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Mood Ring: RAFF

R A F F

In his own words… the soundtrack to UK based singer/songwriter and all around vocal powerhouse RAFF. Enjoy.

 

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(R)ide On Time – Blackbox

Anytime I hear this come out the speakers, it still puts a huge a smile on my face, wherever I am.

Growing up, it was one of the first big dance tracks I’d heard and I guess introduced me to big vocal house…and got me hooked, not only to dance music but to those big diva vocals too.  And you may or may not find me screeching this out after a few Sweet Manhattans on occasion!


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“Are (Y)ou Gonna Go My Way – Lenny Kravitz

I remember seeing the uber slick glitzy golden video for this track on MTV.
It reminds of the Golden Age of MTV…staying up for video premieres; getting excited about The MTV Awards and who was going to perform; watching the video charts and discovering new artists that way.
It also introduced me to the epic Lenny Kravitz – the way he had that Rock God thing going on but with his soul edge definitely influenced me as an artist; especially on my new EP In My Eyes – I just shot a video for a track called Another Song to Sing which is the rocky climax to the story on there.  I definitely channel a lil’ Lenny when I perform that one!  I mean, who doesn’t want to be Lenny Kravitz?!  The cool king of soul rock.


 

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(F)inally – Kings of Tomorrow

This is one of my all time favorite songs!  Simple production on it, but there was something about that vocal and melody that got me hooked from the first listen.  It’s another track that makes me go crazy when I hear it in the club.  Although I went down a more soul/funk/band route when I first started making my own music, I’ve been lucky enough to explore my love of house music in the past couple years through collaborations with producers all over the world – like my singles “High Life” with Made in Norway (Norway) and Candy Hearts with Hypster (Ibiza).


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(F)uck Me Pumps – Amy Winehouse

THAT VOICE!  So I was struggling to choose my final song, but had to pick this wonderful woman.  She also name-checks the other guy I was going to choose in one of her songs, so I thought it would be OK…Donny Hathaway – again, THAT VOICE!
But I remember being floored the first time I heard this song and her voice.  It managed to mix my new found love of jazz with my love of soul in this completely modern and addictive way.  I was lucky enough to see her perform live when this record came out.  She was awesome!  All I kept thinking was, why wasn’t I the support act?!  Her voice, melodies and turn-of-phrase are so unique to her.  Many have tried and failed to replicate it but there will only be one Amy Winehouse…such a tragic loss of a shining star.


Inside The Mind Of Lawrence Rothman

Lawrence Rothman will be opening for Little Dragon June 14th in Atlanta, GA at the Variety Playhouse. Little Dragon has drawn a huge audience in Atlanta and Lawrence Rothman will fit right in with his artistic, moody R&B flavor. He has done work with director Floria Sigismondi for a couple of his videos that display a few shades of his dark side. Art Nouveau was lucky enough to catch him before his show in Atlanta to see what his world is really like.

Art Nouveau: Your songs have a very moody appeal and the words themselves are pretty mystic. What is your writing process like and what kind of mind set are you in when writing for the most part?

Lawrence Rothman: I keep writing journals with me at all times, and I am constantly writing short stories or collecting stories amongst friends ..These stories are what I start with to inspire the music.

AN: You seem to have a foot in both music and art itself… what are some of your inspirations in both respects?

LR: I went to college in Chicago for film and fine art, coming from a small town in Missouri it exposed me to things that weren’t available there. I worked at R Kelly’s studio for a minute. My inspirations range from Tupac, Leonard Cohen, J Dilla to Cindy Sherman, Mike Kelly to Alesandro Jardowsky and Orson Wells.

AN: There’s the video that you did with Floria Sigismondi for the “Fatal Attraction” video… what the was inspiration for the concept of the video and how does the collaboration help you as an artist?

LR: The concept of that video was based on the common idea that we are most attracted to things in life that lead to a wounded fucked up outcome..

AN: How are you enjoying the tour with Little Dragon? What are some of the most memorable moments so far?

LR: Little Dragon are an amazing live band! The shows have been really dope so far.

AN: If there was no such thing as capitalism, what would you do? Do you have any other interests besides music that you would work on?

LR: I would probably be a farmer, I love food! My grandfather was a farmer in the Midwest…I also love writing so maybe a farmer/fiction writer… Capitalism is what it is… In the land of junk some one else’s shit is your GOD.

GREATeclectic Explores Gay Dating Highs and Lows in New Series “Some Boys Don’t Know How To Love”

Fresh off his recent collaboration with The Gap, New York based artist GREATeclectic has created a series of work entitled “Some Boys Don’t Know How To Love” that melds homo-eroticism and his signature kaleidoscopic aesthetic. In honor of LGBT Pride Month, GREATeclectic explores all aspects of gay love. From drawn self-portraits with the artist passionately kissing himself to chopped and screwed portraits of muscular muses juxtaposed with modern icons of gay dating apps like Jackd and Grindr, the collection puts the male-on-male gaze at the forefront of the series and prompts viewers to dive into the complexities of our community’s sexual desire.

“The series started out with me exploring past failed romantic relationships,” GREATeclectic explains. “I found myself examining dating in the modern world and i thought it was something not only other gay men could relate to, but people in general could relate to.”

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The collection includes 11 original collages on paper and artworks created specifically to be posted as street art all over New York. GREATeclectic has made a point to post these handmade stickers across New York City in an extensive street art campaign.

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View the entire series at www.GREATeclectic.com.

ABOUT GREATeclectic: As an anydenizen: Kendrick is a Southern boy, a neer-do-well, a halogenic hipster setting up art-camp in Harlem. As an artist: GreatEclectic blends the most abstractly familiar elements of life – love, envy, wealth, wrath, perception, desire, greed, necessity, lust, identity, indulgence, ideals, ego, morals, said bankruptcy, and fears – with the rawest veneer of famous faces. His pieces are pastiches – whole in-and-of themselves but even more so in context of one another. Pop & Politics are alive and well-contented bedfellows in this world. The personal space stands as the pre-eminent public place of judgment. Shadows dance in rigid rhythmic formation with neon strobes. The entire world coalesces into a kaleidoscopic cultural landscape… where we are presented with our own selves from before the mass-mediated mirror of Pop life.

