:: Cue & Ey!ed* ::
[ as in: "Ey," the exclamation used to attract attention...ya naw mean? ]
E A V E S D R O P ± W I T H ± Y O U R ± E Y E S
[Clinty] So you do drag, huh? That’s cute: a straight dude who cross-dresses. Very James Franco-for-Candy-Magazine.
[N△tty] I’m comfortable with the term drag because it was one of the earliest terms used to describe “Screw” music.
Oh, I’ve totally screwed to music. “The Fudge Punch” by Wiseblood gives some serious soundtrack, if you know what I mean. Got any faves that rev you up for a sesh of runp-wranglin’, ol’ nasty Nattymaster?
I really consider my only influences the dub pioneers: Robert Earl Davis (DJ Screw), and probably The Early Sheffield [ Cabaret Voltaire, The Future, etc. ] I’ve been a fan of Screw music since about 1998. Incidentally, I also listen to a lot of darker music; so of course when artists started blending the two I got very excited—especially since I’d been leaning in that direction already, [experimenting with drag remixes].
Now, hold on just a durn minute. Dark music? You mean that Kiss-The-Goat kindly stuff them anhk-wearin’ P.I.B.s listen to?
Geraldo Riviera did a special about that whole…”scene”…a bunch a years ago. Yeah, I know me a thing or two about “dark music.” Sure as shit, I do!
Basically, during the 90s, I toyed with the concept of being a working DJ. I was writing for the [L.A.] New Times and doing occasional dj gigs: mainly art openings and loft parties. These led to a short residence at The Parlour [club]. Back then — and still on my blog — I fuse[d] a number of sounds: disco, house, minimal synth, electro…all in the style of Ron Hardy and Larry Levan, who are still my mentors as a DJ [in addition to] the Cosmic DJs (Danielle Baladelli and Beppe Loda), who I didn’t find out about [till] later. Oh—and as far as live DJs, I was really influenced by the Wicked crew out of San Francisco, and the Idjut Boys and Harvey.
[At any rate], this sound remains intact in my blog mixes. As a producer of tracks, I am really trying to do something more. I try not to get too high concept about it, but there’s definitely a ‘MEDIUM IS THE MESSAGE’ component to my music.
All-caps, huh? O I C. Hearkens back to the early ‘Aughts when the phrase MASHUP was being spread around as insistent & insidious(ly) as a scabies outbreak from a strip-club’s dressing room. Some remixes are just remixes, you know — but when they’re really remixed, they get an extended title: complete with parentheses and clever little phrases signified by caps-lock. The most SRS of BSNS, maing.
:: experience . the inspiration :: via international download lovin’, provided by Electrocasts ♡ ::
Never mind my obnoxious enthusiasm over A + D (ditto, their rump-shakin’, world obliteratin’, full-on overtakin’-the-gayme endeavor: Club Bootie), Girl Talk, & D.J. Raw-burt; matter of fact, consider this a rare instance in which I acknowledge —
[interrupts] I pretty much despire the term or concept of mash-up.
Oh, c’mon Natty! Sure, the term remains so frickin’ mashed to this day that more often than not, it’s denied a hyphen. But insofar as the act thereof? When it’s done well, it’s not just brilliant; shit’s incandescent. Proof/pudding: Hawkins‘ xXx.
DJs have been blending and fusing styles from day one. The [categories] “disco” or “house,” for example, were really blanket terms used to describe the music played in clubs.
Or not played. Someone much witter than I am described Witch House as “the genre for people who don’t leave theirs.” Unfortunately, I’m not even sharp enough to recall whom it was, nor where I read it. All the same —
Ron Hardy played a fusion of really gay disco, italo disco and new wave/synth…and later included minimal beat tracks created by his friends and club-goers.
‘Really gay’? How do people respond to that? I mean, ‘some of my best friends are‘ queers & flamboya feministing fagocytronics & everything — but HAPPY?! That’s a ‘lifestyle choice’ I’m just not sure I can accept…
Well, I’ve been receiving really encouraging emails all along from artists. Gyratory System and Yellow Ostrich had contacted me about the ‘post production’ I did over their tracks, but my main introduction to the drag community actually was by way of a disagreement I had with GuMMy†Be▲R!
It’s one of chaos: there’s prattle over terminology in the insular world of ‘outsider music,’ and I can’t help but be amused. Y’see, the English language has these things called “labels,” and the reaction people have to them reinforces the power of nomenclature. Give it a try sometime: arrange a few consonants and vowels, toss ‘em around, see what kind of response you get. Fetch, baby…It’s Fetch.
But what if the words aren’t words but rather occult symbols/symbology? I’ve often wanted to speak in hieroglyphics — with cartoon captions, for added effect — but I just can’t seem to get band names like †‡† & \\\^◊^/// to dance their way off my tongue.
They’re part of a scene that — as with any ‘scene’ — seems to have as many detractors as devotees, which I think is a good thing. On one manicured claw, there’s the trappings of being pigeon-holed; on the other, opportunities that might present themselves through being Guilty By Association. Rather than tl;dr the obvious, how about I introduce the genres? Sub-genres? [ Again: an argument I opt to file under None Of My Business ]
Witch House † Ghost Drone † Zombie Rave † Drag
With origins as questionable as to what extent they’ll have an effect, they’re like strands of the same virus — or a dark and murky exploration into a game of Choose Your Own Adventure.
