Tag Archives: Los Angeles

East Angelean Echoes and Transatlantic Tempos… Little Boots’ Working Girl Promo Tour, Live at The Echo

The Siren: Victoria “Little Boots” Hesketh

The Sound: Synthpop, nu-disco, deep house, electro house… mercurial melange of old and new

The Scene: East Angelean echoes, deep bass, dark clothes, dim lighting, disco flying, summer swelter, low-key shelter, electronic dance shows, less wubba wubba, more water cooler… minimalist staging, maximalist sound, in a way that pulls facade from the corporate tower and floods the underground… america is all show business, and we cosmic dancers are all working girls… little boots crafted a live exhibition of the most true, down to the automated call center entree and ever-so-business-casual peach two-piece suit… the sound and sentiment are the struggle in that lone ascent… from grime to primetime – by way of broken glass ceilings – Echo Park felt the signature nu-disco, electro-synth-pop, forever cosmic vintage new wave deep house sound in a way only the most first-hand experiential disc jockeys can convey… and time after time, despite the wait, Little Boots, little Ms. Hesketh delivered the synergistic collaborative developmental process that leave audiophiles and corporate executives salivating from bar countertops to corner offices day in and night out…

The Sleeper Soundbite: Tandem segue from Hekseth’s bonafide ode to this city of lost angels, “New In Town,” into the new single, “Get Things Done,” featuring a live collaboration with Hugh Myrone on guitar.

The Scope: Close enough to feel, too close to see anything but vibes, and volume #internalnocturnal

Mood Ring: We Are Mortals

WE ARE MORTALS® is an evolutionary gender-free urban streetwear brand.

We call ourselves MORTALS because we are the ones who understand the brevity of human life and the need to live it fully and limitlessly. We also believe that as MORTALS, we’re all equal. That is why we created our brand around this idea of a future in which we wear our personalities, not our gender identities or other stereotypical labels. Coining the phrase The Future Has No Gender, WE ARE MORTALS® seeks to challenge the conventional and outdated his/hers formula of clothing design and retail. In the future, there will be room to exist in a ‘gray area’ in which our identities don’t rely on gender, sexual, or racial classification. Ultimately, we hope that by removing the traditional gender designations from our clothing, we can facilitate a cultural shift in the way we view gender, sexuality, and each other.


WeAreMortals living soundtrack, sonic couture for the post-structural human culture, in founder Anji Becker’s own words…


“(W)orld Town” – M.I.A

She’s an artist that speaks up for causes, represents underprivileged people in the world. she’s fearless, a powerful woman who doesn’t accept traditional gender stereotypes.

“(E)rotica” –  Madonna

Madonna was pushing boundaries in that era, trying to make sex less taboo and exploring all types of sexuality in her videos.

“(A)ll We Perceive” – Thievery Corporation

Calling an early audible with this one, Art Nouveau jumped in with a touch of a sonic 180 but kept in the core theme within WAM: collective perception. As much the deconstruction of archaic limitations and labels, the notion of gender, humanity, mortality, and oneness is entirely built upon perception… and so, for a clothing line founded upon the shared condition of the all, the entirety is nothing more, nor anything less that the entirety of the all in shared perception.

“(R)hythm Nation” – Janet Jackson

One of my personal favorites from the 80s… loved the dancing in the video, and the song reminds me of WeAreMortals because it’s talking about bringing everybody together as one and fighting injustices.

“(E)ast 1999” – Bone Thugs-n-Harmony

They rap a lot about death, which is a theme behind the brand, and I listened to a lot of this back in the day. I’ve always been really influenced by rap and hip/hop, so it’s no surprising I’ve chosen oversized street wear as my genre of fashion.

“(M)iracle” – Culture Club

Genderless clothing is what we represent, and Boy George was someone who was gender-fluid back in the 80s when it was way less socially acceptable. Amazing how much progress we’ve made in 30+ years!

“(O)ne” – U2

The lyrics talk about coming together as humans and not looking down upon those who are different (because we’re all different). The video also shows U2 in drag, so that was bold for their era.

“(R)eady or Not” – The Fugees

Another AN-audible… post-structuralism is here, ready or not: fashion functions in line with said societal shift #thefuturehasnogender #thefutureispresent

“(T)he Show Must Go On” – Queen

A song about death. We don’t know why we’re here on Earth, but the idea behind We Are Mortals is just to live life to the fullest while you are here, which is what the song is about.

“(A)rmy of Me” – Bjork

Bjork is a huge inspiration because nobody has really come close to replicating her creativity. She represents powerful women with this song. Personally, I feel like I’m creating this brand as an army of me right now as well!

“(L)ast Name Katz” – Zebra Katz

One of my favorite artists right now! I love everything about his music, and what he represents is change because being a queer rapper probably wouldn’t have been acceptable until now. It’s a new movement that started in NY and I hope it spreads everywhere.

“(S)oda” – Boody & Le1f

Le1f is another staple in the queer rap genre. He’s bold and fearless with his lyrics and he always makes you dance!

#WatchThisSpace // Kickstarter

Vinyl Mind Flow: RAINBOW BODY /// Millie Brown

Full disclosure: I went to an art gallery one day, one thing led to another and here we are.

I don’t know much about art, but I like words. When collected in a contained space, regardless of intended cohesion, sometimes these words take on a life of their own. Regardless of proper punctuation or standardized syntax, sometimes these words manifest into atmospheres of linguistic articulation made visual. Sometimes… the message is nothing more than the mood conveyed, and the connection between messengers new and old. This… could be one of said times. #kanyeshrug



Fair warning (because, yes, even more pretense): sometimes i read. people who sometimes read sometimes get wordy, this is undoubtedly one of those times. #THEREWILLBEWORDS these words, again, may not make sense #IDONTWRITEREVIEWS #IWAXRETROSPECTIVEANDWANEDIALECTIC



Rainbow Body is the fourth Solo Exhibition by British performance artist Millie Brown. An evolution of Brown’s original and most recognized performance work, Rainbow Body presents a survey of the artist’s new home in Los Angeles. Developed from Brown’s non-traditional, performance-based methods of painting from the inside-out, Rainbow Body features a post-contemporary study on abstract expressionism within a California palette.

