the things I have personally loved about industrial music, strong messages, strong points of view, people who are not afraid to tell it like it is. KMFDM has always been that kind of band.
SK : I think there are possibly two situations. One of them is there are just so many bands out there it’s hard to find the ones that are really appealing to me or it really is just a dying breed. Call them the pioneers whatever, but Ministry has had its day a couple of times, Skinny Puppy isn’t doing much, and others, some are gone, some are dead. It’s really strange to have made music for thirty years and answer questions like what keeps you going. A lot of people seem to be doing side projects too and then there’s genre split-
ting too, does that frustrate you?
SK : And there’s the whole technology thing that leads to piracy and whatnot, it resulted in pretty much a large stoppage of funds flowing into artistic projects, even “strange” music commercially. Nowadays, most of the music is being put out on somewhat grander scale via internet release and a lot of it is purely made for money. That obviously does not help to maintain a quality product. That’s a big one, especially for subculture bands, bands that are really dedi-
cated but also starting out, the music industry itself, the piracy, the competi-
tive technology is a real struggle. SK : In the old days with WaxTrax they would sell hundreds of thousands of re-
cords. That stuff was in fashion at the time and they would sink those dollars back into the bands and developing new bands. They were the atypical record company where the owners would live in a little apartment right above the shop and were really dedicated to the music. That’s how it all enriched itself. Looking at the history of KMFDM, it appears America has always been good to you. How has America shaped KMFDM?
SK : Well it was kind of like, one day I got a phone call from someone saying we were invited to open for a band called Ministry and that would bring us to the United States. To us the U.S. was like on television with shows like Dynasty and Dallas. To us the U.S. was people with cowboy hats and skyscrapers. Anyways, we went and did the Damages tour and we were like wow, people actually know KMFDM here! In Europe nobody gave a damn about it. So we basically stayed on. You are totally right, America was the turning point for KMFDM. There really was no career before that point. Is that what motivated you to move the United States?
SK : Oh yes, totally! What motivated you to move back to Germany?
SK : Well, after seventeen years I realized that KMFDM has reached its apex, not in the sense that it is going over a point and falling down or anything. But the feeling was it’s not going to get any further than this. So we wanted to develop the European scenario and get a foothold. There are a bunch of personal reasons, such as the fact that my wife started to be very pregnant and so we had been talk-
ing about moving to Europe for quite some time. Also the climate in the U.S. was getting rather poignant. After the 911 thing, and the Bush government, you know. So there were a bunch of reasons that motivated us to at some point pack up and go. It was a good thing because we were one of the last ones to actually success-
fully sell our house in Seattle before the whole shit hit the fan. It did take a long time for us to get adjusted back here. Obviously after seventeen/eighteen years of being absent it was like a new world for me. Everything had changed and I had no idea how much of it had changed. Now after five years it’s become very normal and lots of good points. So you are now settled in and it’s a good thing?
SK : Yeah pretty much. When you have kids your views change.
And some of that move was politically motivated?
SK : Yes, I could not shake this feeling in the U.S. that something was going to happen behind your back. There was this constant feeling living in a country where, it is getting more and more uncomfortable and people are getting more and more paranoid. Just the other day I was watching a guy on YouTube calling for civil war and telling people to get their guns ready. I saw that one, that owner of the gun shop video?
SK : Yeah it was some sort of trainer, yeah I think he was the gun shop owner. People are going crazy. There are other problems too. What is this stupidity about everyone having guns? It’s sad too because having lived in the U.S. for so long you probably have tons of friends still there, it’s a great country and great people at its roots. SK : I’ve always felt I’m looking at the U.S. like someone from where you are in Canada might. Yeah, it’s pretty cool but you have to be careful. [laughs] Certainly when this Columbine Massacre happened and KMFDM got all twisted up in that. That was a big fucking wake-up for me. After spending nine to ten years up to that point in absolute bliss not thinking about anything other than making music and touring and then we’re hit with this like wow KMFDM is a German Nazi band causing our children to commit massacres, I was like whoa, wait a minute! Yeah there’s a history of that happening in the music industry with fingers pointing even as far back as the 70s with Satanism and all kinds of ridiculous accusation. I guess that was a turning point?
SK : There is a tendency in the American mind of refusing responsibility whether that has to do with things like educating your children or getting absolutely mas-
sively obese. People just don’t feel like they are responsible for anything. Doctors don’t feel responsible for mistreating patients and so we have this insurance that is a bank breaker. Americans think they are different from the rest of the world. They are very self-centered and at the same time have no real sense of actions versus reactions. Has that changed your overall message in your music? Did the Columbine reaction change that?
SK : Well at that point the tenor had become this witch hunt. There was a sense of find someone who is responsible for where you [the U.S.] fucked up. The art work for the Kunst album is basically a cartoon version of a real live incident from that Russian punk band Pussy Riot and Ukrainian women’s rights organization called FEMEN. It’s basically chicks taking a chainsaw to a gigantic wooden cross. That is depicted on the cover of Kunst and the reaction is laced with controversy. Some people might say I can’t buy this album because my parents will freak out or my boss. It’s funny but it’s kind of sad. In reality the message is a good one and people get hung up on the imagery. february/march 2013 AUXILIARY MUSI C
SK : Some people just take it way too seriously and get hung up. Aside from the heavy political stuff, on a softer note, KMFDM has a great reputation of being very good to their fans. For example, I’ve often heard people say KMFDM goes out of their way to play some of the small-
er cities. Is this intentional?
SK : It’s absolutely intentional. For example, in 2004 and �05 we decided to go to Canada and just really roll up the place one end to the other. We wanted to find out what was going on there in Regina to Winnipeg to some Thunder Bay place. [laughs] You guys played in Thunder Bay? [laughs] SK : Yeah it was a place where they flip up the sidewalks after dark. [laughs] KMFDM?
SK : This was just for pure lust for life. I had just finished the WTF album and there was so much stuff, so many ideas floating around that I was like, man I have to keep crack-
ing. This energy is not something you can always maintain and so I was like just wanting to keep banging it out. I was totally on a roll, yeah.
Any plans for something else?
SK : Yeah, it’s just a matter of time. Right now we’ve been focused on the latest album and we’re focusing on a U.S. tour so it will be summer at least until I’m back in the stu-
dio. There is a time for everything. Sometimes things hap-
pen in twos and threes, sometimes it doesn’t. Okay, some fun questions, On the MDFMK tour you had a guitar playing robot that everyone raved about, From what I’ve heard that gets noted and people really appreciate it. Even in the United States people say that, they say you are always very accessible to your fans. SK : That’s something I realized very early on. When you behave like a stereotypi-
cal rock star, you’re not really making friends. Who would be foolish enough to do this? The fans are the ones that allow you to exist. It is a symbiotic relationship be-
tween musicians and fans, absolutely. If you don’t recognize that you are stupid. In 2011 you had a solo project OK.ZTEIN.OK. I’m curious, what do you feel was being expressed by this project that was not being expressed by whatever happened to that?
SK : He lives in a barn in a valley near San Francisco and he has learned to walk in the meantime. [laughs]
The last question, I just learned this recently. There’s a porn star out there, Sascha Grey, whose stage name is named after you. Are you aware of this?
SK : Yeah yeah, I heard about that! It’s kind of cool. I hear she has a band. I’ve never had a chance to listen. I should take some time and listen. Any final message for our readers?
SK : See you all soon on the U.S. tour!
Shi v-r
- Shadow Between Worl ds
rel eased by Infacted Records on 01.25.13
On Shi v-r ’s websi t e t hey descri be t hemsel ves as hard-hi t t i ng and el egant. Very apropos, consi deri ng t hi s Aust ral i an band i s one of t he sl eekest, sexi est i ndust ri al out fit s i n t he scene t oday. The musi c does i ndeed hi t hard wi t h dramat i c, dark overt ones del i v-
ered on a brand t hat i s del i cat e and si ni st er. Front -
man Pet e Crane defines t he band’s aest het i cs vi a hi s own seduct i ve sense of fashi on and i mage, combi n-
i ng vi sual s wi t h passi onat e vocal s and a si g-
nat ure “spooky sexy” synt h based dancefloor sound. There’s a sense of “got hi c hi st ory” t o Shi v-r and yet t hey remai n very current, very modern, and very awesome. The l at est rel ease by Shi v-r i s an EP, Shadow Bet ween Worl ds, whi ch i ncl udes el even t racks, predomi nant l y remi xes of current mat eri al as wel l as a few new gems. It ’s rare t hat an EP get s rai sed for revi ew st at us, but I find Shi v-r so much on a rol l t hese days, t hey are among my personal favori t e i ndust ri al bands t o l i st en t o. Crane’s vocal s are angry, sexy, and di scerni bl e agai nst a cl ub ant hem st yl e, somet i mes del vi ng i nt o macabre mel odi es, somet i mes expl odi ng l i ke dancefloor bat t l e cri es. Oft en EPs are a heral d for great t hi ngs t o come so I’m marki ng t hi s as one of t hose amazi ng t ast es of t he i ncredi bl e di rect i on t hi s band i s headed i n. I’m wat chi ng Shi v-r cl osel y, l ovi ng t hem more every day and hopi ng t he EP l eads t o an al bum whi ch l eads t o a t our as I’ve seen t hem once before and t he l i ve show i s t rul y an excel l ent i ndus-
t ri al got hi c experi ence t o behol d. Buy t hi s EP! - Hangedman
recommended track : Not hi ng
genre : i ndust ri al el ect roni c
si mi l ar arti sts : Promet heus Burni ng
9/10 : musi c 9 : l yri cs 8 : recordi ng qual i t y 9