10 Artists Turned The Iconic GAP Logo into Bold Art

10 leading-edge artists around the world turned the iconic GAP logo into bold art. The diverse roster of artists features Craig & Karl, GREATeclectic, Skip Hursh, Arian Behzadi, Emily Hoy, Wing Shya, Raintree Chan, Calvin Ho, Wang2Mu and Jaye Kang. GAP’s REMIX Project tees ​are ​officially​ done and​ hit the market on the ​May 16th. ​The collection will be sold in select stores in Hong Kong, Taiwan, Shanghai, Beijing and of course online too. The collection includes a book featuring interviews with the artists, videos and an awesome tote bag. Take a look at some of our favorite shirts from the collection below.

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Abdu Ali Is The Oracle Of King Queenz

Abdu Ali came in 2014 real cute or whatever. Propelling out of Baltimore, Abdu Ali is a musician who raps, sings, and chants over unorthodox beats for the creation of inspirational melodic poetry. In a year since the release of his debut project, INVICTOS, and this Fall’s Push + Slay, he has become known for his consistent energetic performances, spiritualizing audiences as a cosmic, punk and soulful tempest on stage. His music is structured like a fine colorful sailcloth; the beats and crazed vocals are woven through each other inextricably, with all the twists and turns of his poetic designs following their slope. He is blunt and aggressive, yet soft and tangible. Abdu Ali’s musical force has pushed him to be a must-see performer, an artist of delivery and an artist conquering musical boundaries. Here’s all the tea we’ve got on Abdu in his own words.

Who Is Abdu Ali?

“I grew up in Baltimore City, specifically in the downtown area, on MLK BLVD and Penn Ave. It’s an area that’s rich with black art history, the Royal Theater use to be right up the block where I grew up. There’s a statue dedicated to Billy Holiday too not to far, I also went to the same middle school, Booker T. Washington Middle, as Thurgood Marshall. I always felt like being in that area always had some profound effect on me, culturally. I always had a good sense of pride for being black because I was fortunate to be taught about prominent black figures every since elementary school. They also filmed a lot of the Wire in my neighborhood too, at the projects across the way from me. Speaking of the Wire, so many stereotypes of Baltimore were born from that. I mean the show was on point, very realistic. But geesh, it wasn’t the complete image of Baltimore. People always think Baltimore is like a war zone, as if violence doesn’t happen all over America, esp in poverished neighborhoods. Another thing is that people think people act out in violence, sex, drugs, just because. When you grow up with nothing, you have nothing to lose. As an animal, we human beings have a natural instinct to do whatever to survive. If you’re born with no resources, no tools to be successful then you gonna do the most extremes things to stay content and healthy. I would be in school with fucked up books, teachers having to buy us books, or in music class we would have to share instruments some times cause there wasn’t enough. In Baltimore alot of the schools are closing being replaced with horrible charter schools, there’s a trend of gentrification in a lot of the black neighborhoods, a lot of the afterschool programs are being cut, and there are no clubs or rec centers for kids anymore. This is what one would call a black out. Niggas being rapped out here by the system. The school system in Baltimore is so shitty, and alot of the teachers are teaching for the wrong reason. I use to be a TA at a elementary school, and was appalled by the way the teachers would treat the kids as if they were rodents who didn’t know any better. I was disgusted. Now there are some good teachers too.

Like let’s be real. The crime is provoked by the fucked up institutionalization of American society. That’s how they want it. Niggas to be fighting and killing another. Or else they would provide impoverished neighborhoods with the tools the people need to be successful. Just watch James Baldwin’s documentary, Take it to The Hammer. With that being said, Baltimore is dangerous if you want it to be, or it has to be that way for you but it can also be a beautiful place of rich history, rich black history, and its’c charming, and real. I am proud to have grown up here because it def tested the shit out of me to grow up and realize some shit about myself and the world.
My bad for going in like that. [laughs]”

Why Does Abdu Create?

“I always had songs in my heart. I also itched to get em out but never had the balls to be a musical voice. It was winter 2012, I was pretty depressed, and grey. I gained mad weight too. I felt lost, lonely, and at the time I was blogger and doing journalism. I didn’t really feel passionate about it like I thought I would. I did poetry too. I also did, I also wrote since I was a kid. Poems always did something extraterrestrial for me. I can’t really explain it but I am obsessed with words, rhythm, and stylizing words. But yea, one day I just said fuck it I’mma write a fuckin song and make a track with some producer. I found my bby Schwarz, and sent him some lyrics, he fucked with it, and we got together, he made a sickening beat, and I wrote “BANJEE MUSICK”. And I remember the first time I spit on the mic in the studio (DIY OF COURSE. LOL), something came over me like I just busted a nut.”

If Abdu Could Be A Cartoon Character…

I would be Ash Ketchum, that nigga got hella heart, and he is fearless.

Favorite Lyric From A Song

This is hella hard, I got so many fav song quotes. Here’s one:
“I’m working
I’m working
To make butter for my piece of bun.

And if you say I’m not okay
With miles to go.
If you say there ain’t no way that I could know.
If you say I aim too high from down below,
Well say it now cause when I’m gone,
You’ll be calling but I won’t be at the phone.” – Lykki Li “I’m Good, I’m gone”

Proudest Moment To Date

I was so proud to be at SXSW, performing at Gaybigaygay. It was the biggest crowd I performed in front of. I went there broke and came back rich.

What Abdu Wants Most

I want to be able to see the world and effect as many hearts as I can with my music. I want to give the best music and performance anyone has ever seen.

Favorite Place To Perform

Baltimore and Brooklyn are my favorite places to perform, oh and Olympia. They are all so mystic.

Where He Sees Himself in Five Years

I don’t like to think too far in the future. I’m living now. Carpe Diem.

Inspiration behind PUSH + SLAY ?

I was inspired by the hustle, and albums that’s all about owning the come up, like Illmatic, Ready 2 Die, and Hardcore.

Dream Collaboration…

Bjork, Mother Badu, Flying Lotus, Frank Ocean, Mykki Blanco, Blaqstarr, Antony + The Johnsons, and mad other people. I never only have one of anything. lol.

