Alice Magazine NYC - Chapter 3

VOLUME 1
CHAPTER 4 OCT 2016

“THERE IS HERE IN THIS WORLD A SECRET CONFRATERNITY,
WHICH ONE MIGHT CALL THE COMPANY of MELANCHOLIACS?
PEOPLE WHO BY NATURAL CONSTITUTION HAVE BEEN GIVEN
A DIFFERENT NATURE AND DISPOSITION THAN THE OTHERS;
THAT HAVE A LARGER HEART AND A SWIFTER BLOOD, THAT
WISH AND DEMAND MORE, HAVE STRONGER DESIRES AND
A YEARNING WHICH IS WILDER AND MORE ARDENT THAN
THAT OF THE COMMON HERD.”
JENS PETER JACOBSEN
THE NEW GENERATION OF VINTAGE FASHION AND SUBCULTURE
BYRONESQUE.COM

www.zconnor.com

Collaboration has always been one of the more rewarding aspects of being an
artist. Working with Art Director, Richard Ray, is especially fantastic for me as
an editor because we have known each other for more than 20 years. I have
respected Richard’s work, not only as a graphic designer, but also as a musician.
He and I work really well together, always aligned on the aesthetic and vibe of
the visuals for Alice. I’m excited to see new contributors and advertisers in this
issue. Caroline Hoermann’s story, styled by long time friend, Donald Lawrence
makes me proud to have them both in this issue. We’ve added a new section
called The Continuum Series where we showcase one visual artist in each
issue, beginning with Scott Irvine’s phenomenal and haunting photography,
even placing one of his shots of Nick Zinner from the Yeah, Yeah, Yeah’s, on our
cover. I’m happy to announce that Cory Ingram is now our new photo
editor and will be flying to London at the end of the month to cover more
bands and a few festivals on the other side of the pond! Don’t forget to
subscribe to our newsletter so you can find out about our upcoming showcases
and events! You don’t want to miss out on Alice’s parties!! Until next issue……..
Editor in Chief
Melissa Rodwell
Art Director
Richard Ray Ruiz
Photo Editor
Cory Ingram
Managing Editor
Kris DeVito
Video Director
Lola Young
Digital Director
Jan Klier
Digital Supervisor
David Neilands of Solstice Retouching
Social Media Manager
Abigail Leyva
Cover Photographed by SCOTT IRVINE
Back Cover Photographed by CORY INGRAM

JULIETTE
AND THE
LICKS
Words
Photographed by CORY INGRAM
by EMMA DEBONO

Unless you have been living under a proverbial rock, chances are you have heard of
academy award-winning actress, Juliette Lewis, and maybe have even seen her in one
of your favorite 90’s films. Lewis gained her claim to fame in Martin Scorsese’s 1993
remake of Cape Fear, along side Robert De Niro. From there, her acting career
skyrocketed - starring in films such as What’s Eating Gilbert Grape, Strange Days,
From Dusk Till Dawn and several other iconic movies. What you might not know (but
totally should) is in 2003, Juliette found a new calling after attending a Blondie
concert and falling in love with the live element of rock n’ roll. There, a spark was
ignited to speak up and branch out through music. Thus, Juliette and the Licks came
to fruition. The band had taken a break in 2009 and started up again, with their first
tour in seven years, this past summer. I got the privilege to witness them first hand at
the Brooklyn Bowl, a venue that doubles as a bowling alley and restaurant/bar, in
Williamsburg.
This band has an electrifying vibe that makes you want to dance while sending a
message of power and individualism. Juliette arrived, swinging from the spiral staircase
that led to the stage, wearing eagle wing shoulder pads, cherry leather boots and
good ol’ red, white and blue bandana. Her and her band were ready to take on the
night in front of the packed out venue. During the performance, Lewis spoke about
love,
feminism, the heartbreak of a bad (band) break up and the real, dirty issues going on
in America today. Lewis seemed possessed by a wave of emotion; twisting, shaking,
contorting her body with the rhythm of every drum solo and lick of the guitar. She
had the audience sing along several times and midway through the set list, she even
got off the stage to join the sea of Brooklyn fans - singing, dancing, cheering with
them. The band played a wide range of songs, from originals like “Hello Hero” to a
classic rendition of “Proud Mary.” The show closed with a three-song encore,
including “Hot Kiss,” “Speaking,” and, to close the night, “Suicide Diver Bombers.”
About a half hour after the show, Juliette and The Licks came back down. Lewis
ended up sticking around to say hello and hug every fan that waited in anticipation to
meet her. Her and her band were grounded and humbled by the turn out. Overall, the
night was filled with inspiration, stamina and a real passion for great live music.