Duck Duck Punch
- Human Chemi stry
rel eased by Truth on 01.15.13
On t hei r debut ful l l engt h, Human Chemi st ry, Mi n-
nesot an duo Bryan Rudel l and Trent Wat erman st ret ch t hei r synt hpop wi ngs and have composed a st rai ght forward genre al bum. Feel i ng more l i ke newer art i st s such as Fi scherspooner or Freezepop rat her t han 80s vi nt age bands l i ke Depeche Mode or The Pet Shop Boys; Duck Duck Punch st i l l exhi bi t an awareness of what t hei r sound i s and what t hey’re t ryi ng t o bui l d. What made me want t o wri t e about t hi s over ot her rel eases i s t hat whi l e Duck Duck Punch feel l i ke t hey were focusi ng on maki ng somet hi ng t hat sounds l i ke a synt hpop al bum, t hey got some t hi ngs so ri ght t hat I need t o poi nt t hem out. Fi rst, t he vocal harmo-
ni es are spot on; DDP have nai l ed t hei r appropri at e use on t hi s al bum. There i s enough room al l owed t o some of t he vocal t racks t o be t hei r own but t he harmoni es come i n and work wi t h t he hooks real l y wel l t o make t hem t hat much j ui ci er. Second, t he l yri cs are so wel l wri t t en, especi al l y i n “Mi dt own Hat er” and “The End”, t hat t hey ri se above t ypi cal. They del ve i nt o some personal shi t and feel real and t ouchi ng. Human Chemi st ry st art s st rong wi t h t he al bum’s cl ear dance heavy hi t t er, “RGB”. Whi l e some ot her t racks feel a bi t upbeat, t he al bum has a l ot of qui et er moment s. These aren’t bad songs, but i t ’s a st range shi ft from t he bi g opener. I had t o revi ew t hi s rel ease because I t hi nk i t i s a previ ew of an act t hat wi l l cont i nue t o grow, evol ve, and find a t rul y uni que space for t hemsel ves. Try t hi s out, i t has some good moment s and great creat i ve seeds have been pl ant ed. I predi ct we’l l hear from DDP agai n soon and i t wi l l be even bet t er. - Aaron Andrews
recommended track : RGB
genre : synt hpop
si mi l ar arti sts : Freezepop, an al l -mal e Human League
6/10 : musi c 6 : l yri cs 7 : recordi ng qual i t y 7
Ul ri ch Schnauss - A Long Way to Fal l
rel eased by Domi no Records on 02.12.13
Ul ri ch Schnauss reduces me t o wri t -
i ng cl i chГ©s and us-
i ng vague general-
i zat i ons: dreamy, hypnot i c, t ranscen-
dent al, t ri ppy. The sort of t hi ng your hi gh school Eng-
l i sh t eacher probabl y warned you about. But t hey’re rarel y more apt as a descri pt i on t han when you’re t al ki ng about Ul ri ch Schnauss. Hi s musi c creat es an i ndi sput abl e daydream-i nduci ng worl d of sounds and synaest hesi a (t he musi c i s, l i ke, t urni ng red, man). For t hi s al bum Schnauss bri ngs back hi s fa-
mi l i ar t ool ki t of shoegaze real i zed t hrough synt hs and sampl ers i nst ead of gui t ars, but al so draws from sources and sounds t hat mi ght be more at home on IDM or kraut rock rel eases. There are subt l e uses of ambi ent, percol at i ng rhyt hms a l a Aut echre and Aphex Twi n. There are moment s where t he musi c t akes t o t he cl ouds and sounds l i ke a cross bet ween a soundt rack by Tangeri ne Dream and Vangel i s. Over-
al l, i t ’s a darker affai r t han hi s previ ous records. Not t o say t hat i t ever seems t o veer i nt o a pi t of despai r or sel f-l oat hi ng, but t he soundscapes seem t o have a l i t t l e more rai n and gray cl ouds t o t hem. It ’s a st ep i n t he ri ght di rect i on, wi t h t he changes and addi t i ons t o t he musi c bei ng pai nt ed wi t h a feat her not a fire hose. Fans of Schnauss wi l l appreci at e t hat he i s not rest i ng on hi s accompl i shment s and creat i ng t he same al bum agai n, but al so i t ’s not rei nvent i ng t he wheel. Probabl y not a cont ender for al bum of t he year, but as a harml ess excuse t o sl i p away i nt o a dream for a l i t t l e whi l e on a st ressful day, you prob-
abl y won’t find a much bet t er soundt rack t han t hi s. - Paul Mori n
recommended track : A Long Way t o Fal l
genre : i ndi e el ect roni c, ambi ent el ect roni c
si mi l ar arti sts : Coct eau Twi ns, Seefeel
7/10 : musi c 7 : recordi ng qual i t y 7
february/march 2013 AUXI LI ARY 32
Broadcast - Berberi an Sound Studi o
rel eased by Warp on 01.08.13
And t hen t here’s t hi s: a soundt rack consi st i ng of 39 t racks i n 37 mi n-
ut es. The t racks are not fini shed pi eces so much as sni ppet s of a l arger whol e, and as t he pi eces fit t oget her, somet hi ng si ni st er st art s t o emerge. There i s musi c, whi ch harkens back t o 70s horror/ space Kraut rock (t hi nk Gobl i n, t hi nk earl y Tanger-
i ne Dream, bot h wi t hout t he ext ended “Jazz Odys-
sey” out ros). Most of t he “songs” cl ock i n at under a mi nut e, t hough t wo of t he pi eces st ret ch out t o an unt hi nkabl e t hree mi nut es. There are sound col -
l ages, consi st i ng usual l y of whi spers or screams or someone t al ki ng i n what sounds l i ke t ongues (whi ch al so seems sped up, sl owed down, or pi t ch shi ft ed). Doors creak, babi es cry, t he wi nd bl ows, a grandfa-
t her cl ock st ri kes t he hour, met al gri nds agai nst met-
al, somet hi ng i s drool i ng under t he bed. That sort of t hi ng. Fans of cEvi n Key and rel at ed company, pay at t ent i on; you’re goi ng t o l ove sampl i ng from t hi s al bum. Put al l of t hat t oget her, and you end up wi t h a l abyri nt h of sounds t hat t akes t he l i st ener t o a very unset t l i ng pl ace. It ’s demoni c and downri ght creepy. I heard or read somewhere t hat Dari o Argent o used t o bl ast Gobl i n songs on t he set of Suspi ri a t o keep t he act ors unset t l ed. Not sure i f t hat t echni que was used for t hi s fil m, but even at l ower vol umes, t hi s soundt rack l eaves t he l i st ener a bi t unnerved. Great t o see Broadcast rel easi ng somet hi ng of t hi s qual i t y fol l owi ng t he t ragi c l oss of t hei r l ead vocal i st Tri sh Keenan. Hopeful l y t hi s i s not t he end but a new be-
gi nni ng for t hem. - Paul Mori n
recommended track : Treat i se
genre : experi ment al, i ndi e el ect roni c
si mi l ar arti sts : John Zorn, Enni o Morri cone
8/10 : musi c 8 : recordi ng qual i t y 8
Team Ghost - Ri tual s
rel eased by wSphere on 04.16.13
In 2003, whi l e worki ng for my col l ege radi o st a-
t i on, I heard a new band whose al bum bl ew me away i n i t s perfect bl end of overdri ven shoe-
gaze gui t ar, cat chy el ect roni c hooks, and i ndi e vocal s. That band was M83 and t he al bum was Dead Ci t i es, Red Seas & Lost Ghost s. It was haunt i ng and fresh; I pl ayed t he hel l out of i t. Si nce t hen, wi t h every M83 rel ease I feel l ess and l ess l i ke I’m l i st eni ng t o t hat band I fel l i n l ove wi t h. In 2004, ri ght aft er rel easi ng t he pre-
vi ousl y ment i oned al bum Ni col as Fromageau l eft M83 behi nd. A few years l at er hi s new proj ect, Team Ghost, has hi t t he sweet spot for me t hat M83 ori gi -
nal l y di d. Ri t ual s has l ot s of t he raw gui t ar fury t hat has been sorel y mi ssi ng from M83 l at el y, i t ’s cl ear whose i nfluence t hat was. Thei r sound channel s i n-
fluences from Soni c Yout h, My Bl oody Val ent i ne, and Bri an Eno. In a current met aphor; i t ’s l i ke hav-
i ng A Pl ace To Bury St rangers and M83 t hrown i n a shaker, t horoughl y t ossed, and t hen poured i nt o an excel l ent musi cal cockt ai l, one dubbed col d gaze by NME. Ri t ual s i s an al bum t hat pi cks up t he t orch of Dead Ci t i es, Red Seas & Lost Ghost s and carri es you on t o be l ost i n t he l andscapes of some smart el ect ro programmi ng wi t h heavy washes of di st ort ed gui t ar crashi ng t hrough, fil l i ng t he cracks. The dreampop vocal s are spl endi d and work wi t h t he musi c t o per-
fect l y churn and usher you soul i nt o a euphori c mu-
si c space. - Aaron Andrews
recommended track : Dead Fi l m St ar
genre : i ndi e, shoegaze, el ect roni c
si mi l ar arti sts : M83, A Pl ace t o Bury St rangers
9/10 : musi c 9 : l yri cs 8 : recordi ng qual i t y 9
Androi d Lust - Crater Vol. 1
rel eased by Synthel l ec Musi c on 01.29.13
Androi d Lust i s back wi t h her fift h st udi o al bum, Cra-
t er Vol 1., and t hi s t i me i t was onl y t hree years i nst ead of four bet ween al -
bums. In t he past t he wai t was wort h i t and t hi s t i me i s no di fferent. What has changed t hough i s t he st ruct ure and t one of t he al bum. An-
droi d Lust fans wi l l not i ce t hat somet hi ng i s mi ss-
i ng, Shi khee’s vocal s are most l y absent from t he songs. Ori gi nal l y I was a bi t di sappoi nt ed si nce I do l ove her t al ent s i n t hat area, but upon furt her l i st ens you act ual l y remember why you l i ked Androi d Lust i n t he first pl ace, and t hat i s for t he di st i nct musi c. Each t rack has a presence of i t s own and t hey al l Krystal Syst em - Rage
rel eased by Al fa Matri x on 03.01.13
Kryst al Syst em re-
t urn wi t h t hi s hi ghl y ant i ci pat ed t hi rd al bum, Rage. Ac-
cordi ng t o t he press rel ease t he band has found a pl ace i n t he i ndi e rock scene across Europe, but I am not from Europe and t o me t hey are cl oser t o t he famous U.S. i ndust ri al rock t hat raged on i n t he 90s. It i s as i f t hey are a modern versi on of t hat, ful l of heavy gui t ars, el ect roni c el ement s, sl ammi ng drum l i nes, and opi ni onat ed l yri cs. Aft er a more t han i m-
pressi ve sophomore al bum Nucl ear, Rage i s al l t hat wi t h even more. There i s at t ent i on t o det ai l on t hi s Combi chri st - No Redempti on
rel eased by Out of Li ne on 01.25.13
Combi chri st were asked t o do t he soundt rack t o t he DmC: Devi l May Cry vi deo game and t hi s seems t o be a t rend i n t he electro-industrial world as Front Line Assembly just released one last year for AirMech. Much like the FLA soundtrack, No Redemption is not exactly an album fans of the band are going ex-
pect. Right from the start it’s quite obvious when a death metal song, “Age of Mutation”, pummels your eardrums that this is a giant step away from anything you have heard Combichrist do before. Moving through the album you don’t really get to hear any classic Combichrist, but you do get plenty of industrial metal and neue deutsche härte style songs that are much more in the vein of Rammstein than Combichrist. All the songs are well executed and hard driving with plenty of grinding guitar riffs and plenty of aggression. Apart from Andy LaPle-
gua’s vocals you would be hard pressed to identify any part of No Redemption as a Combichrist album. Understanding that this is an OST, it is nice to see that effort was put forth to create something unique for the game rather than just a classic Combichrist album. But as a fan of the band, I am left wondering if this new direction will have any influence on their album slated for release later this year. Combichrist didn’t get where they are today because they suck; if you are a fan of industrial metal there are lots of quality songs on here worth checking out. - Mike Kieffer
recommended track : Feed the Fire
genre : industrial metal, post hardcore
similar artists : Rammstein, letlive.