What’s Next?

I want to conquer all my fears. I want to create beautiful music with the two projects I have coming out this year! I’m still playing out themes/titles for one of the projects which is coming out in the summer, it’s a small ep. As of now, I’m into exploring the power and liberation of freedom of speech, having a voice. Music is all about voice, giving voices, and owing your own and doing something with it, like to empower or bring comfort. The second project is called, OCTARINE, it will be a full on album. That’s all about the beauty of transparency, empathy, and owning all of who you are. That will be out in fall.

Anything Else?

NIGGAZ BELIEVE

Pitchfork Review Board: Beck’s “Morning Phase,” Ryan Dombal, 2/24/14

**This is a weekly column I will do, reviewing Pitchfork’s catty reviews of amazing albums in the style of a Pitchfork writer.  Enjoy.
Beck’s “Morning Phase” by Ryan Dombal, 2/24/14

Pitchfork Score: 6.8

Not only is Beck’s new album—the groundbreaking artist’s first actual album in almost six years—amazing, it is heartfelt and remarkably evocative.  Many have compared it to 2002’s Sea Change, and while it definitely exhibits the same amount of care and devotion that Sea Change put forth back in the early 2000s, Morning Phase carries with it a quiet urgency that drives the album as a whole, entirely progressive piece of music that speaks to the uncertainty that comes with age, experience, and a somewhat fabulous lifestyle.

Ryan Dombal’s review of the album is unabashedly obtuse and tragically uninformed.  Dombal has made a name for himself on being a catty, uninformed, biased turd when it comes to music.  Instead of appreciating music’s various forms and creative reincarnations, Dombal relishes in the assumption that he knows everything about music, and finds selfish comfort in tearing down any/all artists’s ambition to make a name for themselves.  When reading his reviews—especially the one that pertains to this album—one must wonder, “what the fuck does this douche bag know about music?”  A question for the ages.

Beck’s new effort is, above all, incredibly nuanced and evocative, and it echoes complacency that is both poetic and, for the textured singer-songwriter, long overdue.  Dombal takes issue with this justifiable yet totally deserved placidity, as he mercilessly fabricates some sort of unfounded dissonance between happiness and human experience, one that likely mirrors his own unhappiness.  Through any means possible, he constructs graceless—albeit meager—attempts to drag down a prominent artist’s latest vision, through flowery language and an undeserved sense of entitlement: one that most likely was never truly awarded to him, unless you count the twisted sort of hierarchy he has constructed for himself in his own head…You know, that one where he catapulted himself into some sickly position of power, reigning over the “kingdom” of artistic/musical vision, decapitating any and all who has the gall to challenge his tragically shortsighted, ludicrously pompous perspective.

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Dombal claims that the songs on Morning Phase are “too ethereal for their own good,” ignoring the fact that ambient music is not only peaceful and terribly expressive, but that it also usually resonates with the biological reflex that corresponds with relaxation.  Even if he had, there is a plethora of ambient/ethereal music that is much more expressive than that—check out Boards of Canada’s Geogaddi if you don’t believe me—yet even so he is willing to tear down the genre as a whole because it doesn’t coincide with his own personal taste.  Morning Phase is far from “ethereal,” besides the fact that most of the songs tiptoe along the same dreamy time signature/tempo.  The music is of classic singer/songwriter style, whispering piercing truth through subtle, arresting lyrics and silky instrumentation.  If anything, Beck juxtaposes a tranquil, relaxed tone that correlates with his own inherent, kindred insecurities.  The result is a textured, arresting struggle between the mind and the body, the outer world and the worlds that encompass the immeasurable matter that occupies the collective mental space we humans inhabit.

Beck’s Morning Phase is a touching, gently powerful exploration of one’s guarded yet necessary introspection of their own troubled psyche, and for anyone to put that kind of emotion forward—in any way, shape or form—is admirable.  Rather than focusing on Hansen’s “frustrating in-between-ness” [sic] (yes, that is exactly how it is worded in his review), we as listeners should be applauding Beck for his willingness to surrender to moderation.  Not to say that any of his music has significantly relied on extremes; his previous albums have definitely alluded to elaborate themes encompassing accessible tragedy, disconnection, heartache, and even joy, yet have never exhibited such concepts extraneously.  To berate Beck’s eventual “i’m OK” status is cruel and egomaniacal; we can’t rely on musicians to feel our pain for us.  We look to artists to empathize with them, to find a common ground and resonate with them.  Tearing them down to seem cool and grounded while denying any true reaction is dishonest and fundamentally pathetic.

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Dombal’s review of Morning Phase perfectly reflects that kind of shallow, superficial reaction that, for once, does not make this writer mad; rather I feel sorry for him.  I really, really do.  It saddens me that one that claims to be so “informed” and “connected” with music falters so catastrophically in recognizing when something truly great comes along.  I’m a firm believer that music is totally subjective—thus I am emphatically open to other people’s opinions—but to completely destroy an artist’s body of work—one that took years to accomplish—in three or four paragraphs is laughable, distasteful, and positively classless.

You may have been writing music reviews for years, Ryan Dombal, but you will forever be unhappy due to the fact that you find such joy in tearing down any and all facets of an artist’s vision.  It’s sad that you are OK with that, and I weep for your ignorance.