Using almond milk, food coloring, stomach and hands, Brown creates aesthetically whimsical paintings with a deep underlining of raw human emotion. Each piece tells the story of the Los Angeles sky, its past and its present, its light and its dark.

Viewing the body as a vessel for spiritual practice, Brown pushes physical and mental boundaries to reach a state of enlightenment from which creative expression and healing derives. Rooted in Tibetan Buddhist theology, Rainbow Body is the phenomenon of viewing spiritual transcendence from a third person perspective. Rainbow Body is based on three wisdoms, representing the three categories of paintings: ground, presence, and energy.


For those of you who don’t read, a touch of how it felt in my head on first blinkk (BECAUSE YOU’RE IMPATIENT, YOU GET THE STANDARD PHOTO QUALITY EDITION *standard photo quality not representative of vivid quality of featured artwork):

And now, for those who do read, a miscellany with the curator:

Natology: so rainbow body, reaching spiritual transcendence, is based on three principals: ground, presence, and energy.

sxb: and was that you, did millie come in and

Natology: Millie said ‘Rainbow Body’ and she said what it was, and i researched it. and then i just know, you know,

spiritual evolution doesn’t just happen by being like: ‘alright we’re on the ground floor, on presence,’ and then it’s like, ‘rad, i just passed this layer,’ like it’s this level – it’s not that easy.

you are on your ground, and then you have a moment of enlightenment, and then you reach presence right. but then – you fxxkin fall right back down, and you’re back on the ground!

so, that’s the way that this show is curated… it shows the natural spiritual transcendence.

so right here you know, it starts off with ground, ground, this is the first piece that was ever made.


this piece, all of this concentration, it’s a representation – i mean, and this is all unintentional right – but it represents all of the palettes and all of the energy that she used up until this point in her career and then it disperses into light. and remember when we were talking about the aura that just happens to be around this and it’s just so crazy.

sxb: it’s so mental, and i feel like it looks different than it did yesterday

Natology: it does! it always does.

sxb: it seems faded until you see the clear point of distinction in which it’s clearly that, and that’s clearly that. and it’s the mood ring effect…

Natology: this all up here has changed too because of the stomach acid, in the photographs that i have it was much brighter but it’s brought out, the light has brought light into the colors. i think that in art history the things that are going to be most recognized in her work are these negative spaces…


… you know post-contemporary culture, what i call post-contemporary culture – which is where i mostly operate – it’s mostly you know, art as an experience, and as a part of all of us, and as a part of the art form of what we do: fashion, lifestyle, and, how all of these things cross over interrelate into what the post-contemporary dialogue is and will be. so where is art going and you see that right now we’re living in the most exciting times ever because it’s a tipping point it’s a change in paradigm it’s a historical movement.

sxb: an interesting triad you have is art, academia, and advertising. those are three worlds that kind of fight for that same space of controlling the mindset – because really, discourse at the end of the day is what defines everything. it’s not what you see, it’s–

Natology: how you say it, how you talk about it, how you perceive it and how you tell the story: how you sell the dream.


because i think like example for me, one of the things that was limiting about academia was that at the end of the day, and again that goes into any of these fields, is that it ends up being a dialogue amongst a very small group of people, so that you can’t really change anything… that you’re all just going so deep down the rabbit hole that you’re only feeding the ego in that conversation, and aren’t really able to reach a larger audience.


you know, i think that that’s where entertainment really plays in, and how you reach a wider demographic and expand the palette of what is to be the next wave in fashion, art, culture or whatever it is. and again, that all has to do with marketing and advertising… what are the things that work, what are the things that don’t work. there’s a mcdonaldization of culture where everything has been completely watered down and, you know, the mass is just taking what’s fed to them because they’re told that it’s cool – but at the same time you’re having this huge awakening where people who would have never talked about like, a fifth dimension or even just intuition, are talking about it and are like following that intuition and are like being guided to … to what is taking place.

for example: millie brown’s work – HIGHLY controversial, highly powerful

sxb: polarizing

Natology: EXACTLY. that another gallerist would frame a completely different story than the one that i framed or would want… you know, she’s not the first artist who has used DNA, or like has used bodily fluids to create art, and with this greed and two dimensional perspective, you have artists that become pigeonholed into becoming an artist that just makes enema paintings, or an artist that just makes chewed-up bubblegum paintings, or an artist that just makes vomit paintings, and the truth is that just limits the creative expression of an individual.


that’s why i say like, this is the last body of work of this particular period because from here – you know, Rainbow Body is a concept of dissolving into light – from here, millie dissolves into light. that’s what the performance yesterday was about, that’s what the series is about, and that’s what the performance at the abramovich institute in may is about. blinded by the light where she’s bathed in light, and surrounded by nothing but light and just you know nasa’s recording of the sun…


and so i think that, and i never noticed the triangles that you pointed out between art, advertising, and academia – but you know, it’s all in how you paint the picture and being able to see understand and to share that story in a way that is … that … that makes sense and that is palatable and that is still super punk rock you know like … i’m still an anarchist i’ve always been super like … on some other sxxt you know like, and a radical, but there’s a way to do it that you know is like… like yesterday when i saw her do her performance i was like, ‘yo, she’s so punk rock! but so elegant and honest and raw in her creative expression.’


and you know i think, to be punk rock, and this is something i feel like you learn with age… and you know – something that i’ve learned – through time, it’s just, it’s just the way of seeing the world… you know, to be a radical. radical i mean, really just means really getting down to the roots of something…


and you learn how you can work with the cultural and political climate to get your point across and and do it well and do it the right way and and really be able to stir things up from the root


but you know you don’t have to be a dirty punk to do it … – ‘cos your mind’s a dirty punk

it’s about how you can get your point across, and again: it goes back to to the discourse, the dialogue, the conversation – because what is anything: it’s the meaning that we give it.

sxb: … the materialized mentality

Natology: exactly.