7/10 : music 7 : lyrics 7 : recording quality 8
entice the listener to drift off to a faraway place. This album is best enjoyed by cranking it up, stretching out on the couch, and focusing on it alone. For the 41 minutes it takes to get through it all, forget all your stresses and just relax. Yeah, you could do this with any ambient album but why would you want to risk falling asleep? What allows for this to work with Crater Vol. 1. is that it has plenty of intriguing ambient noises layered in the back of all the tracks. All the songs have a softer edge to them and noth-
ing is going to break your ear drums; gone are the days of aggressive industrial-rock. Instead you get a grown-up, complex, dark, electronic album. - Mike Kieffer
recommended track : Water Whispers
genre : experimental, indie electronic
similar artists : Access to Arasaka, Legend
9/10 : music 9 : lyrics 8 : recording quality 8
AUXILIARY february/march 2013 MUSI C
Lusine - The Waiting Room
released by Ghostly International on 02.18.13
Seattle based Jeff McIlwain has been releasing music as Lusine since 1999. His latest, Waiting Room, is an awe-
some balance of rich atmospheric pro-
gramming, techno beats, and melodic song writing. The album is fresh, laid back, and has a rich warm full tone. Lusine brings a rich knowledge of composition and elec-
tronic music history to the table that draws as much on synthpop as it does techno. Walking this careful line between the experimental and melodic feels less American and more like European giants Röyksopp, Trentemøller, or even Underworld at their most laid back. There are solid laid back beats underpinning the songs that are divided, half vocal and half instru-
mental, fully exploring the two sides of downtempo music. Each song is thoroughly thought out to keep moving, evolving, and engaging the listener. Like the above mentioned artists there’s an understand-
ing of instrumental and vocal melodies as one and the same, the female voice is blended to be another piece of the musical puzzle. I think it’s this thought process of understanding each piece of the song and its purpose that makes this such a successful album. McIlwain understands the duality of electronic mu-
sic and is able to tie its two opposing sides together. This is a release that one could easily invest serious headphone time into, picking every nuance out. On the other hand it’s also an album that holds up very well to play with friends over for drinks, warmly filling a room with its strong beats and engaging vo-
cals. - Aaron Andrews
recommended track : Without A Plan
genre : downtempo
similar artists : Röyksopp
8/10 : music 8 : lyrics 8 : recording quality 9
Psychic Ills - One Track Mind
released by Sacred Bones on 02.19.13
Psychic Ills don’t seem like the kind of band that are inter-
ested in things like technical mastery of your voice or instru-
ment. Notions like key, rhythm, and keeping your finger on the fretted note are all practiced haphazardly. Better to just keep hammering away at it until some-
thing useful comes out of the thing. Clearly taking a nod from The Velvet Underground and The Stones as a starting point, then moving up through the his-
tory of drug-induced psychedelic rock and landing with a sound just west of The Brian Jonestown Mas-
sacre, Psychic Ills are not going to win many points for originality. Most of the songs on here sound like an overdose waiting to happen and don’t rise much above a stoned-out-of-my-mind-and-can’t-get-up haze (don’t expect bursts of energy; get ready to get down and get mellow). In fact, I’m pretty sure that if a marijuana plant could actually make music, it would sound like this. Get past all of that, however, and Psychic Ills do in fact have something to say; the music wanders and warbles lazily along, but sometimes those excursions make for some really interesting moments, and it’s easy to get lost in its narcotic haze. Similar to Beat Happening, what they lack in technical proficiency is made up for with well written songs that just get the job done right. Prob-
ably not as much of a gateway drug as Spiritualized or Dead Meadow for the uninitiated, but to those of a specific demographic which has already been con-
verted, this is pretty kind stuff. - Paul Morin
recommended track : FBI
genre : neo-psychedelic revival, indie rock
similar artists : Warlocks, Dead Meadow
6/10 : music 6 : lyrics 6 : recording quality 8
KMFDM - Kunst
released by Mertropolis Records on 02.18.13
Kapt’n K and crew are back once again with their millionth album. Well maybe not millionth but Kunst is their eigh-
teenth and that is a crazy accomplish-
ment for any band. As expected Kunst falls right in line with their pre-
vious discography, not really deviating from the proven KMFDM formula and is similar to the pre-
vious albums released in the last decade. Kunst is full of electronic beats laced with heavy fast-passed guitar and poignant tongue in cheek lyrics sung by either Sascha or Lucia. The devoted fans will have little to complain about, there are plenty of enjoy-
able songs and ones like “Pussy Riot”, “Quake”, and “The Mess You Made” will easily make the cut into KMFDM play lists. Throughout the album there are partial phrases that are reused from songs on previ-
ous albums, this is not a foreign practice for the band but this time it made me want to hear the originals. This prompted me to go dust off the old albums and give them a listen. Was this a planned consequence or an unexpected result? I may never know, although I did enjoy rediscovering some of my favorite clas-
sics. If you ask ten people what is KMFDM’s best album you are going to get ten different answers, due to KMFDM’s legacy Kunst automatically gets a recommendation. Some quality time must be had to determine if it lives up to the plethora of great albums the band already has. - Mike Kieffer
recommended track : Quake
genre : industrial rock
similar artists : Everything Goes Cold
8/10 : music 8 : lyrics 8 : recording quality 8
Legend - Fearless
released by Artoffact Records on 12.11.12
Late last year I was talking to the team at Artoffact Records and they were bouncing off the walls about the new release they had coming up from an Icelandic band called Legend. A who’s who list of bands that they have been compared to was rattled off and it was claimed that this would top many album of the year charts. “Yeah, yeah,” I thought and went on my way. The promo finally reached my desk in late Decem-
ber at a frantic time so a quick listen was had with little time to digest it and I moved on. I don’t regret this. In fact, if I was to write a review then I would album, from intricate vocal layers to samples faintly hidden in the background, and these elements radi-
ate professionalism. The album sounds like a million bucks, really it sounds as if there was a big label fronting the bill to get it mastered by the best of the best. Props go out to the producing team at Studios d’Or and the Mastering team Swift, although this album wouldn’t be anything without the talents and vision of Krystal System. Rage feels a bit heavier and faster than previous works but it doesn’t over commit, think of it as Krystal System amped up. The main vocals are still shared between Bonnie and N° 7 depending on the song, and both deliver. There are thirteen songs on the album and not a dud amongst them; the favorite will change from week to week. - Mike Kieffer
recommended track : Rage
genre : electro rock, goth metal
similar artists : 16Volt, The Birthday Massacre
9/10 : music 9 : lyrics 8 : recording quality 9
have claimed that the album was over hyped and not worthy of all the attention it was getting, and it did as it made countless top album lists. So our Dec/
Jan issue went out missing Legend. The next two months I had hundreds of promos come in and every time I would look at the list I ended up putting on Legend. I needed it. Somehow this album hooked it-
self into my psyche and wouldn’t let go. I would lis-
ten to “album A” and then I would listen to Fearless. This went on and on until I realized this album is that good! There is a lot to digest here and once you learn where every drum beat, synthline, vocal, and guitar riff are you anticipate them, building anxiety for the power coming because you are about to be engulfed. This album is powerful. - Mike Kieffer
recommended track : Benjamite Bloodline
genre : EBM, synthpop
similar artists : Covenant, Depeche Mode
10/10 : music 10 : lyrics 10 : recording quality 10
february/march 2013 AUXILIARY Meet Jenny Boa, a model who says “I only do it for fun” but has an impressive range of accomplishments from cover model to runway model for big names in alternative fashion like Eirik Aswang and Abigail Greydanus to spokesmodel dressed in latex and heels on tour with Katy Perry. Her “I only do it for fun” mentality clearly isn’t a lack of drive and ambition, but rather an indication of a free spirit who is open minded and can infuse fun into her work as a breath of fresh air. When she isn’t modeling she is trying her hand at other creative endeavors or working as an exotic and domesticated animal specialist.
photographer Saryn Christina
fashion stylist Kelly Cercone of Anachronism in Action
makeup artist Stephanie Lawrence
hair stylist Jeanna Kier
model Jenny Boa
the PinUp
Auxiliary’s playful take on the sexy centerfold pin up. Flip the page, cut out, and tac on your wall!
february/march 2013 AUXILIARY THIS PAGE Outfit by Anachronism in Action.
AUXILIARY ONLINE CONTENT See more of this feature by searching “Jenny Boa” on
name : Jenny Boa
nickname : J-Bo and Jenny from the Block
birthday : March 29, 1983
birthplace : Loma Linda, California
eye color : Basically Black. hair color : I’m currently a ginger.
turn-ons : Nice people, big lips, humor, happiness, popsicles, magic, and surprises!
turn-offs : Impatience, meat, smokers, and the wind.
why do you model? : Because it’s fun! It’s like acting without all the line memorizing, sweaty palms, and nervousness! Plus you get to look all fancy most of the time. how did you get into modeling? : When I was a kid, my friends and I would get dressed up and run around in the yard taking photos of each other with disposable cameras. Later in life I had quite a few friends in art school who needed models for art and photography projects... and there I was! I’ve been doing it ever since.
favorite musical artist : It’s hard to choose just one. I’ve been in love with Depeche Mode since about the 4th grade. I also love Morrissey, De/Vision, Anything Box, and Wolfsheim to name a few. Lately I’ve been really into super girly music like Grimes, Lady Gaga, Purity Ring, and Lana Del Rey. favorite movie : The Three Amigos! But I’ll always have a big place in my heart for Jurassic Park, Labyrinth, Legend, and Buffy the Vampire Slayer. Oh man, I’m so stuck in the late 80s and 90s. favorite tv show : I want to say Walking Dead or American Horror Story but when I watch them I get really angry and yell things at the TV. So, maybe I should just say Hoarders or some other crazy TV show where people have psychological or medical problems. Oh, I almost forgot about Adventure Time! That’s a good one.
favorite cocktail : Pina Coladas! I like to pretend I’m at a tropical party whenever possible. The best Pina Colada I ever had was in Nashville, Tennessee. Weird. favorite article of clothing : Probably my high-waisted underpants from the Burlington Coat Factory. Seriously, that place is magical if you’re willing to sort through stuff.
favorite fashion designers : Abigail Greydanus and Alexander McQueen. favorite fashion style : I guess I’ll say “preppy vintage” but I definitely have an affinity for dark, sleek, edgy fashion also. favorite star/icon : Pee Wee Herman
favorite outdoor activity : Hiking through the wilderness looking for bones and fossils. For real. I come from a long line of treasure hunters.
favorite indoor activity : Dancin’! favorite club/club night/place to go out : I used to love to put my dancing shoes on and going to Das Bunker in LA. I haven’t been in a while but I bet it’s still as strange and fun as it used to be.
anything you’d like to say to our readers? : Well, if you would like to continue discovering how dorky I really am... find me on Instagram.
february/march 2013 AUXILIARY THIS PAGE UPPER
Outfit by Anachronism in Action paired with floral head piece by Topsy Turvy.
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Ask Arden
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february/march 2013 AUXILIARY what is the best way to hit on a band member?
Q : What do you think is the best way to hit on a local band member at a show?
A : It’s generally best if you know some people in common. If you’re cold-ap-
proaching a guy at his show, it’s hard to separate yourself from the fans (not im-
possible, but difficult). If you know some other people in the other bands on the bill, hang out with them and try to let him see you with them. Bonus points if you can get someone to introduce you. (See the section on multi-party introductions in my book The New Rules Of Attraction.) Then you can say something like, “hey I really dug your set tonight. How often do you guys play?” Or whatever. If you don’t have anyone in common, try to think of something to say to him eventually that’s not just, “hey I really like your music,” as that’s what everyone’s going to say to him. Once I approached a band guy at his show where we didn’t know anyone in common and I told him I wanted to use one of his songs for a burlesque show I was doing a few weeks later. This was a way of being compli-
mentary to him but also letting him know that I had cool things going on and was a performer myself.
Remember that band guys generally have a lot of work to do after a show (greet fans, load out, get paid) so if you’re going to stick around make sure you have other people to entertain yourself with so you’re not standing around seemingly needing attention. It’s a good sign if the guy says something to you like, “hey are you sticking around for a bit?” That’s rock star code for, “I really want to talk to you but I have a shit-ton of stuff to do first.” If everyone’s going to a bar afterward to hang, cool. But often in cases like these if you don’t have other people there to hang out and have fun with in the meantime, it’s best to number-close and follow up later. In the case of a band guy you can even just Facebook each other and fol-
low up there (although a number is preferable). Then, because band guys are generally social creatures, invite him out to a party or concert you’re going to before suggesting coffee or dinner. You need not actually go to a party before coffee or dinner, but it’s best for that to be your first invitation.
can a relationship still form after someone has freaked out about commitment?
Q : What are the chances that something still has hope after the guy has balked? Met a guy, instantly connected, had an intense few days until he sud-
denly freaked out because he thought we were moving too fast and he wasn’t “looking for” commitment.