Money Needs Me

celebrity, human currency, neon trafficking flashing lights, in god we trust, monarchy, illuminate me, free market new slaves, live your cash, kill the cow..

necessity sees me, desire feeds me, schadenfreude bleeds freely … the fame monster … the framed rockstar … it’s just entertainment … and the economy stupid

140 characters …

courtesy is the currency

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USD Grade: Created Capitol … May the Odds Be Ever in Your Favor

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$1 // Britney Spears (George Washington)

 

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$2 // Beyonce (Thomas Jefferson)
– Sally Hemmings

yeezymoney2$5 // Kanye West (Abraham Lincoln)
– Free the new slaves // Gettysburg Address / Devil in a New Dress // Emancipation Proclamation / Late Registration // Graduation / Emancipation // Assassinated / John Wilkes Booth / Ford’s Theatre / Dead Spectator / Dead Spectacle / Dead off-stage / Booth/Booth/Studio // Stovetop Hat/Pleated Kilt // Civil War

 

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$10 // Lady GaGa (Alexander Hamilton – DOB September 11, 1789)
– Founding Father / Mother Monster // Chief of Staff to Washington (Spearsian / Watch the Calderone / Vanguard) – Federalist Party Founder // Fame Monster Ball Mistress: Black and White ; Marry the Night / policies called for a national bank, tariffs, and good relations with Britain as expressed in the Jay Treaty negotiated in 1794. / Good relations with Bey as expressed in the JAY Treaty // Built with the support of bankers and businessmen in order to support Hamilton’s fiscal policies. / Built with social tech startups and creative capitalists in order to support the GaGa’s factory fashion policies // These supporters grew into the Federalist Party committed to a fiscally sound and nationalistic government. / These supporters grew into the Haus // Monsters Inc. … Fans and the free market … blind love and the usurpation of adoration … little monsters … commercial interest and youth culture cannibalism … don’t be part of the machine, make the machine a part of thee … let my blood flow through the press … to publicized privacy, frame the line and print me

 

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$50 // Jay-Z (Ulysses S. Grant)
– Yankee General, Drunk in Love

 

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$100 // Madonna + Michael Jackson (Benjamin Franklin)

US Post Modern

In case you haven’t read the news, we might as well kiss the USA goodbye in 15 years or so. But, rain or shine, Gordon Holden is going postal with his first Exhibition A print, appropriating a piece of classic American iconography in a stroke of meta-rebranding. Holden reminds us here that art, like the postal service, is a delivery system for ideas—plus it’s pretty funny. He takes two elements of this familiar image—the eagle silhouette and the postmaster font type—to form an absurd corporate identity. Often satirical, Holden describes his work as “a collection of things to like and dislike.” His recent show with Schoph and Corey Smith at Paul Loya Gallery focused on provoking discernment in the viewer and confirming that first glances are not always to be trusted. We love the trademark quality of this print Take that, Fedex!

It’s hard to say which is more endangered: our national bird or snail mail? Two elements of this familiar image—the Eagle Symbol and the logotype—combine to form a corporate identity, which Gordon Holden grants his witty stamp of approval. Often satirical or sarcastic, Holden describes his work as “a collection of things to like and dislike”– his playful curiosity highlighting the idea that things are often not what they appear to be. His recent show with Schoph and Corey Smith at Paul Loya Gallery focused on the society that surrounds us, aiming to provoke discernment in the viewer.  We love the trademark quality of this print working in the tradition of a great Parra, Mike Mills or Geoff McFetridge image.

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The Howard Art Project presents an exhibition of eight emergent artists working across disciplines. United under Dave Hickey’s seminal essay Frivolity & Unction, the exhibit entitled ”Recto and Verso,” features the varied yet equally exploratory works of Charlie CrowellGarrett GouldDuy HoangGordon HoldenGrace JacksonTyler MurphyAlicia Riccio, and Sena Wataya. The exhibition playfully explores unexpected modes of indulgent story telling, the humanity of space, commercial aesthetics, and the deceptive nature of the everyday. Collectively the work calls for an innocently subversive reorientation of perspective and a reconsideration of assumed truths.

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The MisIncarceration of Lindsay Lohan

“Have a seat, Ms. Heron.”

That is the way Lindsay Lohan’s protagonist character—Cady “pronounced like Katie” Heron—in the now decade-old, SNL-backed Mean Girls, is addressed towards the end of the film.  This occurs when Ms. Lohan’s character is accused of multiple wrongdoings against the varsity female crowd matriculating at the fictional Northshore High School situated in Evanston, Illinois (a prominent suburb of Chicago), exposing the jaded population of said high school for the gutless, apathetic, obviously-compensated flurry of extras they truly are.

Ultimately, it’s Lohan’s character—Cady Heron—who takes the fall for the entirety of the tragically juvenile “published” opinions of the bitchy girls she fell in with–as the result of some twisted experiment concocted by those spurned by said girls in middle school (a rumor of lesbianism is apparently the ultimate diss).  Though it’s very obvious she was hardly the sole perpetrator in the inscribing of the “Burn Book,” she allows herself to be martyred.  While Ms. Lohan’s life doesn’t exactly follow the plot of Mean Girls, she indeed sacrificed herself for the greater good of pop culture.  She just didn’t know it.

For anyone who has watched the NBC show Parks and Recreation, you will know what I mean when I say, “there always has to be a Jerry.”  For those who have no idea what I’m talking about, tough.

Nah, just kidding.

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On that particular show there is a bumbling employee named Jerry who basically screws shit up all the time.  He makes himself look bad, he makes his department look bad, but at the same time, he makes everybody else look better in comparison. Basically, what I mean is that it is human nature for us to pick on somebody, someone who appears to exhibit a lesser amount of intelligence, or strength, or in this case, better judgment.  LiLo put herself out there to be criticized, and thus created her own prison that would take years to break out of.

Jenji Kohan’s new Netflix® series Orange is the New Black brought the drama residing within women’s prisons of the modern age to life, and so it has become easier to recognize the plight of incarceration—in terms the regular public can understand—through television.  The show is highly dramatized, obviously, but it brings an interesting inquiry to mind: why is it so relatable?  Is it because it feeds on the fear shared by many, in which we are held against our will as punishment by the law?  Or is it because we set up mental prisons for ourselves that feel so overwhelming at times that they replicate the cold, steel bars that pen up convicted criminals?  Maybe we all feel guilty, in one sense or another, and thus we feel we deserve to suffer in solitude as penance for our wrongdoings.

Many childhood games of MASH and Paper Fortune Teller have posed the question: would you rather be rich or famous?  I always chose rich, because if you’ve got buttloads of money who the fuck cares who you are?  Wealth doesn’t define a person, and neither does fame, but the latter is far more likely to do so.  Honestly I feel bad for the famous folks who have to deal with underpaid photographers flashing bulbs in their face day-in and day-out.  It’s a bogus way to live.  I actually saw a tabloid not too long ago that called Channing Tatum “fat.”  Are you fucking kidding me?  If that boy is fat I might as well sign up for liposuction tomorrow.