So – … I riffed on RAINBOW BODY into a recording device for twenty-five minutes and nineteen seconds: this is the verbatim transcription


#thatsaid …


so, i think, in retrospect, there’s something very salient about the journey of the rainbow body. i mean as much as this has been about millie completely and entirely i think the most … magnetic, and attractive, literally, element of the show and the exhibit and the practice itself is the shared consciousness of it all. i don’t know millie. i only recently met the people with involved with the project, and to be quite honest i was quite unfamiliar with anybody in that room before really – and yet, at the same time, it’s the unspoken bond that was shared between everyone who’s experiencing this transcendence of someone else. and it’s this feeling that you’re drawn to – you’re attracted to the opposite, right. so you’ve got people who may feel that much more human when they’re drawn to millie.

and opposites attract, but likes stay together, so we see this as seeming opposites coming together, and yet you remain there. you remain in this space, this physical space of the gallery as much as this mindset.

once you’ve seen this you cannot unsee the scene. and you can’t you can’t return the purge. and the beauty of it is that for as violent and as aggressive and as unrefined and raw as all of this is… the beauty is that you don’t have to return. and that it’s there, and that whatever it is that you need to release from yourself to get to that next level is there on display

and i think at the core of it is that it is her humanity which is being recorded right now.

this is recording her human condition, this is recording her soul and a condition because your light body your rainbow body is immaterial. and the immaterial is of no worth on a material plane, but it was that immaterial spark – that catalyst, that essence, that eternal body which was controlling this material vessel the entire time.

so it’s that millie’s rainbow body is going through its debutante. it was that rainbow body of millie’s that pulled her away from the academic route in england. and it was that same rainbow body that fueled her journey to the states. whether it be new york or whether it be austin, texas – it was that rainbow body right? that essential eternal something that pushed her there, and it was that same rainbow body that attracted different energies to her, and if we’re looking at the starting point as this collapse and this amalgam of every possible color from the palette becoming black. you look at the genesis you look at the origin point of the exhibit. and this is me just rambling, i mean i don’t have reference points outside of my experience which again is the point of this. it’s just if the origin is the amalgam of all of these colors right, the origin her starting point here in this journey is carrying all of those experiences with her here, all of the energies she interacted with became part of hers. and at that point you know it’s interesting once you get to l.a. the lights are blinding.


and so to go from england to have that rainbow body propel you overseas through the barbecue pit, and again: i don’t know millie – this is just what has appeared to me through the artistry of this legacy that we now are sharing – you know and to have that take you, i guess fast forward all i know is that she went from england to l.a. and she’s en route to new york and so we come to l.a. the amalgam this genesis point that i suppose, where better to transcend?

where better to rid yourself of this form than the city of angels? naturally that’s going be where we become one of them.

we become a stellar body, prismatic and when you’re walking through the gallery there’s almost this sense that you begin in this void, you begin in this black hole – this entity that is the epitome of magnetism and attraction. so dark, and so dense, and apparently void and yet it is truly in that darkness where all the elements meet and converge and it’s that blackness that we share, and the beauty in that blackness. and it’s so natural and yet in this world of convention social constraints, cultural institutions, and the commercialization of all of this, and the agenda of the dominant patriarchy, the puritanical patriarchy, they mar this sense of beautiful blackness and they make it appear as if it is wrong or as if it is bad or unnecessary or unwanted and unneeded – and it’s interesting because it’s that place that we come together in the blindness of it all.

black is no different than white. absence and presence where there is absence there is presence right. it’s the absence of what and the presence of what. and it’s something you feel – we don’t see it, and what you see is black and white, and what we feel is dark and light – and yet it’s all just shades of the same thing.

there is no pure darkness, i don’t believe. i feel there are shades and hues of a light. and so with this again at the genesis. it’s something i found myself focusing on as i was in the gallery, i kept focusing, my eye was caught on that point of emergence: where is the origin? and it wasn’t even the blackness, it was the corner in a very eastern way. the idea that chinese paintings begin in the corner, and they build this entire story out from that small southwestern corner – much like millie’s journey now.

so it’s almost as if she emerged from england, and you learn yourself academically and what you should be. you learn the system. you’re a part of the system. you keep building that framework and you find yourself as a cog – as a cog that’s moving something forward, that’s a juggernaut that you had no control over creating. that you have even less control over directing and so you remove yourself from it, at the expense of that machine itself, because certain cogs are necessary even though they are overlooked – and millie is one of those cogs.

you know, when you walk through here and i went and seeing those pictures remain, almost understanding that these have not been acquired yet, there’s almost a beauty to that. on one hand not all of these paintings have been bought, the idea that someone has seen it, that has the means to acquire it and has not, for whatever reason, on one hand: it’s a downside to think that, you know someone didn’t want it, it’s unwanted for some reason – the marketplace is what you make of it. on the other hand: it is beautiful that  there is this something out there, that the universe didn’t feel it was ready to be released yet. it’s even more wonderful. or maybe there’s a forcefield maybe these paintings needed to remain on a wall for someone to see them. maybe that potential will come in later. but the idea that presence, the idea that it has not been acquired yet, even though it is out there on display… do you want it to be bought? do you trust the owner? who are you trusting with your children.