A : Yeah, this happens. I have mixed feelings about this. On the one hand, freak-
outs of this nature usually happen because something is unexpectedly good, to the point where it presents the possibility of change. So, you and this guy had an intense time together, and you connected, and it was awesome. And then it became a thing; a thing that needed to be addressed one way or another. Either the two of you were to continue down this path together, or one of you was to nip it in the bud. And what this guy decided is that at this point in his life, for whatever reason, he doesn’t have the capacity to have something that’s a thing. Know, first of all, that if this had been an unremarkable occurrence, there would have been no cause for a freakout, because it wouldn’t have presented the possibility of change. It would have been one of those things that just kind of faded, or you would’ve heard from him by text once in a while when he was in the mood, or whatever. So when there’s an intensity like that, I tend to keep an eye on it because it’s a sign that there’s actually something good going on. That said, I’m also someone who is ridiculously good at embracing intense roman-
tic relationships into her life, because that’s basically at the heart of what I do. I don’t have a lot of things that get in the way of them because my life is set up to allow for a great degree of personal freedom: I’m generally either single or non-
monogamous, my work projects are freelance, my schedule is intense but flexible, and I don’t have anyone who really depends on me other than my cat. So if I expe-
rience an intense connection with someone, it doesn’t threaten much that’s going on with me, because there’s nothing in my life that needs to change that much in order to go down that road. But not everyone is like me. For some people, embark-
ing on a romantic or sexual relationship necessitates enormous changes in their lives, whether it’s on a tangible level (scheduling, priorities, social circles, etc.) or one that’s less so (oh shit! feelings! this feels weird and strange! oh noes!). Keep in mind that to some people, the idea of a relationship actually threatens their very sense of identity. Some people are very invested in living in their current stories, whatever those stories may be, and they don’t know who they would be without them. For example, I dated a guy once who was bisexual and had a deeply in-
grained story of, “I only get into romantic relationships with men; I just fuck girls for fun.” So we were fucking for fun, four or five nights a week, for eight months. (Like, really?) But admitting that he was in a relationship with a girl would have threatened his sense of identity on a very deep level, and eventually he chose to end things because getting to continue living in his story, even if it meant being alone, was a more preferable option than engaging with something that he enjoyed but which would have required a deep change in his self-image. (And by the way, those eight months really sucked as far as my anxiety and self-esteem went.) If you have someone who is invested in a story of, “I don’t do relationships,” or even simply, “I’m not ready for a relationship right now,” it’s going to take a lot to get them to change their minds on that. Fuck, it’s even hard to break someone out of a completely miserable story like, “no one will ever love me,” or, “I don’t deserve to be happy.” I’m sure you’ve met people like that, right? They choose situations where they get to be miserable, over and over again, because that’s what they’re used to and the story they’re invested in. Who would they be if they suddenly had to be happy? They can’t answer that question, and so they don’t engage with it. It is a really sad fact of life how scared people are of change. I see people all the time who choose to stay in unhappy circumstances because it is easier to remain in your comfort zone than pursue hap-
piness outside of it. “Better the devil you know,” and all that. And I’m just not at a place where I’m going to tell any woman to stick around with someone when it feels like she’s pulling teeth. This may sound obvious, but one of your requirements for someone you’re going to be in a relationship with should be that they actually want to be in a relationship with you. Ding! Sounds obvious, right? But how many of us hang around and compromise and put up with some-
one’s fence-sitting for months on end? I’ve done it, and it sucked, and I’m not do-
ing it again. Fuck that. You wait for no man. Support this guy’s decision to do what he needs to do at this point in his life. If you care about him, let him know you’ll be there for him as a friend and that the door is open when he wants to come back, and maybe at some point he’ll chill out and feel comfortable around you and be ready to start things more slowly, at a pace that’s easier for him. But in the meantime, you shouldn’t put your life on hold, because you may meet a guy who you feel just as intense with, who is ready to step up to the plate and unabashedly, enthusiasti-
cally welcome you into his life. Which, at the end of the day, is what you deserve.
written by Ashley Godwin
illustration by Michael Maglio
Bettie Page is undoubtedly a legend known worldwide for her pinup, nude, and campy bondage photographs and her trademark bangs. Beloved by many different subcultures and an endless source of inspiration for artists, including the new documentary film Bettie Page Reveals All by Mark Mori, Bettie Page is clearly an icon.
AUXILIARY ONLINE CONTENT Read more of this interview by searching “Bettie Page” on
For more information on Mark Mori’s documentary visit
AUXILIARY february/march 2013 BETTIE PAGE
Bettie Page is undoubtedly a legend known worldwide for her pinup, nude, and campy bondage photographs. Her look is timeless and exudes a sexiness that is hard to deny, but there is definitely more to this woman than just a sexy trademark hair-
cut. What is most interesting about Bettie Page is that she never started out with the intention to be any of the things she would later become, and up until the last day of her life never fully understood her own fame. She didn’t seem to realize that the way she felt and acted was revolutionary for the time, and despite all the grandiose titles, Bettie Page was a woman of humble, however dysfunctional, beginnings.
Bettie Page grew up in Tennessee as the second of six children in a family where her mother had only ever wanted boys, and she and her sisters were the victims of sexual abuse at the hands of their father. What’s truly exceptional about her early years is that Page didn’t allow this devastating circumstance to stop her from achieving her goals and making something out of her life. She graduated from high school second in her class with a scholarship to George Peabody College where she had intended to study to become a teacher, but decided on acting instead, tak-
ing the first steps to shape the future for which she was destined. Page’s career first started to take shape after divorcing her first husband and mov-
ing to New York City. It was there that she first starting posing for the camera clubs that would initiate her cult celebrity status. Everyone wanted to photograph Bettie Page. She was fun and happy, always smiling and laughing. It was obvious that she enjoyed modeling and she was very good at it, offering a variety of poses and fa-
cial expressions for the photographers to work with. Over the years, Page travelled between Florida and New York, working with Bunny Yeager and Irving Klaw, both of whom had a major influence on what would eventually make her famous. It was Klaw that had Bettie Page doing the bondage photographs for which she is most famous, while Yeager is responsible for sending a picture of Page to Playboy Magazine that would become the first holiday centerfold in the magazine. I first learned about Bettie Page when one of her bondage videos was being pro-
jected onto a screen at a local fetish party. Page was not into bondage herself, the woman didn’t even smoke or drink, but she loved to act, and the various depictions of her leather-clad as a dom or a sub offered a number of opportunities for Page’s talent as an actress to shine. This is probably why her bondage photos remain some of the most sought-after to this day. So, why is Bettie Page such a revolutionary? She represents a nod to a sexual era that has long since passed, though many try to recapture it, where women could feel sexy without having to try to live up to the ridiculous standards of modern day runway models. Bettie Page is a symbol of sex without shame, of being happy with oneself and not allowing society to tell us any differently. We are too often bombarded with images telling us how to live, how to act, what to look like; Bettie Page, in some ways, represents the antithesis of that. It’s easy to see why so many people are interested in Bettie Page and her life story. She is a charismatic, provocative, and genuine individual who helped usher in a sexual revolution and has taught countless women over several decades how to feel beautiful in their own skin. Many people have attempted to tell the electrify-
ing story of Bettie Page through movies, books, and the like; however, Academy Award nominated documentary filmmaker Mark Mori succeeded in doing some-
thing that the others have not. He enlisted the help of Bettie Page herself to person-
ally tell the world her story in his documentary film Bettie Page Reveals All, which will be available to the public this summer. I had the pleasure of speaking with Mori about the making of his film and the captivating life of Bettie Page.
What initially attracted you to Bettie Page’s story, and why did you think that her story was important enough to produce a documentary about her?
MM : When I first [heard] about Bettie Page, my entertainment attorney had taken me to lunch, and he had a prepublication copy of Bettie Page: The Life of a Pinup Legend. That was in 1996. I recognized her image, but I didn’t know her name, and I didn’t really know her story until I read the book, but he was able to put me in direct contact with her. I just thought it was a great subject for a documentary.
What do you think is the single most important aspect of her life that has LI FESTYLE
caused her to stand out so much in history?
MM : The most important thing to me is her attitude, her spirit, who she was. Just the force of her personality... and she’s completely unaware of the affect she has, and that’s part of her charm. This very intense sexiness combined with this disarm-
ing innocence, so it has an appeal to everybody. Like, Marilyn Monroe is a big unreachable movie star, but Bettie is the every-person’s sex symbol
Why do you think Bettie Page is considered to be such a pioneer? Some say that Bettie Page was a feminist, do you agree with this statement?
MM : Well, Bettie would never call herself a feminist. She didn’t think of it, but she lived it. I mean, she went to New York in the late 40s, a single woman, on her own to make her way. She was adventuresome. She was looking for something in the world besides being a housewife or doing something traditional. So, she was a successful, single woman in New York all through the 50s, so in that sense she was living the opposite life than the dominant culture was telling women that they were supposed to do. You know, “go be a housewife, have kids, live in the sub-
urbs,” you know, that sort of thing... and also, the posing and photographs she was doing were overcoming the sexual repressiveness of the 50s. This is the precursor to the sexual revolution in the 60s, and a lot of people think Bettie Page had a lot to do with that because it’s guilt-free sex with Bettie. That’s the kind of attitude that you get from her. Bettie Page’s signature look is often duplicated, especially by those in alter-
native scenes. Why do you think she is someone that people in alternative culture can relate to or want to be like?
MM : Well, it’s funny, it seems to me that what you might call outsiders identify with Bettie. Almost any outsider culture whether it’s gay, fetish, comic book, tat-
too, you know, it’s hard to think of an outsider culture that doesn’t think highly of Bettie Page or even have Bettie Page as their Patron Saint. Bettie essentially was an outsider in her time, I mean, what she did was not acceptable, and I think it’s her free spirit, and the fact that the mainstream culture has not accepted her. Even though fashion designers have adopted her and been influenced by her and her influence is more widespread than ever, still mainstream culture is not into Bettie Page. If she was in mainstream cultures maybe these [outsider] cultures wouldn’t identify with her so much. But I think it’s also [that] she’s kind of campy... she’s doing up this whole kind of costume thing and having fun with it, and I think that’s part of it, at least for some subcultures. What are the differences between Bettie Page the woman and Bettie Page the legend?
MM : Well, one of the things about Bettie Page the legend that I’ve realized is she has this quality, or at least her images do, where people can kind of project what they want onto her. People, especially some of these young women, feel a real emotional connection with Bettie in a way maybe because they need to. There’s a kind of projection onto her, you know, this idea of confidence in your sexual-
ity, and sexual freedom, and all of this because it’s not like [Bettie] was exactly advocating that. But I think Bettie Page the legend comes from Bettie Page the person, but Bettie Page the person could not understand Bettie Page the legend. In other words, I think it was the force of her personality ultimately that propelled the legend. Obviously her beauty, and her sexiness, but it’s the force of her personality behind that, driving that, that creates the legend essentially because without that there wouldn’t be anything.
Bettie Page was dealt what some might consider a difficult hand in life, but she didn’t allow her past to prevent her from doing what she really wanted to do with her life. Miraculously, she did all this with a simple and engaging style and grace during a time when everyone else was shaking a finger at her, chastising her, and telling her what she was doing was wrong. Given all this, it’s easy to see why she is such a strong role model for alternative culture, and yet can also continue to be a major influence in the mainstream, and will most likely remain as such for years to come. In her own words, “I was not trying to be shocking or to be a pioneer. I wasn’t trying to change society or to be ahead of my time. I didn’t think of myself as lib-
erated and I don’t believe that I did anything important. I was just myself. I didn’t know any other way to be, or any other way to live.”
The 13th annual Edwardian Ball held in San Francisco at the Regency Ballroom left us wanting more. Spanning three rooms and two evenings, The Edwardian Ball is unforgettable in spirit and size. Edward Gorey would be proud of the ballroom, museum of wonders, and obscure vendors who have paid him tribute for a lucky thirteen years.
written by Jessica Jewell
Over ten years ago, Rosin Covin, a group of Bay Area artists and performers were inspired to pay homage to the prodigal Edward Gorey. Originally hosted as the “Gorey Ball”, the event they envisioned evolved into a decadent gala for Gorey enthusiasts to congregate in their finest corsets, spats, and millinery for a reverent soirée. That is how the annual (now) Edwardian Ball and World’s Faire came to be.