When it comes to fame vs. wealth, I always feel like fame gets the short end of the stick.  Wealth can be a product of fame, and vice-versa, but nine times out of ten I don’t understand the hierarchy of this country.  We don’t have royalty like they do in Europe…per se.  Hollywood is our royalty, and once a year they shower each other with golden statues while we watch at home eating pizza rolls and drinking $6 champagne, as if it means anything to us, the common folk.

Beautiful, amazing, talented artists are getting fucked over every day by record labels, or they have to release their music or art to the world via DIY networks that may never get recognized, relying on not much more than a hope and a prayer that something may come of it.  Yet, at the same time a rich family of bratty girls—whose only real relevance stems from a retired lawyer, an ex-Olympian, or their gold-digging succubus of a mother—rakes in the dough because …well you tell me!  What contribution have ANY of the Kardashians made to society?  Yet for some reason people care.  They actually care about these bimbos.  There is real talent out there, struggling to he heard and recognized; yet instead this country is more focused on watching curvy Armenian girls whine about manufactured divorce and problems they’re having with their Apple TV.

I realize the gradual downfall of Lindsay Lohan was not a direct result of America’s obsession with E!’s favorite skanks, but there is no doubt in my mind that she felt the pressure.  Mean Girls is a stellar film, and Lindsay Lohan shines as the naïve, compassionate, yet ultimately forlorn heroine. So what happened?

Lindsay’s personal life is none of my business, nor is it ANYBODY’S.  I don’t know her personally; I don’t know anyone who does (except my friend Max, who apparently met her while she and his father were on “All My Children” together), so I have no reputable opinion in regards to her lifestyle.  From what I’ve heard, she’s been combatting everything from drug accusations to larceny.  Her attempt at a comeback was admirable yet lacked any real pizzazz, and her Saturday Night Live gig a few years back was hardly terrible, yet it failed to showcase Lohan’s true talents as an actress.  Her Lifetime Elizabeth Taylor biopic also flopped.

5167769805_f9e884300b_bI can’t help but draw some parallels here. I mentioned earlier the prowess of Weeds creator Jenji Kohan’s new show Orange is the New Black.  It wasn’t too long ago that orange—or ginger—was in fact, “the new black,” what with Tori Amos dominating women’s independent music, Julianne Moore coming into her own as an actress (most notably in The Big Lebowski, Boogie Nights, and Magnolia), and, of course, Lindsay Lohan becoming America’s new sweetheart.  After her breakthrough performance in the remake of Disney’s The Parent Trap, she quickly became a household name.  Unfortunately she stayed that way during her demise.  Her signature appearance became the very fabric that made up the strait jacket she wore to escape the pressure of public life, her unmanageable parents, and the inherent downfalls of her fabulous lifestyle.  However these days, downtrodden yet willfully optimistic, Lohan is reaching for new horizons.  Her documentary series is set to air on Oprah’s OWN Network this month.

This is an awkward article to end. I, personally, have not invested any time or money or attention when it comes to the wellbeing of this girl…until now,  Sure I like Mean Girls and Herbie: Fully Loaded, but at the same time I very rarely attach myself to any celebrity.  I feel like it’s a constant reminder of how much better their lives are than mine more money they have than me. But maybe, it really isn’t that much better. I can see that girl suffering, because I’ve been there.  Not in the national spotlight, mind you, but I’ve been that girl.  I’ve been that lonely girl begging for attention and acceptance.  I’ve been that girl trying to prove to myself and to everyone else that I am actually worth something.  I’ve had to break through the very same chains I forged for myself out of my own disillusionment and low self-esteem.

I’ve talked to a lot of people “my age” about Lindsay Lohan: most are apathetic, some don’t know who she is, and others confuse her with “that Miley girl.”  Though to those of us who know her and thus know what she’s capable of, she will always be Cady Heron: the heroine, the wallflower, the warrior for the under appreciated.  That’s why she breaks that fetch crown in the end: we are all meant to be celebrated (although I still don’t get how one crummy tiara breaks up into like 5293857623975 pieces).  She will always be Cady Heron: the girl that made it cool to be good at math, the one who really did love Ladysmith Black Mambazo, the one who reassured us that butter, was in fact, a carb (though it really isn’t).

So I’m going to raise a glass to Ms. Lohan’s future.  Despite all the animosity and all the bullshit she still puts on a brave front, and I respect that.  So here’s to you, Miley shit! Lindsay!

“Grool.”

“The thing about trance on a stage…”

The thing about trance on stage though, is like – it’s not like the trance part of it numbs you over where you just kind of succumb to this, this dizziness. It’s more like there’s something very visceral to it, something very rock ‘n roll about it. At least for me when I’m playing it, it really registers as a trance, but you can still really feel some strong emotions and you really can feel yourself present in that music; as opposed to being transported to some numbing land like, maybe what traditional trance music is meant to do kind of like ease people out when they’re on shrooms. I feel like you can use your body to interact, to interact with the band, you interact with the audience, you connect and I feel like everybody’s alive when we’re playing music. And you know, maybe that’s like, maybe “trance” isn’t the best word. (laughs) You know what I’m saying.

– Luke Top, Fool’s Gold

A Visual Artist Disguised As Andre Woolery

As an artist, Andre Woolery is interested in creating time capsules that can tell stories of what is current and contemporary. The specific lens is based on things that have heavily influenced the artist thus influencing what he create: the digital convergence in our world and black culture. Both of these areas have molded me Andre into what you see, so his creations are a direct manifestation of that influence. He aims to capture the truths that can become anthropology for both of these areas and hopefully reveal something about this current matrix we call society.

Stylistically, experimentation on a blank canvas drives Andre. He aims to test, try and reformat everything because the world is filled with possibilities and his role as an artist is to discover them. He wants each new collection or phase of his work to be part of a collective journey in pursuit of new territory or a new lens.