NICK
HINMAN
from PALM
SPRINGSTEEN
Photographed by MELISSA RODWELL
Interviewed by LOLA YOUNG
Photography Assistant CORY INGRAM
Post Production by DAVID NEILANDS @ SOLSTICE RETOUCHING

Lola Young: What do you get from performing?
Nick Hinman: Hopefully paid in cash. But seriously, it’s always an adrenaline rush.
Any kind of performance is about being present and in the moment. Following your
impulses and getting out of your head.
LY: What do you think about the need for expression in general?
NH: I think it makes a good Madonna song.
LY: How do ideas usually come to you?
NH: Sometimes it’s a predetermined concept that provokes the sound of a song, and
sometimes it’s writing music first that guides the feeling. It’s never exactly the same
twice though, which keeps the thrill going.
LY: What do you think about when walking the streets?
NH: Usually I’m trying to remember if I left my stove on or not. Unless I’m sleeping
on my friends couches, which seems to be my MO lately. Then I’m trying to remember
if I left their stoves on or not.
LY: What are you dreams like?
NH: Wet, if I’m lucky.
LY: What frightens you? What excites you?
NH: Anytime you play someone your music for the first time, it’s a bit of both. It’s
frightening because its intimate, but it’s exciting because it’s intimate as well.
LY: Do you think how you’ve chosen to live your life has a strong influence on your
work?
NH: I think choosing a to live in a high risk, no reward lifestyle is pretty unstable.
But it’s never boring. Which is always good in the arsenal when songwriting.
LY: Did you ever watch/ read/ see something that altered your perspective on things?
NH: That “if you see something” ad. But I’ve actually never said anything.
LY: Are you ambitious?
NH: As much as Parvulesco in “A Bout de Souffle”

BANG
A
GONG
Photographed by LAURA OKITA
Creative Directed and Styled by JULIA MORRIS
Model ELENA SARTISON @ MAJOR MODELS NYC
Make Up by MICHELLE COURSEY
Hair by ISAAC DAVIDSON @ WILHELMINA ARTISTS
Leather Vest EDGE OF CULTURE

Metal Bustier LAUREL DEWITT
Leather Pants EDGE OF CULTURE
Leather Vest EDGE OF CULTURE
Top WEARTHEPAINT
Distressed Denim Pants LAUREL DEWITT
Latex Shoes PLAISIRE

Top TOPSHOP
Embellished Leather Skirt LAUREL DEWITT
Boots PLAISIRE

Top WEARTHEPAINT
Jeans GUESS
Garment Belt VINTAGE
Boots PLAISIRE
Fringe Denim Bolero with metal LAUREL DEWITT
Leather Pants EDGE OF CULTURE

Art Direction by TEENA COLLIN
Hair and Make Up by HEATHER-RAE @ WILHELMINA ARTISTS
Photographed by NICOLA COLLINS
Interview by ABIGAIL LEYVA