Whatever the case, I’m backin’ the brilliant post “Enthralled By Thee Witch” by My Pal The Crook [ creative director,co-owner and founder of the streetwear line Мишка NYC ], who describes this mysterious burgeoning mileu as “Goth music for a new generation and a new millennium, fully embracing all the things that drew kids into the genre through the 70s and 80s — the secrecy, the occultism, the suspense, the danger, and the moodiness — but minus all the things that turned people off from it in the 90s: the neon dreads, the vinyl pants, the fangs, and the platform industrial boots.”
Fucking dead-on, that! Brings to mind a relevant aside from Hex Files: Resurrection to which I’m hereby formally applying an asterisk… I’ve got a choke-hold on A.D.H.D. at the moment, and want to turn you on to the prolific nightmare collective that MPTC’s blogature high—or, rather: LOW—lights, and whose death drones and surreal liquid dreamscapes have been dominating my laptop as of late.
A toxic gumbo of the terrifying and terribly terrific, MATER SUSPIRIA VISION is a brilliant composite: The music they craft induces ripples of gooseflesh; the visual accompaniment renders a viewer spellbound.
ℑ⊇≥◊≤⊆ℜ — another challenge in the dept of pronunciation — of MSV creates maddeningly ultra-limited-edition sets [ the first of which was capped at a hundred downloads; the next, at 200; the third, bumped to 300...a supply nowhere near ample, nonetheless ].
The Special Edition that’s linked above, however, has an
✶ OPEN-ENDED DOWNLOAD POLICY ✶
[ Translation: You want it? Then G E T . S O M E ! ]
Hidden, the sophomore release by British “art-rockers” These New Puritans, is now available Stateside. You know, as in: domestically. It’s a lot of things, this aural assault: a mélange of the cinematic and the classical, the intimate and the evasive, the post-modern and the profound. However, one adjective that isn’t applicable for what’s quickly become my favorite release of the year (thus far)? Sophomoric.
Spot-check this Most Correct clip for the album’s single “We Want War,” directed by Daniel Askill:
Full Disclosure: While I Loathe Band “Groupies” (seriously? try screaming at an art opening or academic conference—that’s subversive… whereas offering to give roadies head for a laminate back-stage? such a seventies’ cliché; I’m yawning), I Have An Insatiable Affinity For The Limited-Edition/Signed-&-Numbered/Gatefold/Box Set/3″ CD/10″ EP/Colored Vinyl/Picture Disc Of It All.
& no, I won’t be gauche & remind you I’m an Aries. Instead, moving right along…
—image of the band taken from their page at Last.fm (Don’t Ignore It; Explore It!)—
The video for “Elvis,” a single from the band’s premiere album Beat Pyramid, is also Most God, Indeed.
† “We’re all waiting/Or Forever Made/And if there is a God, then please take me up…” †
Consider the gents on the handsome side? You’re not alone. Twin brothers Jack (vocals) and George Barnett (drums) have been ogled by the fashion set since the band’s inception in 2005. Before they’d even released a full-length album, designer Hedi Slimane commissioned the “band” (translation: George, whom Slimane also featured on the catwalk) to record a soundtrack for his final collection at Dior Homme, the “Hiver” 2007 runway show. This was Barnett’s first professional modeling gig, though the demand for pale, angular creatures from the xy set has kept him busy: campaigns for Lanvin and Ray-Ban; editorials in Dazed & Confused, Zoo, Arena Homme +, 10, GQ, Another Man, and Vogue Hommes Japan; and runway work for dozens of designers, including Burberry Fall/Winter 10/11, Prada, YSL, Alexander McQueen, Gareth Pugh, Dries van Noten, Veronique Branquinho, Galliano, and Gucci.
However, insofar as far as my own taste goes? Not that you asked, but I’m backin’ Jack over George. & speaking of back, let’s do exactly THAT
One moment I was in Iowa working with my comrades Dustin and Brian of Novice Industries; the next, rushing to hair and make-up with my pal Aldo o’ the Vento.
Aldo volunteered to assist me with Door Duty for the event, a favor which proved much needed the moment we stepped from what was intended as a brief “helloing” sesh — as pictured below, kicking off the evening with the lovely Jenelle Rensch, graphic design whiz [ and incidentally the mastermind responsible for my CC logo in its final incarnation ], Mssr. Aldo Vento Himselfness, model and co-star in Matthew Mishory’s biopic Delphinum: A Childhood Portrait of Derek Jarman : a beautiful, lyrical portrayal of the phenomenonicon, which is currently winding its way about the international film festival circuit. [ Not that you asked, though as I'm proud for all parties involved...let the record hereby note : the world premiere was 5 September 2009, at the Portobello Film Festival in London. ]
And oh, but oh : from one photograph to the moment that followed, how swift a shift in decorum. Namely, when AnnaLynne and Rachel McCord arrived at the venue, any semblance of order was tossed out the window like a stale copy of Us Weekly.