The end goal is to have each set of eyes that view his work to gain a brief or long lasting moment of awaking some form of consciousness. Whether it is consciousness in the form of inspiration to look at the world with a new set of possibilities, or understand the world with more clarity, or even take a step closer to a topic that is foreign to your existence. It is ultimately an exercise in his own responsible influence. We caught up with Andre before he left for his foreign exchange artist program in Jamaica.

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Art Nouveau: How has the Harlem art scene inspired your work?

Andre Woolery: Harlem is truly where I got my exposure. Exposure to exhibit my work within the community, connect with collectors, and be alongside cool artists that live above Central Park.  When I started painting I was alone with my thoughts of creating. Then I started meeting all these artists that were creating work out of vinyl, bronze, buttons, duck tape, cut up canvas, and it opened my mind further to all the possibilities of artistic expression. Beyond the diversity of mediums, the caliber of talent and charismatic personalities really pushed me to elevate my game to keep up with the momentum.  I wouldn’t be where I am now if it wasn’t for all the doors Harlem opened for me; literally, figuratively and mentally.Harlem has a rich heritage as a cultural center for black creatives and that still remains true. We are in the midst of an emerging Renaissance so I encourage anyone interested in the arts to head uptown to see what Art in Flux, Souleo, Harlem Arts Alliance and other organizations/galleries are developing. I want and hope for art enthusiasts to really support the artists here through collecting, attending and advocating so it can flourish to its full potential. Its only the beginning…I also want to point out the square footage available in Harlem is empowering. The size of my apt enabled me to create massive pieces like “It’s All About the Benjamins” which is 9 ft x 4 ft. With the space, it was like, why the hell wouldn’t I try to make something big like I see in the museum? Every artist needs a bigger fishbowl.

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?

AW: Productive ways to spend their time that exhibits their power. My mother always told me “the devil finds work for idle hands” and thankfully when I was younger I was always busy doing artful things to keep me from doing stupid things.  The youth needs alternatives to see their power expressed and they are being robbed of those outlets.  I see less after-school programs, art programming, community role models and all the things that help youth establish ways to express themselves, find out who they are, and recognize their power in being unique. They are vessels of unfulfilled potential waiting to be realized and sometimes it just takes a new experience to discover it.

AN: What inspired you to start your technique of creating works with push pins?AW: I get bored easily.  I am constantly looking for something new.  I think you have to “innovate or die” so my mind is always pushing to find new ways of thinking, expressing, and remixing.  Working with pushpins was the result of a bored Saturday looking to do something other than oil paint.  It ended up being the personal challenge that really propelled me to pursue art seriously.    Now I love the creative challenge of using a limited color palette (11 colors of pushpins), the necessary math involved, and the handcrafted nature of it so I am constantly trying to push the medium. For example my first piece Jay-Z – The Tackover used colors of pushpins to dictate light.  Now in the Grace Jones – Natural Glow piece, I used a single color but leveraged patterns of spacing to illustrate light. I got a lot of tricks up my sleeve that I’ll be dropping this year.

AN: Your work is very large-scale and your process is intense, How long does it  take to finish a piece?

AW: Honestly it gets faster every time I create a piece. Depending on the size and detail required it can take 3-5 weeks to complete a piece . Usually I spend time mapping everything out in my head and then start tacking row by row until its complete.  It has taught me so much about patience, faith, and persistence.  Patience to take your time with every single placement of a pin, faith that the composition of the pushpins actually resembles the end goal, and persistence to keep going despite having a callous and bruised thumb.

Obama Images.001AN: Who or what inspires you?

AW: Everything that crosses my path. My eyes are open and with a great visual memory, I’m like a sponge soaking it all up for future reference. I believe every potential creation already exists you just have to uncover it. We as artists have to continue to unveil what isn’t easily seen, excavate what isn’t easily accessible, show value in the overlooked and chart new territory.  If art can create illusion, you have to see magic in everything so you can use it to create your own magic. There isn’t one inspiration, the world is all I need.

AN: If you were a cartoon character who would you be?
AW: (Laughs) Love this question. Afro Samurai.  I love hip hop. I love samurais. I love Japanese culture. I love RZA. I love Samuel L Jackson. Put me in the middle of all that while seeking revenge with supreme confidence?…its almost too perfect.

AN: What’s your favorite quote from a song?
AW: That’s a tough one. There are so many and it all depends on the last song I heard or what state of mind I am in. For right now, I’ve had Major Lazer – Get Free on heavy rotation for the passed few months.  It was like an anthem for me as I was approaching my departure from New York. It is simple and straight forward but it spoke to me:Look at me
I just can’t believe
What they’ve done to me
We could never get free
I just wanna be
I just wanna dream

I had a job outside of art and while I enjoyed what I was doing, art was like a the ray of light beaming into that small cell of corporate life.  It was freedom and opportunity to dream my most vivid dreams. I  just couldn’t wait to break free to be myself.  Everyday not being able to due that felt like locking up my creative soul. I listened to this song and it fueled my urge to get free.

AN: Tell me about your invisible hieroglyphics series?
AW: That project was a collaboration between my good friend, Victor Abijaoudi, and myself.   We noticed that the world was becoming increasingly digital, and the world of communication was losing its physicality. The one remaining human component of the digital experience is touch. Our hands have become the communication conduit through devices with a series of taps, swipes, and pushes. We extracted the finger smudges on my iPad after using specific apps and transformed them into vibrant, acrylic prints.It’s about communication and art of the digital age.  Nothing was arbitrary or accidental.  We took one of the most revolutionary companies, Apple,  and used their revolutionary device as the canvas. Apple’s iPhone and iPad has transformed society’s interaction with devices but truly the art we uncovered was entrenched in user experience design.Each of the designers of the selected apps, created the blueprint for how your fingers would trace within the lines they created.  As visual artists, we took the invisible and made it so you could see the art of the software and hardware working together.  We wanted the art to encapsulate this moment in history.  We pushed a contemporary reflection back to a world rapidly shifting from analog to digital. The only remaining traces were our fingerprints.It was everything I wanted out of a collaboration and a good bridge for me that is so entrenched in a digital world but also spending my time making things with my hands.