and in a similar vein. coming from england, being the necessary cog that was overlooked by this machine, this machine that is falling apart. i feel like convention… academia… they’re falling apart, the idea that you’re losing your cogs. education is too expensive. that’s why you have starving artists, and they know how to teach your kids better than anyone else because they were the part of this system that fell out. and this machine, this old machine reminds me of the industrial revolution. coming from england, much like millie – and yet she is the cog that was lost in that factory, and that factory is falling apart. because slowly it’s eroded. in her years here, she’s helped build perspectives and begun channeling the energy which she’s come in contact with, which include some of the greatest artists of our modern era. whether you know who gareth pugh is, who ruth hogben is, who nick knight is, or you don’t – you probably know who lady gaga is, or vice versa. and you have an opinion on them all, and they all have an interactive opinion on millie.

and all of that’s being brought to l.a. the cog that fell out. and so you go from that, and you come here to this gallery and she becomes a piece of art. art emerged from academia which is beautiful. much like many of our artists now. very well researched, very worldly, and they learned from the book of nomadic nature, the cosmic dancers – and so she turns that sense of lost academia into future art. like a ruth ginsberg, she’s making these paintings in a way that is unfamiliar to the standing order – and that is very fair. a standing order of masculine puritanical patriarchy american globalized free market deregulated business… you’ve got a young woman who really isn’t bound by any of these constraints, as much as she is in this body, this material body that has deemed her a woman of british origin, and that is really all i know about millie.

and the funny thing is that i try to find more conventional words to define who millie is and yet it doesn’t really matter because the point is that she’s really just millie and all i really know is this artwork and i am still able to talk endlessly about this and again that is the point that i am seeing my self in her, in her journey. from england to l.a. to new york. my journey from england to l.a. to new york. and you’re seeing these things, these themes that i would not have thought about before – except they are shared. and then you begin to realize that it is only shared consciousness. it’s only those shared experiences that truly do matter and so it’s what can you…

what is shared, what is differentiated? how do we have a common ground and how do we have … distinct projections.

it’s that commonality and the element of extraordinary. that which we don’t share, that divinity. it’s not shared in this mid space it’s shared at the source. so, while artists appear individually different, they’re all truly artists and the fact that i see myself in millie, and i don’t want to say that. i don’t want to put myself on that pedestal, but that’s what artists invite you to do, to see yourself in them. and then join them. so again, this journey has become a lot of that.

seeing millie bring her work here is beautiful, because l.a. is where stars are made and here millie has made herself with the help of great beings who have honestly given shape and form and propelled stars who we currently watch traverse across this celluloid life.

los angeles, west hollywood, the design district. all of these beautiful symbols coming together and millie at the core of it all. so, you go from academia of england to this new art of l.a. you’ve made a star of yourself in the city of angels and on their wings you travel this rainbow body, once again propelling, propelling this material vehicle. and you shed that in l.a. and you leave your corpse here and at the private show it looked like clay, it looked like chocolate milk. it looked like all of those points of origin. whether a kid watching your saturday morning cartoons, sipping on your yoohoo, or nesquick, or pure chocolate – cocoa and milk. or whether it’s the clay from which we emerge, the crescent –


that christ consciousness. ingested regurgitated and put on display. glazed stone like an altar descended as the point of ascension for a material body which was left behind, and yet from there, from that rainbow body, we go to the light body in new york – in gotham. where we have a manufactured sun, a represented sun, and it’s almost as if we have this artifice. a projection, a representation in this land of manufacture – which would be new york.

it’s like the moon, it’s lunar. it’s the end of this linear journey. it’s almost as if millie is once again being invited back into the pantheon, invited by marina who is a master of this, of the life experience of this human condition. in gotham where the light projects so proudly because there is no nature on that rock. and millie became a solar body in l.a. where they live in constant close proximity to that solar orb everyday. and millie is bringing that natural light, in a rainbow body, in the ethereal to new york. it’s almost as if she’s at parity with this manufactured nasa projection to become that which has been presented back, and it’s visiting that machine that has fallen, it is visiting the industrialized astronomy of it all. it’s kissing the cosmic, but it’s kissing the cosmic as a peer. it’s kissing the cosmic as … a divine compliment. it’s blessing the ivory tower… from the stellar canopy of your divine residence. and i guess it’s just the purge. i guess it’s just acknowledging your humanity and giving it back to the world that created it, knowing that you are not of this world.

that you came here assuming a position in it, once you recognize the reality in that. the truth and the reality that that is not your end-all-be-all, and recognizing the beauty in the flaws the beauty in the pain… and above that pain is your rainbow body, that you can overcome it all, through what catholics call mysteries, and buddhists would consider the purity, strength and validity of your own mind, to overcome all of the appearances.

so i think in that we all find ourselves. somewhere in that rainbow body. the fact that because it’s a rainbow means it’s shared, it’s something we’re all a part of. it’s going to be years, it’s going to be an eternity, it’s going to be miles before i even begin to fathom the peak of what this all will become – but like ruth ginsberg, this is speaking to a future age and i am merely a present being. and I’m not going to assume i know anything about this. i just know that from england to l.a. to new york from dropped academia to attained artistry to transcended advertising – which is just selling the idea of happiness – y’know… new york is the home of advertising and y’know millie is more than an advertisement. it’s taking art to madison avenue and it’s putting it in front of that billboard, it’s returning the billboard to an altar. it’s making sure that if you’re selling something, right, that your business is based upon the shared consciousness of the christ consciousness over corporate commerce; and not solely the idea of Jesus in the bible, necessarily – it could be that – but just the idea that you, as a temple, you as a canvas, you as the altar upon which you stand. you are that christ, that that is a gateway to divinity.

it’s the thing that i truly love about being a catholic is the idea that you can become that divine. that you are here to prove that this human form can be a vessel. that this human form can be a vehicle to another dimension.