Haunting illustrations of stretched out figures scurrying along gas-lit parkways, grasping crooked umbrellas. Little children scratched onto paper with ominous guardians trailing behind. The nightmarish yet endearing images of Edward Gorey have inspired for decades. A prolific icon, Gorey wrote over one hundred books including favorites like: The Gashlycrumb Tinies, The Wuggly Ump, and The Tiron Tonic. He also illustrated the covers of a litany of other famous authors’ books in-
cluding H.G. Wells, John Updike, Samuel Beckett, Charles Dickens, and Virginia Woolf. The 13th annual Edwardian Ball was held January 18th and 19th at the Regency Ballroom in San Francisco. The event brought theater, circus, and cabaret acts, live music, DJs, parlor games, and a Vendor Bazaar under one roof for Edwardians to whimsically peruse. The extravaganza united literary fans, steampunks, goths, burners, and everyone in between to celebrate the life and work of Gorey in an opulent display of bustles and top hats.
Ball fashion ranged from Gorey characters brought to life, classic Victorian rega-
lia, steampunk with gadgets and watches, flappers straight out of a speakeasy, and all things androgynous and obscure. One woman’s outfit included a giant squid encircling her bodice from below, tentacles like tendrils, encircling her in a deathly scene shipwrecking vessels tangled in the crossfire; porcelain face smiling all the while. Another striking couple donned gauzy, melancholic period outfits and had painted gray scale skin to match. Living statues. They glided through the ballroom beneath two crystal-laden teardrop chandeliers silently watching them below. One of the ball-goers was straight out of a Gorey illustration. Tall and solemn, he wore a long black coat illuminated by staring eyes glaring bright blue and held a sparse umbrella. The attention to detail people invested was unparalleled.
The Regency was divided into three different areas: the Grand Ballroom, Vendor Bazaar and Piano Saloon, and a Museum of Wonders: an Edwardian Odditorium.
The Ballroom hosted the evenings’ main stage performances and ballroom danc-
ing complete with a VIP balcony area. Every year the center stage in the Grand Ballroom is themed after a different Gorey tale. Saturday evening was highlighted by a reenactment of The Doubtful Guest. Together with the Vau de Vire Society, Rosin Covin put on a dynamic, the-
atrical performance for an evening of twisted wit and charm. Performers achieved stillness reminiscent to reading the story in real-time while breaking up the nar-
rated scenes by leaping and contorting to bring the audience straight into the story. Rosin Covin masterfully added color to the production with live music accompa-
niment while dressed in Edwardian-inspired costumes. “Belle of the Ball” Jill Tracy also made an appearance at the event. “Thus, The Edwardian Ball, thirteen years later, remains a brave testament to authenticity: being anything you wish to be, escaping the cage of convention, honoring your passions brazenly and unapologetically, holding on to your dreams at all costs,” Tracy stated in a blog written for The Edwardian Ball. Her cabaret, avant-garde tunes echoed through the space. She shared the stage with an upright bassist and percussionist to create an amal-
gamation of sound that set the stage for the evening before the ball got into full 42
swing. “My concert is usually early in the evening; my dark, cinematic sound a perfect bridge between the classical waltzes and the more-intense Gorey theatrics. When my band takes the stage, I’m always thrilled when a few people will con-
tinue to waltz to my own songs. I don’t normally see audiences waltzing at my concerts, so this was enchanting to me. I sometimes change the arrangements a bit when I see the crowd dancing. It’s a thrill as a composer to tailor these pieces on the spot, and tap into that synergy. I never know what to expect,” Tracy said.
all of its materials from the U.S. and tries to use Californian leather whenever possible. “There are eclectic people and amazing customers here unlike any other LI FESTYLE
The downst ai rs Vendor Bazaar and Pi ano Parl or t empt ed vi si t ors wi t h t wo rooms of haberdashery and t ri nket s i n every shape and si ze. Wander-
i ng t he ai sl es, shoppers coul d find del i cat e si l -
ver hummi ngbi rd skul l s, exqui si t e l eat herwork, bl oomers, headdresses, and even hand-
made i nk.
Aradi a Sunseri, a vendi ng art i st, showed off her ornat e headpi eces; each one t aki ng upward t o four t o si x mot hs t o compl et e. “Al l of t hese come from dreams and god-
desses,” Aradi a sai d. Uni que, t he pi eces are decorat ed wi t h vi brant feat hers, baubl es and ani -
mal s bones. Al l her mat e-
ri al s used i n her proj ect s (t ext i l es and organi c) are ei t her gi ft ed or found and are made from recycl ed mat eri al s. Aradi a shared wi t h Auxi l i ary she’s, “obsessed wi t h t ext i l es and det ai l.”
A professi onal t ri bal bel l y dancer and ri t ual movement art -
i st wi t h over fift een years of experi ence, Aradi a ori gi nal l y desi gned t hese headdresses for her own performances. Aft er bei ng approached mul t i pl e t i mes for commi ssi oned proj ect s, she deci ded t o make her vendi ng debut, at t he Edwardi an Bal l. “I l ove t hat peopl e are exci t ed by ori gi nal i t y and expressi on here,” Aradi a sai d.
The St eampunk Hat t er al so j oi ned t he Bazaar for i t s second year. The shop owner, St ranger, showcased hat s craft ed from l eat her and ot her mat eri al s. The shop offered handmade hat s for burners, got hs, and st eampunks. Some were decorat ed wi t h gears, ot hers had t arni shed skul l s, whi l e ot her i t ems had a post -apocal ypt i c t arni sh t hat made t hem l ook l i ke t hey were st rai ght from Bl ack Rock Ci t y. The St eampunk Hat t er sources event,” St ranger sai d.
One ot her shop al so i n i t s first year was Professor Asperi t y’s Ink. Owner Tom Wendt al so dabbl es i n handmade i nk from oak gal l. Hi s boot h was adorned wi t h aged parchment paper, qui l l s, and i nk for pass-
ersby t o t ry t hei r hand at cal l i graphy usi ng hi s speci al i nk. He shared wi t h Auxi l i ary t hat he has been craft i ng t he i nk and t he hobby for t wo years by usi ng wal nut i nk t o di st ress paper i n t he past unt i l he st art ed t o make t he i nk hi msel f. Fi nd hi s pot i ons i n Berkl ey at Cast l e i n t he Sky.
Wi ndi ng up t he st ai rcase on t he t hi rd floor was t he Museum of Wonders. Prof. Phi -
neas J. Fl ockmocker III F.H.S.G. and hi s st eam-
powered cont rapt i ons awed t he crowd before peopl e passed t hrough a si deshow of oddi t i es, mermai ds, and an i l l -
t empered woman wi t h a scorpi on body who t aunt ed bal l guest s. Once i nsi de, peopl e met a cavernous, el -
egant room wi t h anot her st age and an exposi t i on from Ki net i c St eam Works proj ect t hat feat ured st eam-
powered ki net i c art. The ent i re floor was dedi cat ed t o i mmersi ve, sel f-
gui ded morbi d art i nst al l at i ons i ncl udi ng a l i ve human st at ue garden, t axi dermy, and fort une t el l i ng from Owl Tree Heal i ngs whi l e bei ng serenaded by a l ul l aby from an aut hent i c 1900s pi pe organ.
Whet her vi si t i ng t he absi nt he bars, wat chi ng one of t he many performances, or si mpl y peopl e wat chi ng, The Edwardi an Bal l proved t o be an unforget t abl e event i n spi ri t and si ze. Wi t h t housands i n at t endance, i t i s hard t o not get overwhel med by t he sheer scal e and preparat i on i nvol ved. The venue set t he st age and t he care peopl e put i nt o st ayi ng i n charact er made for a magi cal eveni ng of curi osi t y and wonder.
It i s not t oo l at e t o see for yoursel f, The Edwardi an Bal l i s comi ng t o Los Angel es February 24t h t o cont i nue t he pecul i ar revel ry, t hi s t i me at t he Fonda Theat er i n Hol l ywood.
You’re sisters and it seems like you’ve always been joined at the hip. Can you tell us a little bit about your childhood?
T : As a matter of fact, a friend of ours who’s one of the founding members of the Alice Cooper band, Dennis Dunaway, he calls us the “Siamese sisters”, we’re so joined at the hip.
S : Sometimes we’ll say the exact same thing at the exact same time, sometimes we’ll just… start singing!
T : Which is very weird.
S : In the same key, at the same point in a song. It’s just so funny, it freaks people out!
T : Yes, we’re definitely… connected.
S : A psychic told us we were supposed to be twins, but somehow Tish was late.
T : I’m usually the late one.
S : There’s no one else in the world that we have such a history with. We’ve known each other longer than anyone else in the world! But we’ve always been like this; Siamese-y.
As children, did you always play together?
S : We did!
T : Most of the time, yeah and we moved around a lot and I think that had to do with it too, cause sometimes we’d move to a place and we had no friends, but we had each other!
S : We’d lived in the city when we were kids and then we moved up to the country and we didn’t know anybody. We didn’t really want to go outside and play in the country, we were city kids! So we’d just stay upstairs in the attic all day drawing, little comic strips and stuff, all day long. I remember piles and piles of papers of our drawings.
What were your parents like? Who got you started with artistic, creative thinking?
T & S : Our mother!
T : She was a commercial artist and she used to design greeting cards and baby books and wedding books and she would encourage us to draw. We’d draw things and say, “oh, we’ve got a great idea for a card!” and she’d say, “oh okay, I’ll give you a penny for that one.” She also designed wrapping paper so we started design-
ing wrapping paper and she always had to buy our wrapping paper. We got the business things from our father who’s a businessman, but he left when we were re-
AUXILIARY february/march 2013 Sisters Tish and Snooky are the owners of Manic Panic, the alternative cosmetics company founded in 1977 that provided American punks with the shocking hair colors that defined their look. Together they opened the first punk rock boutique in America, and saw their hotly hued style evolve from anti-fashion theatrics to mainstream celebration.
interview by Ariana Paoletti
photographer Ron Douglas
photography assistant Jenn Kowalik
Dresses by Ming Walker with rhinestone rune detailing by Cindy Dunaway.
Manic Panic
ally little kids so we were raised by our mother and she always encouraged us in ev-
erything we did, artistically, musically, and in business, she always encouraged us.
S : She even named Manic Panic!
T : One of our favorite toys was glitter...we were very poor. So, she used to have these little jars of glitter that she used to use on the greeting cards, you know, for making a mockup of an idea and if it was a Christmas card or something you’d sprinkle some glitter on it so she had all these different glitter colors! That was one of our toys... we loved glitter, it was all over the house! Then when we got older I remember I started using it as makeup and then my mother started freaking out because some of the glitters she had were made out of glass! And I had green glit-
ter eyebrows and stuff.
How did you come to be involved in the punk scene? From looking at your scrap book, you were already performing and going to clubs before it even happened...
S : We were! We were going to Max’s.
T : It was the glam days! We called it glitter rock.
Okay, tell me about your glam days, and then we’ll get to punk.
S : We started going down to Max’s. We lived in the Bronx with our mother and so we would get on the subway, put on our subway shoes and schlep to the subway. It was the last stop on the 1 train and we’d have an hour to put on our makeup on the subway before we got to Max’s.
You did your makeup ON the subway??
S : We always did, we’re really good at it! We’d leave the house at midnight and schlep down to Max’s and then right before we got there we’d take off our flat, ugly subway shoes and hide them in the bushes and put on our spike heel stilettos and prance in to Max’s pretending we just got out of a cab [laughs] instead of an hour-long subway ride from the Bronx.
T : We usually would go through the turnstile together (Siamese sisters again!) so that we could save a fare. It was really rare if we even had money for a drink, we hoped somebody would buy us a drink.
S : Somebody always did. [laughs] We’d always have the best time, with no money.
T : Then the scene started changing, and getting a little more grimy looking and a little more leathery, and just changing into punk rock. We met these people, friends of ours, Gorilla Rose and Tomata du Plenty. They got us into this show at the Bow-
ery Lane Theatre, called the Palm Casino Review, and it was across the street from CBGB, so in between shows [at CBGB] we did two shows a night.