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What’s the proudest moment of your career to date?
AN: My first show, Bruised Thumbs. I was fortunate enough to have solo art show entitled Bruised Thumbs. It didn’t feel like a show in the traditional sense (but maybe all first shows feel that way). I was proud because it fulfilled many of my hopes into one night. Through art I found the ability to develop a vision and bring it to life. The show was not about making sales but rather putting my work on a public stage. Up until that point no one had seen my work outside of the walls of my home so it was a major moment. It was the first opportunity my pieces had to be placed on a well lit, white wall where their true splendor could shine. It was a moment for the pieces themselves and the culmination of putting my visions on display. Things that hadn’t existed before had now occupied a space, a moment in time, and interest from viewers.I also got a resounding level of support from my network of friends and family. They contributed in countless ways; from film production, to cocktail recipes, to spreading the word, and so on. The opening night was a clear picture of what it looks like when people spread love to those striving to achieve. This type of support should be extended to all those doing creative things, if so, the world would be amazing.But, most importantly when I go to art events, there is typically a only a handful of non-white faces, if any at all. My show was the opposite. It was a sea of color where black was the majority among a sea of highly diverse, varying faces. So many people came up to me during, after, and in emails to tell me this was their first art show and they want to attend more. This was important for me because I know what art has done for me, and I want to extend that to the people in my life and the communities I belong to.There were also so many young teens that randomly showed up during the week just to check it out. I had really open sincere conversations with them and it felt great because I was able to lure in the audience I set out to reach. I believe they were able to see themselves in me and recognize more possibilities.  I met one guy that had given up on being an aspiring actor in the theater but my art show made him want to get back into it. Months later I ran into him in Columbus Circle (I have good visual memory so I didn’t forget his face) and he told me he was in the middle of auditions and things were going well. We shook hands, wished each other good luck, and that was it. That small moment lasting a total of 2 minutes was one of the best moments that reminded me that I’m doing the right thing. That is ultimately what art means to me: an opportunity to give people another reason to take a bold step or new thought pattern.

AN: Where do you see yourself five years from now?
AW: A global artist creating work that impacts people.  These upcoming years will be a litmus test for me to see what works and what doesn’t.  I will then use all that experience and insight to push hard at the things that will drive real impact with youth and community. This upcoming year will be focused on using my art and creative talent to impact my community in Jamaica.  It will drive civic pride, youth empowerment, grow family bounds, and potentially become a cultural destination.
But you can never really plan the future so I guess we’ll have to wait and see.

AN: You’ve mastered bridging the gap between art and commerce. What advice would you give to young artists that want to make a business out of their art?

AW: Invest time in learning about technology, business, build your network, and create a vision. There are several directions you can go as an artist and the closer you are to acquiring the knowledge the closer you are to being independent.  If you aren’t fluent in technology, you will not be able to utilize all the tools that available to our digitally empowered generation.  If you ignore the business side of things, then someone else will be in charge of making your decisions and most likely to their benefit.  You have to make connections to others that have skills you don’t because you run into mutually beneficial situations.  Last and most important is to have a vision for your art to be your livelihood.  Once you have that you will easily connect the dots of your skills, technology, business, and the network of people to help you achieve.  Making a business out of your art can mean whatever you want, don’t think there is only one business model.

AN: What’s next for you?

AW: I’m in Jamaica right now so I’ll be doing several new projects.  Some new work with the medium of pushpins, community based projects, new mediums related to being on this island, street art, oil painting…essentially I am going to be trying it all.  I came for freedom so I will be completely open with the types of things I experiment with.  The best way is to follow the journey is through Instagram or Facebook.

AN: Is there anything else you’d like to mention?
AW: I am going to doing a foreign exchange of talent while in Jamaica, so if you have creative skills that you want to share with my community and can afford a flight to JA, come through.  Let’s show the world how powerful artists can be when they put their skills together. Hit me up with any thoughts and we can work out a way for Jamaica to be a creative haven for artists.

Click here for everything Andre Woolery.

Hello/Goodbye (Uncool)

[Intro]
FNF

Hello darkness, hello sunshine, hello not at all, hello all the time
Hello no where, hello oblivion, hello goodbye

Hello Darkness
You

All in together the weather is better than ever
I hope it never ends I hope it lasts forever
But when it does, we can all pretend that it’s better than it’s ever been
Lie to ourselves like the sky to rebel
And its well and its fine and its fine if it fell
And you couldn’t find the story line if you survive to retell
We are targets, Hello darkness

Hello darkness, hello sunshine, hello not at all, hello all the time
Hello no where, hello oblivion, hello goodbye

Said everything is going to be fine
Said everything is gonna be OK
Said just don’t breathe the air

He just sits and waits for them to kick in the door
He once was a hero they don’t love him no more
There’s a blast, every time a foot hits the floor
His gift for not fighting another man’s war
And if they can get their hands on the mask that he wore
On his face, they can put somebody else in his place and restore
The state, the illusion that its safe
the faith, that being a slave is so great
As gas fills the room and rockets destroy everything around him
He stands to find himself surround
By thousands of soldiers that his once trained to never miss their targets
Heartless, Hello Darkness

Hello darkness, hello sunshine, hello not at all, hello all the time
Hello no where, hello oblivion, hello goodbye

Hello Darkness

Please to make your acquaintance
Salutations, Konnichiwa
Hello end of the world, how are you, I’m fine

Hey there darkness, hey there sunshine,
hello not at all, hello all the time
Hello no where, hello oblivion,
hello goodbye

Hello darkness, hello sunshine, hello not at all, hello all the time
Hello no where, hello oblivion, hello goodbye
Hello darkness, hello sunshine, hello not at all, hello all the time
Hello no where, hello oblivion, hello goodbye
Hello darkness, hello sunshine, hello not at all, hello all the time
Hello no where, hello oblivion, hello goodbye

Hello darkness, hello sunshine
Detonate, uncool

Florrie’s percussion-backed “Seashells” is a welcomed shore-shot

Florrie Arnold’s career has to be one of the most  enjoyable to follow as a Pop fankid, culture vulture, anglophile, and audiophile. It’s, just, good, music  – period.

2010′s Introduction, 2011′s Experiments, 2012′s Late – all EPs, all independent, all soundtracks for something of an anomaly in the current industry – sonic record of artistic development, unbound by mainstream market trajectory.