and all of this is to say that i just walked into a gallery one day to look at some paintings, and i got an invite to a show, and i observed. then i became the observed staring in a mirror, finding my way through the morass and the myriad of elements that are contained in this seemingly vulgar… regurgitation. and vulgar might be the best word for it, it’s common. humanity is common, the vomit is common, it’s all common but the fact that we all know what it’s like to be common. it means that we’re no better or less than anyone else. and because we’re all the same, because we’re all one. so millie’s journey becomes the journey of us all, and i hate to be cliché , but that’s when you know something’s true: when the clichés begin to make sense.

and so becoming a cosmopolitan citizen, you know, creating your masterpiece in three epicenters of the world – and this only being the fourth show, it’s like a presidential tenure, and as millie presides over this art world in the midst of a turning point, a tipping point, and as she does so so subtly, so silently, and yet so loudly – the deafening roars of the regurgitation like a mother bird, like a raven, like a valkyrie regurgitating divinity to these equally divine denizens who have yet to know their destiny – it’s fine, because this dissent away from academia, this dissent away from conventional academia the dissent away from modern advertising this dissent away from assumed industrialized art, all of these things are captured in this rainbow body. and it’s this dissent that speaks to the future age, and it’s this dissent from assumed humanity, from assumed vulnerability, from assumed vulgarity that makes this such a beautiful prismatic display of the immortality of a one millie brown – and quite honestly, i don’t know what to say about this to make it academic.

i don’t know what to say about this to make it something greater than what it is. i don’t know if these words have deterred from millie’s vision, i don’t know if they’ve blinded the vice, i don’t know if they’ve blinded the vise. i really don’t, and i am rambling – but i think the beauty in that is that i found this in my own mental vomit. this mind vomit i suppose is another step toward the realization of my own rainbow body. and this is not to put myself on her pedestal, i know nothing of what it’s taken her to get here, but again for all of the things i don’t know the one thing i do know is that we do have a shared journey and, i mean, from this point on i look forward to travelling the rest of this path and hopefully, one day, from that cosmic canopy, we’ll all just sit atop and reminisce on that day when millie took the crown and became rainbow body brown.


Street Brilliance: Tupac Lagerfeld Dali, Alec Monopoly

Media makes for a most marvelous canvas…


when the world muses as such…



Words, lines, scribes, eyes, Sunset below the artisan’s guise…




Tupac Shakur…


thug life, lime light, California love, Gotham in hindsight… muted magnanimity, press plastered prophecy

Karl Lagerfeld…


Vogue, Chanel, pose, channel… shade forever thrown, gaze universally shown, the mind the shine, the face – so poker… the judge, the jury, la mode’s the joker.


Salvador Dali…


doesn’t do drugs, drugs are he… time melt, mind meld, paint the scene _–_~ surrealistically…


art c/o Alec Monopoly

protection c/o Bruiser


new watchers… #watchus

wax on… wax off #andscene


Mood: Stars Rise Over Celebrity Demise Under Sunset c/o Plastic Jesus

Plastic Jesus is a Los Angeles based street artist that specializes in bold stencil and installation work, inspired by world news events, society, the urban environment, culture and politics. His work combines humour, irony, criticism and an unique opinion to create art that engages on many levels.

Stop making stupid people famous

mood: stars rise over celebrity demise under sunset c/o Plastic Jesus… #andthisisthefame

ring: fame stops making stupid people #famous


PJ+STOP+ROAD+MARKINGS+DAY-200 Trayvon Martin inspired Street art appears in LA. Horse meat  inspired street art hits North London. "No more Heroes" PJ+Robo+Love-5 PJ+nevermind-2 Graffiti is a crime. PJ+streetart-40+copy

Click here for more work from Plastic Jesus


Stream Fifteen: The Crossroads, Laurel Canyon + Mulholland Drive

I riffed on Laurel Canyon and Mulholland Drive into a recording device for eight minutes and forty-nine seconds: this is the verbatim transcription.

Okay, fifteen minutes. I’m at Mulholland and Laurel Canyon.

So, I guess the most fitting thing for me to do at this point would be to talk about what Laurel Canyon and Mulholland mean to me. Fifteen minutes. So we’re on the clock, and we’re twenty seconds in: so, to me, Mulholland Laurel Canyon is just The … I wanna say The Fame. Oh. I wanna say The Fame, but it is fame: it’s American fame. What is The Fame to me? Mulholland and Laurel Canyon are Hollywood. It’s Cal – it’s … we’ll figure it out together.

Laurel Canyon is the Hippie Movement, right. It’s this, y’know, makeshift cobblestone ver– y’know, sloping – It’s… this canyon. It’s a canyon. It’s a cavity. It’s a cavity; but it’s the vein, and it’s the artery at the same time. Y’know like, you get traction. Y’know Laurel Canyon is the Hippies, is the Sixties, it’s the counterculture. It’s Janis Joplin, Jimi Hendrix, Jim Morrison. Umm, it’s an odd counterculture. It’s very calm and weathered. And then you’ve got Mulholland, which is fame to me.

I remember Mulholland Drive, the movie; and I just kinda knew what it was. Just the name stuck with me, but there was no real reason why I should have known what Mulholland Drive was. Y’know, I remember in Rolling Stone, when they said Britney lived at the top of Mulholland, at the top of this vertiginous drop. And that was fame to me: Britney 2007 was fame to me, and that is Mulholland Drive.

You want to look over the cliff, you do. You do, but you can’t. And if you do, oh: you’re divine. Y’know, because you can see it, and you’re your own pilot. To be able to see that first-hand y’know – and have it be an individual, independent experience is something else – because otherwise, you’re having to share it with other people. So y’know, if it’s a movie, it’s not as exclusive y’know. And so that’s why love is so beautiful, is because it’s two people seeing the same thing. It’s two people sharing the same space. And the only other person to know it’s true is that witness, and that is why you bear witness.

I have a tendency to stop when a flow is really good, and over-think what the perfect ending would be, and so this is that.