S : We would run across the street to CBGB and different bands would be play-
ing, and one night Gorilla said to us, “You have to come and see this band The with Gorilla and Tomata.
T : And the scene just kept kinda, changing! There was a time where nobody knew what to wear, going from platform shoes into sixties stilettos, going from glittery stuff into more leather and spandex and lace.
S : [shakes head in agreement] Yeah!
When you were involved with your bands, the Sic Fucks and Blondie, it looks like you made lots of matching outfits with props for your shows. Did you always do different looks?
S : Well, in Blondie we used to go thrift shopping!
T : Yeah, the three of us would go to thrift shops out in New Jersey and we’d sometimes find like, three really stupid outfits that we would trash up, make into something else. I remember we wore those jodhpurs one night...
S : Oh yeah, we’d always wear different things, and then in the Sic Fucks people would come to see what we’d be wearing because we’d always wear something different and it was always something wild!
T : The first time, you had the Girl Scout outfit [points to Snooky], with a green wig, and the outfit was cut, ripped up, and chopped really short and you had on those window pane stockings! They weren’t fishnets they were window panes. I don’t know if you’ve ever seen those but they were really big square... things. They were in green and you had those on with garters and stuff and I was dressed as a bloody nurse or something and it was all chopped up with the little hat, and I think I had a lilac-colored wig or something.
S : Then our mother had the idea that we should dress up as nuns!
Your mother?!
S : Yes! She didn’t say about the stockings and garters and stiletto shoes but, [laughs] the concept was hers.
T : And we did garbage bags, we wore plastic garbage bags belted with gaffers tape and we made them really cool, and then they used that in some movie! Some-
body used it, they have a whole crowd wearing garbage bags.
S : Then our fans made us those giant hatchets, two of our fans from Philly. They were these giant hatchets...
T : ...cause we used to do “Chop Up Your Mother” and we would do the action of the chop. [sings] “Chop, chop, chop up your mother!” [makes chopping actions] And we had no hatchets at that time, and now we have hatchets!
You ladies opened your store on St. Marks Place in 1977. What was that neighborhood like at the time?
S : It was totally desolate, there was nothing happening. The rents were really cheap. There were a couple of vintage stores on the block and lots of empty store-
Ramones at CBGB’s t hey j ust bl ow me away, you’re gonna l ove �em.” And sure enough we di d.
T : I t hi nk we were t hei r first femal e fans, t he cl ub woul d be empt y and we woul d go every t i me t hey pl ayed and st and by t he si de of t he st age and we j ust l oved t hem. Then we met The Di ct at ors, and al l t hese ot her bands st art ed pl ayi ng t here and i t grew i nt o t hi s i ncredi bl e scene... i t j ust grew from t here!
Tel l me about how you started si ngi ng i n bands.
T : We were si ngi ng i n Bl ondi e i n t he earl y days of CBGB’s, defini t el y i n t he t ransi t i on peri od. We were goi ng t o see Eri c Emerson who was an Andy War-
hol st ar and he used t o have a band cal l ed Magi c Tramps. They were pl ayi ng at CBGB’s and Leat her Secret s were pl ayi ng... t here were t hese bands t hat nobody ever wri t es about, real l y. They were pl ayi ng t here first and t hen we met Bl ondi e, Debbi e and Chri s.
S : They saw us i n t he Pal m Casi no Revi ew so t hey dragged us i nt o t he act and um, Art uro was t here! [The creat i ve di rect or of The Ramones.] He was worki ng wi t h The Ramones, and Art uro was fri ends front s… Doj o rest aurant.
T : The bl ock had di ed. It was popul ar i n t he 60s and i n t he 70s t he economy got bad and i t was real l y bad.
S : It was scary, t here were l ot s of j unki es, and cri mi-
nal s, i t was dangerous... but i t was cheap!
T : There were wat erbugs al l over t he st reet.
S : Yeah, and t he rat s.
T : There were j ust peopl e scurryi ng around who di dn’t have anyt hi ng t o do.
...great pl ace to open a store!
[t hey bot h l augh]
S : It was onl y $150 so we [t hought we] can probabl y manage t hat.
Di d you come up wi th the i dea of starti ng a store before you saw the pl ace?
S : Yeah, before we were doi ng t he rock n rol l rum-
mage sal es wi t h a fri end of ours who had a l oft on Second Ave, our fri end Gi na, Gi na Frankl i n. And so we put up flyers al l over and i nvi t ed peopl e t o our rock n rol l rummage sal es. We’d j ust bri ng our ol d 45
february/march 2013 AUXI LI ARY stuff from home.
T : We had Johnny Thunders’ scarf! That was one of the things that made it rock n roll.
S : Then Gina baked cookies or something that she was selling, it was really fun! And then we thought, well let’s open a store, as a sideline to our singing career. We looked around for spaces with Gina, our third partner, who dropped out after just a few months, maybe a half a year. It was awful for her, because we’re such Siamese sisters we’d have meetings and vote on things, and we’d always agree! And outvote her and she couldn’t stand it.
T : Then Hilly asked us, Hilly from CBGB’s asked us if we wanted to open a little shop in the CBGB Theatre, which was a short-lived theater that he opened. Oh, it was great! We made it really nice, everybody came opening night... Mick Jagger was there, and David Bowie, all these people were shopping in our little store.
When did that open?
T : It would have to be in �77... yeah it was probably at the end of �77 or the begin-
ning of �78 because we had Christmas with Gina. It was cold out when the theater was open, and the fire department came and they were trying to shut them down and there was a big to-do. So then she was fed up with us. [both laugh] So she said, “how about if I take the theater and you keep the store and we’ll both be Manic Panic but you’ll have that one and I’ll have this one and we can sell each other’s stuff and we can still all be friends? I’ll keep the TV and you take the toaster.”
S : It was like a divorce, y’know? But we were still going to be working with each other, kind of. Unfortunately for her the theater closed like a month later.
T : Yeah, a couple of months.
S : Oh, it was awful. [they lament] And when she plugged in the TV, it exploded! It wasn’t us! She wanted the TV. So anyway, we’ve carried on without her, just the two of us. We gradually started hiring people. In the beginning we were just work-
ing the store ourselves and singing at night, rocking all night, working all day.
At what point did you get serious about your store, when you realized you’d make a living at it?
T : I don’t know if we’ve ever gotten serious, but I guess we get the job done! I guess we are maybe serious... is serious the word? I guess we’re focused! I would say focused. We got more focused.
S : Everybody was ripping us off and knocking us off and so [we thought] this is OUR thing and we really should focus on it and take it seriously, because other-
wise everybody else is gonna make money off of our ideas!
What ideas were copied from you?
T & S : Everything!
T : A company knocked-off our hair color, he called it Manic Color. And we had to get our lawyer to have him stop calling it Manic Color... he changed it to some-
thing else, ah, who cares!
S : We’ve become the brand name for this kind of hair color.
T : That’s true!
It seems like there are a lot of amazing people that grew out of the early punk days that really became NYC legends, can you name any other people you hung out with that also “made it” in their own way?
S : Oh yeah, well, Debbie Harry, Cindy Lauper, and Talking Heads.
T : All the rock bands, it was just amazing because at night you’d hang out at CBGB’s and in the daytime you could stop by Manic Panic, hang out and just, SO many people were in and out, the B52s, even Cher shopped at our store; she didn’t hang out, but she shopped. Prince and all these people...
S : Patti Smith would come by the store with a whole pile of copies of her poetry and sign them all and say, “here, sell these and it’ll help pay your electric bill.” Oh, she’s so cool!
T : Yeah, and Howie Pyro was our first employee and then he ended up in Danzig. Anne Magnuson became a movie star!
S : So many people from that scene went on to great things. I mean, The Ramones! And The Dictators! Helen Wheels too, she was a singer.
In other interviews you’ve mentioned that Patricia Field bought some cloth-
ing from you, she seems to show up all over New York in this era!
S : She does! And she had a store down on 8th St...
T : She was like, the West Village. We always thought, “oh, that’s another world over there, that’s West Village.”
S : “That’s EXPENSIVE over there!”
T : But she did order one of my hand-made sweaters. I knitted these sweaters and embroidered these musical notes on and she bought one of those. We used to de-
face things. [both laugh] Who was it... Farrah Fawcett or David Cassidy?
S : We’d find all these old T-shirts, I guess from the early 70s or something, in these Job Lot-kind of stores, of like, Farah Fawcett and David Cassidy and we would put cigarette burns in them and safety pins and totally deface them and then write something on them. Somebody we know has one of them...
T : Bob Gruen, I think bought this really obscene shirt that I made for Sylvain from the New York Dolls, maybe it was the Son of Sam [shirts].
I saw those in some photos!
S : Yeah, those were Tish’s creations.
T : When Son of Sam first came on the scene he wrote these letters so what I would do is hand-paint these letters in his wacky, psycho handwriting onto the t-shirts, cause we didn’t have silkscreen or anything so I would hand-paint them and do bloodstains and do cigarette burns through the blood stains so they would look like bullet holes. I would wear them and then people wanted to buy them so I started making them.
S : Dead Boys were her biggest customers, they loved those.
T : Yeah, there’s pictures of Dead Boys in all different Son of Sam shirts that I made. I thought, “if I get murdered by Son of Sam in the T-shirt it’s definitely going to make the news.” Cause he was killing in the Bronx and Queens, and we lived in the Bronx and we were rehearsing in Queens because we were in The Dropouts at that time.
Did you face discrimination or sexism because of who you were while building up your business?
S : Oh yeah, we definitely did. I remember walking down the street after having visited a friend of ours in the hospital, my good deed! I was wearing my favorite outfit, this big leopard artist’s smock… thing and these wacky boots. I’ll never forget it! I was walking down 5th Avenue right by Central Park and this guy in a Rolls Royce or some big, fancy car pulls over to the curb, rolls down the window and says to me, “y’know, you look absolutely ridiculous! Absolutely ridiculous!” He had to say it twice, to make sure I got it. And then on the subway we’d be tortured for the way we looked.
T : I remember one time we were putting on our makeup [on the subway] and somebody smashed the glass behind us, some guys were bothering us. Then an-
other time was the opening night of the Mudd Club and a band called Schrapnel was playing and we had left and we were trying to get a cab on the street and this carload of kids from Long Island got out and started harassing us, there was a trend of punk-bashing going on at the time. People from the �burbs would come in and beat up punks... cripple people. So they started this whole big fight and some of the bands, Schrapnel came to help us so there was a big street fight, it looked like West Side Story! So somebody tapped me on the shoulder and I turned around and he sucker punched me! I did this dying swan thing... I still remember the dress I was wearing because the Punk Awards were first, John Holstrom had the Punk Awards for his magazine [Punk Magazine] and then they had the party at the Mudd Club. So that was like, punk-bashing.
S : We were also discriminated against for being women in business. Nobody took us seriously because of the way we looked and because we were women. They just thought, “oh these stupid girls.”
T : I remember we would go shopping in England and get all this fantastic stuff and bring it back and then our competitor down the street would send his employ-
ees in to see what we were selling, find out where it was made and buy some of it. When we would get back [to England] they would say, “oh I’m sorry we’re selling to your competitor, and I can’t sell to you anymore.” Basically because he was a man and he had more money.
S : One day I was sitting in the store and some salesman came in and he said, LI FESTYLE
AUXILIARY february/march 2013 “I want to talk to the owner of the store” and I said, “I’m the owner,” and he said, “No, no, no, the real owner,” and I said, “I’M the real owner!” and he said, “NOOO, I mean the real owner, the MAN.” He wouldn’t believe me and left in a huff.
You’ve successfully run a business for over 35 years, do you have any advice for those from the alternative scene who wish to start their own creative enterprise?
S : Yeah, we always tell people to follow their T : Even if they had women working for them, they weren’t performers, so somebody could come up into Manic Panic and ask for some kind of fixative or something and we’d have it! We had everything for theatrical makeup and still our cosmetic line is over-the-counter but it’s theatrical, most of it.