As rabid 90210 fanatics attempted to claw their way towards the living, breathing version of “Naomi” they recognized from their living rooms, I did my best to sneak the party of pretty-pretties into the inner sanctum : a seated area complete with Goodie Bags [ sponsored by Janome sewing machines, Fiji water, Tarina Tarantino jewelry, Amtrak, Josie Cotton, and Sebastian Hair Care Products ] that lived up to the name — incidentally, the precise locale where soon enough, leather metallic fabric † stitching nipped and tailored † silkscreened paintings † tricked-out hair with neon nets † make-up more surreal than real, and the spirit of unfettered creativity and unapologetic flamboyance would reign.
After all, why was everyone at the Social Club?
The MOST CORRECT runway debut of the retina-shattering, cardiac arrest-inducing atelier extraordinaire Jared Gold‘s latest collection : a collaborative effort with mega-watt visual artist Joshua Petker.
A Brief : my first interaction with Mssr. Gold hearkens back to a bleak time in American history. We met shortly after his 2001 debut in Manhattan on September the 10th — an inauspicious moment for anyone to premiere clothing design, as it transpired mere hours before the atrocity known as 9/11.
Eight years have passed in the interim, and still: the creative outpourings of this inimitable virtuoso never cease to amaze.
That being said, it should come as no surprise that for his latest effort — a pairing of superpowers with painter Joshua Petker — my expectations were anything but low.
Pictured above : Petker with photographer Cyn Yen
Per chance you aren’t familiar : Mr. Petker’s art is most God, indeed. Over the span of the last few years, I’ve admired his murky-canvased beauties from afar — so when the opportunity presented itself this Christmas past, I was stoked to make his acquaintance and bear witness to a bit of the brainstorms and dark-clouded creative rumblings between these two masterminds.
All due respect, before I venture into the particulars of the Gold x Petker mash-up, please allow me to praise the work of this inventive gentleman . . .
Up first : two images pilfered from an interview in Fecal Face, a.k.a. the art-blog equivalent of masticating a corpus callosum.
“[Petker's] work is like that girl you know will destroy you but somehow you just can’t resist.” — Manuel Bello
Entitled “Hunting For Witches,” the painting [ above ] slaughters me, maing…SLAUGHTERS me!
And next, A portrait from Petker’s recent watercolor series [ 2009 ] :
So. Much. Gorgeous!
Fine art from a fine fellow : truly . . . truly.
At any rate, speaking of ‘fine’—there was no shortage of squealing over Twilight‘s hunkasaurus
among the crowd at theGold versus Petker extravaganza.
Full disclosure: I’ve never seen Twilight , nor have I read any of the books. Said another way? I wasn’t aware Who He Is—but not to worry…it’s not as if frenetic whispering girls and paparazzi flashbulbs going pop! were in short supply.
Short of the long? Mr. Lutz was a complete gentleman: there was none of the “Don’t You Know Who…” routine that’s as played-out as clunky monster boots. (Seriously, kids? Just. Don’t.) Equal parts accessible any coy, Lutz maintained a genteel decorum I often refer to as From The School of ‘Leave-Them-Longing.’
A rare trait in today’s tabloid-congested society, unfortunately. With yellow journalism the norm rather than the exception, these days it’s as if the lump sum of Tinseltown’s silver lining is tinged with rust.
I mean, let’s face it: once one is inundated with images of our ‘stars’ being— well, — as flawed and human as the rest of us? There’s a natural tendency for audience members to be less willing to accept Coleridge’s “Willing Suspension of Disbelief” in terms of an implausible premise.
However, the academic vernacular? Hereby duly noted. (Apologies for the yawnage, please.&.thanks!)
Instead, a shifting of gears to that hotness known as AnnaLynne. As for The CW’s “90210,” I did, in fact, see the two-hour premiere—though can’t say I remember much about the episode other than Cory Kennedy and Mark The Cobra Snake‘s cameo appearance.
*Appearances? I’ve been staring at this blue screen far too long, I’m afraid.
Whatever the case, congrats to the duo—both of whom have graduated from their former status as ‘fixtures’ among L.A.’s nightlife to full-fledged international phenomenons quite successfully.
As for AnnaLynne, her role as Eden Lord in Nip/Tuck’s fifth season was no mere incident of (envision air quotes) scene-stealing; it nabbed the entire season. Seriously? But seriously… Upon discovery of her 2009 win as “Greatest Break-Through Talent” at the Teen Choice Awards, my opine is succinct: well-deserved.
Oh yes…and since this is a city fueled by the mythic power of Celebrity,
pictured here with the Cute-As-They-Come Kim Bruder
More images await “beneath the cut…”
However, since both the event and amount of photos collected –cough!STOLEN cough!–is of epic proportions, I’ve decided to divvy the lot up into three parts: Before The Madness (on which your gaze is fixed at this moment), Petker’s Paintings In Stiletto Pumps (the catwalk-stalking and crowd-gawking), and Dance.Music.Sweat.Romance (the after-party).
That being stated, Please! Click Away– for More Gore Gore Gorgeousness…