And… , Laurel Canyon, I mean it’s a great drive. Got Willow Glen. It’s got really interesting names. Lookout Mountain: Lookout Mountain and Laurel Canyon, I mean are you kidding. Reality L.A. that’s what it is: Reality L.A.

It’s a trinity right: you’ve got Laurel, Mulholland, and you… your vehicle, you’ve also got the city. And everything about these two streets is so identical, and so distanced. It’s glamour on Mulholland – it’s secretive. I mean there are so many secrets in these hills. One you’re riding high, the other you’re caught in the depths. You’re in the belly of the beast. It’s scary. The Canyon is scary because it’s all tumbling down on you. If you’re claustrophobic – you can’t.

It takes a very particular person to be able to drive both of these at leisure, um, and routinely. You’re experiencing the highest highs, the lowest lows, at lightning speed – and that’s your normal. To be facing death at 65 mph every day is stellar. And you cannot be slow on Mulholland. If you’re slow, you will get sideswiped, rear-ended. And I cannot tell you how many cars have gone around me – ‘cos I don’t remember, not because it’s too many, it’s just that it would be inaccurate. I guess maybe eight. I’d say between – I wanna say between like four and six actually, but it could be like six and eight. Point being: people face death, and to be able to live to see the day, and this to be your normal… and nobody really understands. People don’t understand stardom, or y’know they downplay it because it seems it seems artificial.

It seems superfluous, but in all honesty: it’s just an energy transfer.

Big stars going to little stars, little stars becoming big stars, giving their energy to other stars and hopefully making light. That said, there’s anti-matter, or the space between that’s darkness. The thing about fame is that it’s atmospheric, right. And it becomes the all-encompassing everything, and you don’t even notice it when you’re there. To be able to live in that darkness, you have to have immense light. You have to have enough light to guide the way, right. You don’t know how bright you are until you’re far enough away to where you can see the darkness. Because let’s be honest: darkness, you can’t see darkness. Darkness is right in front of us all the time, right. But it’s clear, like where does darkness begin?

It’s far away.

Point is you can’t see it, you can’t touch it, and it’s what’s right next to you. That is your cheek to cheek, you’re touching it. The last thing the fish sees is the water, the last thing the human sees is the air, and the space between the darkness that’s around.

You see light because it breaks through: it resists, right. That’s the thing about it. We’re looking at stars from so far away. We could very well be stars to beings who are at an equal distance. Fifteen thousand light years away, there could very well be stars looking at us: figuring out how to live, how to move, how to engage, how to trail light – which constellations to link up with. All in motion towards creating a universe that is more light than dark; so that darkness is the one streaking across the skies, and the light is so bright you can’t even realize what lies in the space between now.

So, I don’t know. I guess Laurel Canyon and Mulholland are like that in a way. They’re so stellar. They’re so conversion. They’re beautiful constellations. And it’s just because a star trailed thorough a mountain to make a canyon, and a star trailed alongside a mountain to take the high road. It’s not for everybody: it is, not, for, everybody. Everybody can’t be a star, but it’s our job to give them energy to do so if they try: no matter how small the light, it’s gotta be big. Oh no.

Mood Ring: KES

In his own words, #nowplaying the soundtrack to Los Angeles based new age R&B singer Kesington Kross, better known as KES‘s life. File This Under: Audio Justice.




(K)ids With Guns – Gorillaz

This song is very provocative and daring…and the production shows that a song can be minimal, bare and indie and still be a mainstream hit as long as the lyric & melody is strong


(E)clipes – Pink Floyd

This song takes me to heaven with the pads, hunting melodies, progressive drums & reverb heavy vocals. It is all that is dreamy & hypnotic eclipse consumes my senses & keeps building & building and suddenly it fades from calm to quiet


(S)acrifice – Elton John

This song speaks to a relentless love that holds two people in love hostage but who are trying to find there way to freedom…threw a captivating catchy melody all over a breezy production…

Adrian Younge Talks on Making “Arguably Archaic Art”

I first heard about Los Angeles-based composer Adrian Younge on the Wax Poetics Magazine site. “Adrian Younge Presents Venice Dawn: Wax Poetics Records Releases Free EP from 2000”, read the headline. Maybe it was the word “free” that jumped out at me, but something prompted me to dig a little deeper. I downloaded the Venice Dawn EP, a 5 song soundtrack to a fictional film intended to, as the article stated, “[connect] the dots between Black Dynamite, Younge’s early work, and his newest album, Something About April.” There was one song in particular, “1969 Organ”, that caught my attention. I listened to it over and over and over again, fascinated by the eerie composition whose sounds I couldn’t quite describe. Futuristic, yet retro. Uncanny, yet lustful. Over the next few years, I continued listening to Younge. From Adrian Younge Presents the Delfonics to Something About April and Black Dynamite to 12 Reasons to Die, each album was unique from the last. Elongated vocal vibratos buzzed with liberated self-awareness. Psychedellic soundscapes bounced around unscathed sonic territory. Adrian Younge had both achieved and conceived of something formerly foreign to the ears. Stylistically vintage, Younge’s music is something of a progressive pastiche.

He has worked with artists like Ghostface Killah and Philadelphia soul group The Delfonics, composed the score for the Blaxploitation film and Adult Swim cartoon Black Dynamite, is a multi-instrumentalist, owns a record store in Los Angeles, and was an entertainment law professor (to name a few of his achievements). Oh, and did I mention he has an album with Souls of Mischief coming out in August? Needless to say, he is an accomplished artist. What makes Younge so meritorious though, is his understanding of what it means to create with Soul. Soul is the medium he uses within all he has done and all he will continue to do.

In my interview with Adrian Younge below, he expounds on the value of this very vital element as he makes what he likes to call his “arguably archaic art.”


Art Nouveau Magazine: What kind of music did you listen to as a kid? Was there a particular album or artist definitive to your upbringing?