S : It’s what we like, and what we wear.
From heads and beards to pubes and dogs, what’s the most outrageous use of your hair color that you’ve seen?
dreams and if they love it enough, it will happen. You have to be more than persistent. You have to not take no for an answer. Our friend Cleo started out with absolutely nothing just like us and now she’s got real estate all over Eu-
rope including a castle in Italy! She always wanted to have a castle when she grew up, and now she has her castle! She started out as a movie star but she didn’t really like that, she liked buying old houses and restoring them, and sell-
ing them. You have to do what you love and love what you do, and not give up, not take no for an answer. But you have to really dedicate yourself to it, it’s not for everyone. It’s so much more work than a regular job. You can’t just go home and forget about it, it haunts you in your dreams. Waking and sleeping it’s there!
T : You’re basically working 24/7. You don’t stop.
S : And for the first few years you don’t make any money. Luckily we were living with our mother at the time and didn’t worry about rent or an apartment, we only had to worry about the rent on the store.
Your company website is charmingly old-school. Do you spend much effort promoting Manic Panic online?
T : No, we’ve always been so organic that we never even really spent time on it. We keep up with it a little more now, on Facebook and Twitter and Pinterest. But Snooky and I, we don’t have time to do anything, we have a couple people work-
ing for us that keep track of it a bit, but we’re not that active. But the one that does it for us is someone from the old school. She totally gets it and gets us, so she knows the whole mentality of Manic Panic and the whole vibe of it.
You seem to have an endless stream of photos of people with Manic Panic col-
ored hair, how many pictures do you think you’ve collected over the years?
T : I have no idea.
S : It’s a lot! And more and more... in Harper’s Bazaar now there’s this whole big spread using Manic Panic hair color. It’s just so cool that ev-
eryone, from kids to fashion models...
And fashion designers wear it!
S : Yeah! It’s just so amazing. I’m so proud. [smiles]
Have you ever thought about releasing a book of Manic Panic hair colors?
T : Oh yeah, we want to write our own alterna-
tive beauty book cause, we kinda wrote the book on alternative beauty! We were the only ones in Lower Manhattan to sell any type of extreme and theatrical makeup and that was the edge we had over all the punk stores that sprung up after us. We were the first punk boutique in America!
S : Plus we were women and we knew about makeup and beauty products and all the other store owners were men so they didn’t know about this kind of stuff. We had that edge over them, even though we had no money. We knew what we loved.
T : Dino was a bike messenger who had bright, electric yellow hair and an electric red beard and mustache. He was in a GG Allin band, I think we was the drum-
mer or something. He was a bike messenger and he used to go around causing accidents because of the way he looked. But we also had a friend who did “The Valentine’s Day Special”, she carved a nice little heart and dyed it a fuchsia pink, which was also very nice. Snooky’s dog was dyed blue, and made her debut in Die Hard III, she’s in the background.
S : She got paid!
Do you still develop new colors?
S : Yeah! We are always developing new colors, new products. We wish we had more time to do new products, our business is growing just all the time! It’s so amazing considering how we started, with $250 each and now it’s growing by leaps and bounds every year and we just have to keep hiring more and more peo-
ple! It started out as a mom-n-mom operation and now it’s all these people! We have to keep hiring more so we can do what we really want to do, what we’re actually good at which is new products and colors and all that stuff.
In some other interviews you’ve talked about getting into apparel, any plans for Manic Panic fashions?
S : Oh yeah, we’re dying to get into that, not only by ourselves but also with licensing. We’ve already licensed, we have our image on a bottle of wine called Rock’n’Roll Red that Fred from Blondie, the original bass player who left to join the band Television. Now he and his wife are wine makers and Tish told them that they should do a wine called Rock’n’Roll Red.
T : After drinking quite a lot of their wine I insisted! “You GOTTA do a Rock’n’Roll Red!” When they were ready to do it they called us all tentatively and asked us, “Would you mind if we use your picture on the bottle?”
S : “MIND!? Are you kidding? Sure!” We want to license the Manic Panic and the Tish & Snooky name for everything, we want to be the Martha Stewarts of the alternative lifestyle, cause that’s kind of how we started. When we had our store, we just sold everything we liked, from beauty products to shoes to jewelry to clothing.
T : We’re like the Coca-Cola of the alternative lifestyle. Even if somebody uses a competitor’s product to dye their hair they’ll say, “I Manic Panic’ed my hair,” or, “it was a Manic Panic-
looking crowd.”
Where do you see Manic Panic in ten years?
T : Everywhere! Huge! I guess in ten years it won’t even be alternative, it’ll be completely mainstream and we’ll be the name for this kind of look.
S : Whatever alternative is in ten years is what we’ll look like, and we’ll be helping people look like that.
february/march 2013 AUXILIARY AUXILIARY ONLINE CONTENT See more of this feature by searching “Manic Panic” on
interview by Vanity Kills
photographer Jennifer Link
fashion stylist Jennifer Link makeup artist Andrea Losecco
hair stylist Jodie McGuire
models Sarah Wintle & Vena Kayta
AUXILIARY february/march 2013 Rose Mortem
Alisier Gown by Rose Mortem paired with The Hull Necklace and Sea Devil Earrings both by Adelina Mictlan.
Liliana Gown by Rose Mortem paired with The Five Wounds Choker by Ghostlove, Tall Erosion Cuff by Adelina Mictlan, Hammered Ring by Adelina Mictlan, and
Holy Stud Platform by
Lucilla Gown by Rose Mortem, Faith Slave Bracelet by Ghostlove, Night Walk by Jeffrey Campbell, and Skinny Erosion Cuff, Sea Devil Armor Ring, and Sea Devil Earrings all by Adelina Mictlan.
Rose Mor
Though not a milliner by trade, Rose Hemlock wears quite a few hats to perfection nonetheless. As creative director of Rose Mortem, she transposes femininity, tragedy, and innocence into gently ruched bodices, empire waistlines, and dramatically long lace cuffs; seamlessly weaving dark fantasy into each stitch. Coupled with bringing raiment relief to modern dames and dandies who feared that romance was destined to be relegated as a relic of the dusty past, Rose Hemlock will soon be delving into the realm of the ethereal with the upcoming launch of Faerie Clothing, a lighter sister label to her primary brand. In keeping with her status as a Renais-
sance woman, she lends her musical talents to The Awakening, finds time to flex her literary muscles, and raises two young boys (while wrangling two feisty felines to boot). Her expertise truly spans the gamut, and with ambition to spare it is doubtless that any task thrown at her would be accomplished with magnificence.
As if fifteen years spent standing at the helm of a label widely admired by scores of elegance enthusiasts with a tendency to gravitate toward the spookier side of the wardrobe spectrum wasn’t enough, you’ve got an upcoming sister brand to Rose Mortem focused on faerie lore in the works. How did you translate myth and magic into fabric? What clientele are you hoping to appeal to? Do you foresee longtime fans embracing this new direction?
Rose Hemlock : I’ve always found it difficult to think of myself as a fashion designer because I have no process for coming up with designs. It’s a very emotionally driven experience for me, somewhat unpredictable. My primary inspiration with Rose Mortem has always been music, and translating the music I love in to cloth-
ing. Designing for Faerie Clothing has been similar; as an artist you listen and absorb whatever you can from the subject matter, and then allow imagination to dictate the details. My interpretation of faerie may not be perfectly in line with Brian Froud’s, but I hope the designs have a magic that comes from the same place. My clients are amazing people who have such unique pursuits and personalities; many of them have been asking me to do something like Faerie Clothing for years. You cannot have darkness without the light, and Faerie Clothing gives my clients a chance to experience that balance with me. I also hope to meet new clients who don’t necessarily associate themselves or their style with words like “gothic” but who have a passion for the fantastical, and want clothing that nourishes that passion. What makes post-millennial dark alternative fashions different from their 80s and 90s predecessors? Do you ever feel yourself longing for the sartorial “days of yore”?
RH : Having lived through both of those decades, it is tempting to romanticize them in retrospect. I definitely admire the glamour and extravagance of the new romantics from that era, and if there is a particular era of fashion that I have derived much inspiration from, it would be that one. However, I do think dark alternative fashion today has reached beyond what it was then. Today we’re even more innovative and elaborate, we’re even more shocking and stunning. I liken it to the artistic and literary hotbeds of the past, where artists and writers lived and created within a close proximity to one another. They inspired each other and pushed each other to grow. With globalization we can now have a similar experience with dark fashion, with even more available sources of inspiration.
The “classic” depiction of a goth often includes a wardrobe cast in a palette of funerary hues, plush velvet, and yards upon yards of lace. Alas, if there’s one thing goths love devoting inexhaustible amounts of energy to, it’s finding new ways to splinter the culture into smaller factions, thus constantly giving rise to innumerable mutant offspring substyles. From an aesthetic standpoint, some of these secondary classifications such as vampire goth, romantigoth, and even Victorian goth are only distinguishable by differences which can arguably be described as minute and/or hard to pin down. Is creating niches within a niche an integral part of establishing subcultural identity or just hair splitting teetering on the edge of absurdity?
RH : From the examples provided, I personally wouldn’t know what the differences are. “Goth” for me is simply a place I found a home in when I was very young, and it’s remained a part of me.
Rose Mortem’s array of fantastical gowns, veils, and hooded cloaks appear to jump straight from the pages of storybook romances where random acts of dragon slaying in order to capture the heart of a potential mate qualified as a prelude to a first date. By contrast, the world we live in seems to favor the “fast food approach” to courtship, by virtue of sexting, Twitter break ups, and using Facebook to legitimize relationships (“It’s not official, until it’s Facebook official.”). Does this spell the end of love as we used to know it?
RH : One of my favorite Bowie songs, “Drive-In Saturday”, is essentially about a post-apocalyptic world where people have forgotten how to make love, but they’re still trying. I believe no matter how disposable and instantaneous the world around us becomes, humans will still want love more than anything else. Perhaps the world of instant gratification will make love and romance become even more of an essential need, because so many other basic human interactions are becoming so overly simplified. One of the most personally rewarding aspects of what I do is the knowledge that I’m helping my clients to live out a fantasy; it encourages me to know there are so many people who still want to experience that kind of romance.
You’re a mother to two sons. Has parenthood changed you in any way and if so, how?
Rose Mor
RH : Of course! In countless ways. I was ready to be a mom, so most of the chang-
es were subtle and enjoyable. Children are fearless and they love so intensely. It’s an amazing combination, very inspiring. Just think, what would you do if you weren’t afraid? If your first reaction to everyone was love? They’ve taught me to ask those questions in situations where I wouldn’t have before. It has been hotly debated whether Tumblr-spawned pastel goth/nu goth/hipster goth fashions are to be considered legit foundations of a new offshoot of our subculture or flash-in-the-pan fads perpetuated by teenagers who will move onto the next in thing faster than you can say “hashtag”. What’s your take?
RH : The more the merrier I think, at least they’re in to something interesting. It could be worse...
What’s the last article of clothing you’ve been complimented on?
RH : My Elvis shirt. He’s dressed up as Jess Wade from Charro. Finish the sentence, “If goth style never existed…”
RH : I would get a lot more writing done!
Generally speaking, do you consider your creations to be more rooted in his-
tory or fantasy?
RH : Definitely fantasy. There are designers who do amazing work that is deeply rooted in historical fashion, and their accuracy astounds me. I’m far too unpredict-
able with what I do to restrict myself in any way!
What propelled you to contribute your piano and keyboard playing skills to your husband Ashton Nyte’s gothic rock endeavor, The Awakening? Have you toured with this project and if so do you have any tales from the road to share with Auxiliary Magazine readers?