April brings the Bristol-native’s fourth EP, entitled Sirens.
The album’s first track, “Seashells” was released late last week and – it works.

Nearly four years after “Call of the Wild“‘s 2010 declaration: “I’m a woman, not a siren calling,” 2014′s Sirens welcomes Florrie’s latest incarnation as none other than that very sonic femme fatale.

 

Every EP is a genesis, but “Seashells” roots itself deeply in that space. If the sirens’ origin story had a soundtrack – from the classic Greek mythological figures, to contemporary songstresses in the modern music space – this track could very well be it.

Deep grooves, Indian sitar, indigenous percussion craft an aural atmosphere akin to Eden – a multilayered Mesopoptamian paradise for the audiophiles. Electronic effects run tandem with waves of Mediterranean instrumentation, and when paired with narrative lyricism leaning toward a tale of taboo passion,

How could it be… how can this be love?
How could it be? How can this be love.
I keep coming like a roller coaster, like a roller coaster, and it gets me high
I keep coming like a roller coaster, like a roller coaster, and it gets me high

the lead single makes for quite a Genesis indeed – a return to Eden with Apple and Eve…

Look at what gone and done to me, you’re underneath my skin
One bite of you, you taste so sweet, you’re underneath my skin

#watchthisspace

With Lady GaGa-dess of Love riding high on the crest of deified Venusian renaissance, and Ellie “Katniss Everdeen of the Brits” Goulding’s new drum-led movement burning to the beat drop, Florrie’s percussion-backed “Seashells” is a welcomed shore-shot.

 

Dafna Steinberg is a cosmopolitan world citizen with a timeless lens on life

How long I have waited for a record as such… friend, photographer, forever an artist, formerly-referenced-as-Lady-Glock, visionary, District vanguard, cosmopolitan world citizen with a timeless lens on life – welcome Dafna Steinberg, and her latest collection of collages, the magnificently mythological recollection of American history in disguise: “Native Cowboys.”

In her own words…

America, a country birthed on liberty and justice, was coddled and raised on folkloric legends. Its history is littered with fictional narratives that have become so second nature, they are often mistaken as fact. The characters of these legends are heroes, with the personality traits that modern day Americans strive to incorporate into their own lives.

My recent collage work examines this image of masculinity through the image of the Cowboy. It asks the question of ownership and appropriation. The land the cowboys roamed was not their own. It was in a sense stolen from the Natives who originally called it home. In the many fights for justice, the sides of good and bad are not always clear-cut. My work combines the idea of the fictional Cowboy “hero” with the reality of the bloodied history that happened in his name.

– Dafna Steinberg

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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.

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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.
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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

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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.

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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.

Of Montreal’s Organic Reinvention

Terminal West, King Plow, #ATL’s artsy Westside: “Obsidian currents, they will devour you.” A man who ate his band stands shirtless before me in Atlanta, Georgia, his ripped physique somehow masking an otherwise obvious femininity, unrivaled actually in the male-dominated sport called ROCK FRONTMAN. What he became.

I’m a big fan of that band, that formerly electronically unquantifiable Athens weird. Hired hands he has called them in the press, pawns playing a part in one of his theatrical plays. They were allowed to chime in, to join in on the obscure sounds invented solely by the genius, Kevin Barnes. The master yearns for your adoration.

Kev has a deep repertoire of well-written songs, I recall, soon after an MC brings him to the stage for a solo intro. Vivid mandalas contain a swirling display of creatures within as the new stuff starts it. Speaking of the material, Of Montreal is suddenly much more of a straight forward rock act than a, “Let’s pretend we don’t exist.”

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Projections onto dancers, umbrellas, Day of the Dead and Kevin, the sultan singer songwriter stripped down and traditional, much more organic, less key-driven. Retro rock driving, wailing, romping guitar, faces and eyes projected; it’s still art.

Somewhat danceable but the beats are long gone. They have been replaced by an almost Nashville-like twang, at times and the hot guitar licks of Bennett Dean Lewis. George Harrison too could have made many of the tracks on the latest record, a sort of Beatles gone bitter and further flung foray into Kevin’s twisted little pretty heart.

He has a beautiful voice and the accompaniment nails their parts and it is certainly good songwriting. Is it still fun, though? Does the excitement I once felt wholly exist?

Little less than I’ve ever seen him (formerly more of a “them”) deliver before but still a dreamy show, and the feather guns go pop-pop as mellow mantra rock and twang-twang finally melts away into a ringing guitar and full crescendo rock frenzy.

We’ve seen it all before, though, and I’m left wanting. “We’ll have bizarre celebrations. Let’s have bizarre celebrations…” again…someday…someday…

Fan Tom Murphy tells me he has seen 200-300 shows. He rates Of Montreal as a top five live act, having seen them in Maryland, Athens, GA, St. Louis and now Atlanta, and he leaves me as I do you with this, “They are amazingly different every time.”

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photography by Michael Santini

BlinkkMedia: “… Girls Will Be Hounded by The Media”

Making money is easy as pie: Just turn people into profitable products for the press, the predatory paparazzi, and the perusing public. It’s almost too easy. The only rule is they can’t die; you just have to make them crazy enough to make them wish they were dead — it makes for good viewing.

Martyrdom is a funny thing — another one that politics and pop share. There are those political martyrs that go down for the sake of society’s souls, and there are those pop martyrs that go down for the sake of society’s entertainment — or just go down … ladies first.

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When Owen Wilson was hospitalized in August after an apparent suicide attempt, his plight was the subject of a single US Weekly cover story. Not so Britney Spears, recently confined in a psychiatric ward, who has inspired six cover stories for the magazine during the same time span.

POSTMADONNA #WatchThisSpace

POSTMADONNA was written on a figurative island in a back corner of Seattle, WA. Conceived of by Pat Goodwin, Rich Clark Coller, Sean Niggemeyer, and Rowdy Gleason, this album represents the lifestyle shared by these and their friends as they gently stroked the feet-bottoms of the Northwest’s experimental and progressive rock scenes in 2012-2013. #WatchThisSpace