Adrian Younge: My parents are from Guyana. In my house, it was r&b to reggae. As far as my musical core, what served to create my personal palette for music is literally hip hop. Hip hop showed me a source material to the music I love and strive to make. Hip hop culture is based on the recreation of old soul or actually the recreation of vinyl culture remixed with a modern day perspective. Hip hop went back to just vinyl and flipped it in a new way. Hip hop introduced me to all that good music back then, and that’s where I get my musical influences from. Hip hop was the door to the music that really changed my life.

AN: On Souls of Mischief’s 93 ti Infinity

AY: That album represented me personally. There were crews like Wu Tang I loved to death, but I didn’t identify with Wu Tang like identified with Souls of Mischief. I wasn’t selling drugs. I wasn’t robbing fools. But I loved the music. With Souls of Mischief, everything they talked about as far as getting girls to wearing fly clothes – that was my upbringing as a west coast dude. That 93 til Infinity album introduced me to different forms of jazz music to how to really flip drums. I learned a lot from that album.

AN: How do you choose the artists you want to work with?

AY: I view myself as a composer, not a beat maker. A beat maker is the type of dude that can make ten beats in a day, because it doesn’t take as much time. With me, I could make one song every two or three days. When I’m putting that amount of labor and attention to somebody, it has to be somebody I’m passionate about. When I have artists that want me to do a track for them, it has to be something I really, really want to do. It’s so labor intensive because of the fact that I play so many of the instruments, I compose it, I mix it. It has to be worth it. When I determine whether someone or a group is worth it, I have to see how I feel when I hear their voice. Is it something that moves me and pushes me to try to be better? Do their vocals push me to be better? If it does, then I want to work with them, then that just means that I’m making music to try to make someone else better. I want them to try to make me better.

AN: Do you have relationships with these artists beforehand or do you meet with them, see if you vibe, and take it from there?

AY: Yes and no. More times than not, yes. I’ve wanted to work with Souls of Mischief all my life. We met on Twitter, and then we talked on the phone, and then out of nowhere we’re just brothers. I’ve known them so long with their music, they just haven’t known me as long. Even though they were fans of me for a year or two, I’ve been fans of theirs since ’93. I always tell people that as a musician, you communicate with people through your music, and when you meet people you feel like they know you. It’s kind of true to an extent, because you’ve communicated to them personally somehow. They’ve communicated with me since 93, and when we met, we vibed very quickly. And then we started immediately thereafter.

AN: How is the album [with Souls of Mischief] coming along?

AY: The album is done. I think it’s their best work ever. It’s just something that I’ve never really heard in hip hop. It’s like if Bob James and Herbie Hancock got together with A Tribe Called Quest to make an album for Souls of Mischief in the 90’s but produced it in the late 60’s/ early 70’s. That’s what this album is…With this unique sonic perspective and many core changes and composition for hip hop itself. With them as vocalists, I have them acting like horns as if we’re making a jazz album instead of just a monotone vocal run throughout the album, and they’re helping me to be a better composer. We’re just making each other better. I just, honestly, can’t wait for the world to hear this album

AN: How do you maintain your signature sound while focusing in on what they’re about?

AY: I need to be able to go over to their side, and they need to be able to come over to mine. If their side is something of garbage to me, I don’t even want to do it. If it’s something that really inspires me, I want to see how we can make each other better.

AN: What are your thoughts on hip hop in 2014?

AY: Hip hop in 2014 is different in a way that has pros and cons. Musically, do I like it as much? No, I don’t. As far as the subcultures, do I like it as much? No, I don’t. Do I like the fact that I hear rap music on NBA TV and the Grammys? I love it. The argument is a little deeper than do I like it now better than I like it then. There are two sides. As far as music, I don’t like current hip hop music as much as I did back then because of the fact hip hop has become popular music in a way that it never has been. Because of that, a lot of hip hop and rap acts have to succumb to what it takes to what it takes to make popular music. There was a time when hip hop was predominantly underground, so people were experimenting all the time. New albums are generally experimental albums. They are the love of a subculture that was not popular to the world, so it had a different edge to it. Now, a lot of that edge is just lost. A lot of it is just music to make money. Not that they weren’t trying to make money then, but it’s just different. I love music with an edge, and there is still that. There is still that around the world. It’s just not as prevalent as it once was.

AN: Are there any artists today that you find yourself drawn to?

AY: I have a record store and all I do is listen to old records. The only new music I listen to is if I have friends or MCs that are doing new stuff…It’s not because new music is horrible, but I’m inspired by analog recording. I’m inspired by vinyl. So that’s what I use as my fuel to make music. When I listen to a lot of modern stuff, it’s just derivative of music that’s even not as good as the music that I love from back in the day…There is a lot of great stuff [today]; it’s just that I’m not educated enough to know what’s out there, because I’m kind of in my own world.

AN: Why do you choose to stick with the analog production process as opposed to digital?

AY: To me, the best music ever made was made without computers. Computers make the production of music easier, and the drawback of that is that it’s music based on the concept of emulation. A gourmet restaurant uses organic materials to create food for their consumers. I want to have the same artisan approach with the music I create. When you have computers, you cannot have that artisan approach. There is a loss of quality, a loss of production value, a loss of seriousness when it comes to making that kind of music. And there’s also a loss of compelling-ness in the performance. When you’re recording digitally, you can do a million takes. When you’re recording analog, you only have one take. You’ve got to get it right the first time. And it makes a big difference. That’s why I make it arguably archaic art.

AN: On Soul…

AY: I’m a lover of soul music. Any music that has soul, it could be a country music that sings soul. Lionel Richie is a country singer, but he has soul. I look at hip hop as a category of soul music. My boundaries are whether the song has soul or not. I love classic rock albums, but the classic rock albums I love have soul in them…whether it’s r&b, whether it’s hip hop, whether it’s psychedelic rock, that’s what I’m into.

AN: Do you have any words of wisdom to your listeners out there?