RH : I met Ashton while he was on his second US tour, when he was promoting his eighth album as The Awakening. We came to work very closely together on all of our projects, so when it came time to tour again it seemed very natural that I would join him on stage. Becoming a part of such a loved and well-established band was definitely an honor, but a daunting one! Outside of the US, The Awakening was a stadium act; when I was preparing for the first tour I would watch footage of the band playing on massive stages in front of thousands of people, all chanting along to every song. I was terrified of making a mistake and letting fans down, or letting the band down, especially being the foreign girl who took the beloved FASHI ON
front man away from hi s homel and! But despi t e t he st age j i t t ers, t ouri ng has been t remendousl y good for me. It has t aught me t o work harder and t o become a bet -
t er musi ci an, but i t al so has t aught me a new l evel of open-mi ndedness and deep appreci at i on for fans. The Awakeni ng has t he most di verse fans i magi nabl e, and t he t hi ng t hat uni t es t hem i s a l ove for t hi s musi c. That was t he most i mport ant t hi ng I l earned from t ouri ng; t hat musi c can bri ng anyone t oget her t o share i n an i ncredi bl e emot i onal experi ence, no mat t er who t hey are. It ’s very humbl i ng and exci t i ng at t he same t i me.
Bei ng that you’re a musi ci an as wel l as desi gner, what consti tutes a good stage outfit i n your eyes?
RH : My i deal st age out fit i s one t hat t hat enhances bot h t he experi ence for t he audi ence and t he performance of t he musi ci an. For me t hat means anyt hi ng t hat wi l l hel p me t o feel l i ke a charact er from one of our songs, from t he worl d t hose songs come from.
Your to-dye-for burgundy l ocks find themsel ves on the recei vi ng end of qui te a bi t of fanfare i n thei r own ri ght. Accordi ng to your bl og, questi ons and comments concerni ng your hai r col or make thei r way to your i nbox on an ongoi ng basi s. Thi s reddi sh hue sure i s a hi t, but have you ever gone through an awkward hai r phase? Any poodl e perms, mal l bangs, or downri ght dorky cuts that haunt your di stant past?
RH : I don’t t hi nk anyone l i ved t hrough t he 80s wi t hout a curl i ng i ron and aqua net. [smi l es] The dorki est cut I ever had was at about si x years ol d when I abso-
l ut el y want ed t o be a boy. Boys were so good-l ooki ng i n t he 80s and I want ed t o l ook l i ke Si mon LeBon. My fat her al l owed me t o chop off my wai st -l engt h bl onde hai r i n favor of a very st range l i t t l e cut; i t resembl ed somet hi ng one woul d have seen on a bad 70s rocker. I di dn’t know about product yet. My mot her was so upset t hat I never cut my hai r beyond a l i t t l e t ri m for t he next t went y years!
What’s next for Rose Mortem?
RH : Hi ri ng more seamst resses, and get t i ng more space! Wi t h t he new l i ne comi ng out t hi s mont h pl us t he l aunch of Faeri e Cl ot hi ng, I t hi nk we’l l need t o move t o a new l ocat i on agai n wi t hi n t he year. For Asht on and I, we’re rel easi ng a new el ec-
t roni c proj ect t hi s year pl us an Awakeni ng EP and new great est hi t s compi l at i on, al l before summer. We al so have a t our pl anned for Sout h Afri ca i n t he spri ng t o promot e hi s l at est sol o al bum, whi ch i s sung ent i rel y i n Afri kaans, so I’m t ryi ng t o l earn t he l anguage before t hen!
Kadri Gown by Rose Mortem paired with Conjoined Sea Devil Necklace by Adelina Mictlan.
Angelique Gown by Rose Mortem paired with Pebble Earrings by Adelina Mictlan.
Alyssum Gown by Rose Mortem paired with Victorian boots by Funtasma.
Bl ushi ng Cupi d
Cupi d i s a very promi nent figure when i t comes t o Val ent i ne’s Day. Oft en port rayed as a wi nged boy, Cupi d i nheri t ed hi s t rademark bow and arrow duri ng t he Hel l eni st i c peri od (336-146 BC). It i s sai d t hat a person who i s shot by Cupi d’s arrow i s fil l ed wi t h uncon-
t rol l abl e desi re. But you are no l onger i n need of a l i t t l e wi nged boy t o exci t e and ent i ce your t arget. If you are dari ng enough you onl y need t o know how t o combi ne your finest l i ngeri e and st udded boot s t o creat e a bl ushi ng ensembl e t o st eal anyone’s heart from t hem at first si ght. Pai r pi nks of di fferent shades and t ext ures wi t h bl ack fishnet st ocki ngs, spi ked j ewel ry, met al, sparkl es, and st uds. Layer, mi x, mat ch, and pl ay wi t h pi nk bras, underwear, bi ki ni set s, and t ul l e. Just be sure t o wear i t wi t h confidence t o make even Cupi d bl ush.
1 Black and Pink Silk Butterfly Underbust and Limited Edition Cupids Kiss Bra, Undies & Garter Set all by Sci Feye Candy paired with headband by Aldo, fishnet and thigh highs by Hue, and Spike Satchel and Spike boots both in Acid Pink by Dr. Martens.
2 Love & Thornkini Set by SciFeyeCandy.
3 Rose Sequin Bra & Rose Sequin Tutu Undies by SciFeyeCandy.
4 Crystal Spike Bracelet in Silver by Cocoa Jewelry.
5 Colour Of My Heart Necklace in Light Pink available at FashionWhore Boutique.
6 Crystal Arrow Studs in Silver by Cocoa Jewelry.
7 Pascal boots in Black and Acid Pink by Dr. Martens.
8 Crystal Spike Earrings in Silver by Cocoa Jewelry.
9 Mix Rings available at FashionWhore Boutique.
10 Rhinestone Double Knuckle Ring in Silver by Aldo.
11 Heavenly Bracelet arm cuff in Light Pink available at FashionWhore Boutique.
styled and written by Pretty Deadly Stylz
photographer Ian Compton makeup artist Luda Zadorovich
model Lovina Yarari
february/march 2013 AUXILIARY photographer Amena Assaily
creative director Pretty Deadly Stylz
fashion stylist Pretty Deadly Stylz
makeup artist Ashley Lynne Regnier
hair stylist Sarah Majkut
models Faery Lepidoptera, Melissa Dale Hicks & Severin Stargher
february/march 2013 AUXILIARY OPPOSITE PAGE
On left, Felicity Dress by Lady Violet Designs and stylist’s own vintage stockings paired with Artemis Necklace and Memento Mori Spine Earrings by BlackIris Designs. On right, S/S Samantha Dress by Rudsak and RDW harness by Lia Valdez paired with Black Dahlia Bracelet by BlackIris Designs.
On left, Lace Sleeveless Dress by Lady Violet Designs, Zipper Skirt in Metallic Pewter by Adala, and S/S Sandra Jacket by Rudsak paired with Halten Collection Memento Mori Necklace by BlackIris Design and Bordello Collection Teeze Pump in black by Pleaser. On right, Lace Bodysuit by Violet Love Designs paired with Euphoria Straps and Robyn Shorts by Lia Valdez, S/S Open Airwair Liza heels in silver by Dr. Martens, and stylist’s own vintage stockings.
AUXILIARY february/march 2013
february/march 2013 AUXILIARY OPPOSITE PAGE UPPER LEFT / On left, Spiderweb Morticia Dress by Violet Love Designs and V-Neck Top in Transparent Purple by Adala paired with O-ring belt by Lia Valdez. On right, Cross Strap Top in Dark Purple/Black Trim and Zipper Undies in Metallic Pewter both by Adala paired with Halten Collection Bismuth Ring #1 and Bismuth Ring #2 by BlackIris Design. OPPOSITE PAGE UPPER RIGHT / On left, Lace Sleeveless Dress by Lady Violet Designs, Zipper Skirt in Metallic Pewter by Adala, and S/S Sandra Jacket by Rudsak paired with Halten Collection Memento Mori Necklace by BlackIris Design. On right, Lace Bodysuit by Violet Love Designs paired with Euphoria Straps and Robyn Shorts both by Lia Valdez and stylist’s own vintage stockings. THIS PAGE / On left, Cross Strap Top in Dark Purple/Black Trim by Adala. Middle, S/S Sylvie Dress by Rudsak paired with Pyrite Trio Necklace by BlackIris Design. On right, Spiderweb Morticia Dress by Violet Love Designs and V-Neck Top in Transparent Purple by Adala paired with Halten Collection Iridescent Warrior Cuff by BlackIris Design.
AUXILIARY february/march 2013
february/march 2013 AUXILIARY THIS PAGE UPPER
On left, Outloud Collection dress by Wani by Saki Philip paired with Gold Rush Bracelet and Artemis Arrow Earrings both by BlackIris Design and S/S Open Airwair Liza heels in Silver by Dr. Martens. Middle, S/S Sherrie Dress By Rudsak and Underbust Corset in Red by Adala paired with Halten Collection Iridescent Warrior Necklace by BlackIris Design, Amethyst Ring by BlackIris Design, and model’s own heels. On right, Tube Bra in red and High Waist Undies in red both by Adala and Mockie jacket by Wani by Saki Philip paired with Bondable Pants leg harness by Lia Valdez, Gold Rush Necklace and Halten Collection Memento Mori Ring both by BlackIris Design, and Bordello Collection Teeze Pump in black by Pleaser. Strewn in front, Dr. Martens shoes and Lia Valdez pieces.
On left, Jadex dress by Wani by Saki Philip and White Leather Claw Gloves by Medieval Fashion. Middle, Undies with Suspenders in red by Adala and Secret Keeper Lip’s Guard by Lia Valdez. On right, Victorian Lace Gown by Lady Violet Designs paired with Halten Collection Memento Mori Mini Necklace by BlackIris Design, Halten Collection, Memento Mori Mini Necklace by BlackIris Design, and model’s own heels.
AUXILIARY february/march 2013
Undies with Suspenders in red by Adala paired with Secret Keeper Lip’s Guard collar by Lia Valdez.
february/march 2013 AUXILIARY THIS PAGE
Black Leather Claw Glove and White Leather Claw Glove both by Medieval Fashion.
written by Jennifer Link
photographer Jennifer Link
fashion stylist Jennifer Link
makeup artist Andrea Losecco
model Sarah Viscera
An overbust corset can be as versatile as your imagination and creativity will allow. The Rouge Reverence Corset by Heavy Red has just the right features to allow for a wide range of styling options; a solid color with texture for visual interest and a material, taffeta, that can played up or played down. For an on the edge look, pair with this season’s hot items: graphic leggings, a sheer high-low dress, and lots of crosses. Next season style it in a whole new way, making it a must-have for this year and many more after.
The Rouge Reverence Corset by Heavy Red, high-low dress by H&M, and Cross of St Peter Black Leggings by Black Milk paired with Hellish Distressed Crop Gloves by Heavy Red, Noir Long Cross Necklace by Heavy Red, and model’s own cross charm necklace.
This season’s must-have.
AUXILIARY february/march 2013
Adala . Adelina Mictlan . Aldo www. . Anachromism In Action www. . Ben Nye . BlackIris Designs www. . Black Milk www. . Bloody Mary Makeup . Candy Drip . Cocoa Jewelry www. . Dr. Martens www.drmartens.
com . FashionWhore Boutique . Ghostlove Heavy Red . H&M www. . Illamasqua . Iron Fist . Jeffrey Campbell . Jane Iredale . Jesse’s Girl Cosmetics . L.A. Colors . Lady Violet Designs www. . Lia Valdez . Lime Crime www. . London Manori www. . MAC Cosmetics www. . Medieval Fashion www. . Nicka K NewYork . Obsessive Compulsive Cosmetics . Pleaser Shoes . Pretty Star Clothing www. . Rose Mortem www. . Sally Beauty Supply www. . Sephora
scifeyecandy . Shu Uemura
Styli-Style Makeup Sugarpill Cosmetics Ulta . Wani by Saki Phillip www.
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