AY: Don’t close yourself off to music that is made right now, because timeless music is always timeless. To me, timeless music is something from a long time ago. I think artists need to look back to move forward as far as just creating art and look at what people did and try to determine what you can do as an artist to try and make what they did better now.  A lot of people aren’t looking back, and when you don’t look back, your foundation isn’t as strong. You’re just starting all over. It’s best to look back and see what people have done and try to build on top of that.


Kills Billions: Success in a System Designed to Fail

From skid row to Bel-Air Los Angeles street wear brand Kills Billions stays trill. Founded in 2012, the brand strives to prosper off the record, all cash. Fuck a bank. Kills Billions is here to Reap The Rewards. This is your introduction to success in a system designed to fail.


Art Nouveau: Hunter are you the main designer for Kills Billions?

Kills Billions: Yes, but I do hope to work with other artists in the future.

AN: Please give me a little back ground story. Where did you grow up and what were some of the stereotypes are associated with it?

KB: I grew up in LA. You got valley girls, gang bangers, surfers, hollyweird, crackheads, trannies, bel-air and Beverly Hills. The stereo types are the same as anywhere. I don’t pay them much mind.

AN: What do you think the youth in your area is being robbed of most? Was this the same situation you encountered as an adolescent?

KB: Education. The school system in our country is a factory based conformity camp. You learn false history and are taught that authority has the truth. I don’t think our youth has the opportunity to get a decent education unless their parents can afford a private school.
Screen shot 2014-02-25 at 11.25.07 AM Screen shot 2014-02-25 at 11.24.49 AM

AN: What inspired you to start Kills Billions? What’s the significance behind the name?

KB: I wanted to be passionate about my work, I was tired of selling others peoples dreams and decided to work towards my own. Kills billions is a satirical commentary on modern culture and the world we inhabit. It’s not about violence or killing billions of people as if people think that then they are missing the point. It’s about success in a system design for failure.

AN: Your Instagram feed is intense. Where are you finding these images?

KB: The information super highway. My sources vary so much it’s hard to track.

AN: What does success in a system designed to fail mean to you?

KB: Unless you come from a privileged family then the chips are pretty much stacked against you. It’s simple just beat the odds. I don’t have to meet the low expectations that society has for me, I’m a high school dropout. Doesn’t mean I’m stupid. I’m a convicted felon doesn’t mean I’m a bad person. I did what I had to do growing up and am not going to let my past dictate my future.

AN: Who or what inspires you?

KB: People


AN: If you were a cartoon character who would you be?

KB: Wolverine.

AN: What’s your favorite lyric from a song?

KB: My favorite song is instrumental. I don’t really have a favorite lyric.I love the whole sketches of Spain album from Miles Davis. It’s says more than any lyric I’ve ever heard.

AN: What’s the proudest moment of your career to date?

KB: Being asked to collaborate with a brand I respect. Which is currently in the works.

“It’s not about violence or killing billions of people… It’s about success in a system design for failure.”

AN: Where do you see yourself five years from now?

KB: Maybe living in a small town running shit from behind the scenes.

AN: What’s your mantra?

KB: Rush forward slowly and do what you love.

AN: What’s your take on the Google Smart Lenses?

KB: Getting people used to have micro chips in them. Wearable technology will soon become implantable technology. If Uncle Sam announced today that we are switching from ID cards to RFID chips then people would be resistant to it. But if people are used to micro chipped contact lenses Google glasses and what ever else is next then they have a built up tolerance for this type of shit. You can do anything to a population as long as it’s done incrementally.

Screen shot 2014-02-25 at 11.24.32 AM

AN: Would you consider yourself anti society?

KB: Yes and no. Depends on whether or not I’ve had coffee yet.

AN: What did you think of “Wolf of Wall Street?”

KB: Dopest movie of the year. Made me want to buy some blow and fill and airplane full of naked hookers.

AN: All Cops Are ______bastards__. (fill in the blank)

KB: no such thing as a good cop.

AN: What’s your favorite and least favorite thing about Los Angeles?

KB: Favorite thing about LA is the diversity. I love all the different cultures here. My least favorite thing about LA is the LAPD and the sheriffs department.

AN: What’s next for you?

KB: Doing more shirts and collaborations with other brands and artists.

Click here for more on Kills Billions.

The Show Must Go On

When one chapter closes, another opens. The story is simple. One crisis leads to another climax, another climax draws upon a sudden conclusion, and the conclusion brings us right back to where we started. The beginning, the inciting incident, the boom and the bang that traces our footsteps into another series of narrative problems is not just Hollywood, baby; it’s life.


So, where are we now? What part of the story are we in and where are we going? One must wonder. If life is like a movie, let us just say we have not quite hit the big screen. This is the uncut version, just as raw as Harry meeting Sally and just as real as Stella when she got her groove back and lost it all over again. At some point, the cameras must stop rolling. The makeup must come off. The flashing lights must flip their switch and the characters must flee the scene. But, the show? The show, ladies and gentlemen, must go on.

The dice are rolled.The cards are played. The winner takes the luscious blond back to his hotel room. The losing players take a last swig of their whiskey and leave. The table empties. The attendant stacks the chips, shuffles the cards, and introduces the same game to another set of players.


At the beginning of the night, no one knows what role they may end up fulfilling – the winner, the loser, the blond? All they know is that the game must be played. The script is improvised, from one blank page and one mad game to another. Maybe Act One did not end where we wanted it to. Perhaps the ordinary world never called to adventure, or the adventure did not quite cross the first threshold. In something like a Hollywood stripped of its star, we stand subject to the crazed narrative. No matter how many times the dice are rolled, we can never tell what the outcome may be. In this life, we can’t choose our genre nor can we choose our theme. Even if we tried, they seem to always choose us.


We surrender to the unwritten script. Whether we play our cards or our cards play us, there is one truth to every tale: The show must go on.