Frankie + The Studs Is a Rock ’N’ Roll band from California. They
might live in a modern world but their musical influences take us back
to the glam Rock ’N’ Roll from the 70’s where sweaty glittery faces
with black eyeliner used to shine in the spotlight onstage to the sound
of electric guitars. Their musical influences range from David Bowie,
Ramones, The New York Dolls, Nick Gilder and Kiss. We interview the
band before they left for the Lollapalooza 2016 music festival in
Chicago where they performed.
ALICE MAGAZINE: What’s a sound you hate; sound you love?
FRANKIE AND THE STUDS: The current commercial sound of auto tuned apathy
that somehow dominates the airwaves and is now considered “rock”. We love the
sound of raw passion and energy, as cliché as it may sound, a Les Paul into a Marshall
stack.
AM: Can insanity bring on more creativity?
F&TS: Most definitely, if its not being self-perpetuated, when its observed and then
documented.
AM: If your name had to be a song title which song would it be?
F&TS: (She’s) One Of The Boys – Nick Gilder
AM: If you had to live in the world of an album which one would it be and why?
F&TS: Kiss – Destroyer, as not only does it sound larger than life, it has multiple
relatable themes within the context of one record… and it’s fun.
AM: Which song would be the national anthem of your country if you ruled one?
F&TS: We Are The Road Crew - Motorhead
AM: If Frankie + The Studs was a flavor, what flavor would it be?
F&TS: Chocolate vegemite pizza with extra hot sauce.

AM: How important is to be true to yourself when it comes to making music?
F&TS: Crucially important, with it being such a fight to keep rock and roll alive today
there is no point in being anything but authentic.
AM: What has music taught you?
F&TS: That as isolated as we may feel at times in life there is something constant that
can unite us with like-minded people cut from the same cloth.
AM: What were you doing the last time you really had a good laugh?
F&TS: In a bar, laughing about how everyone thinks Frankie and Ronnie are sleeping
together.
AM: What is your secret weapon to get someone to like you?
F&TS: We don’t try to get people to like us, if they do they do, if they don’t they
don’t.
AM: What is the most embarrassing moment of your life?
F&TS: Well what most people reading this would find embarrassing we personally
would most likely find amusing, in hindsight it’s all pretty funny... so... Next question.
AM: Where is the one place in the world you feel safe?
F&TS: In the recording studio

The Continuum Series
With Photographer
SCOTT
IRVINE
Interview by EMMA DEBONO

Scott Irvine, a Williamsburg based photographer, has been in the industry for over
twenty years and, during his career, has primarily focused on traditional darkroom
techniques. Irvine has experimented with manipulating his photographs, both digitally
and with film, in order to create a storyline through nostalgia and evoke an uneasy
emotion by displaying an exposed beauty in decay. Alice Magazine got a chance
to chat with Scott about his start with photography, his journey in finding his own
unique technique, his professional relationship with his wife and their projects, and
what the future holds for him.
Alice Magazine: What first got you interested in pursuing photography?
Scott Irvine: My first interest in photography actually stemmed from exploring old
abandoned factory buildings near where I grew up in Connecticut. I loved going in to
the spaces with friends and photographing the architectural decay. I was using 35mm
film cameras. I then began to get interested in photographing bands and friends. In
College I learned traditional darkroom techniques and started learning and working
with larger format cameras. It was really when I moved to New York City I begin
actively finding people to photograph, and start working for music magazines photographing
a lot of bands.
AM: The majority of your images bare a very heavy film noir aesthetic, from where did
you originate this style? And over the years what have you done to make it your own?
SI: From the very beginning of my exploration with photography, I was always drawn
to black-and-white. It just made sense to me. I loved the mood and texture that you
can create. And I loved the play between light and shadows that can be so much
more dramatic than most color photographs. I think my overall style of photography
emerged from being in the black-and-white darkroom, and really experimenting with
contrast and mood.
AM: How and when did you start using dark room manipulation on your images?
SI: Well, like I said, I really started to learn traditional darkroom techniques in college
at RIT, in Rochester New York. When I began learning, digital photography did
not exist yet. Any kind of manipulation to the image had to be done somehow - either
manipulating the film or the paper or both. There was a lot of experimenting with
things like scratching film, printing techniques, trying different photo printing papers,
chemistry. All these different elements could be implemented to create different
effects. Over time, I developed a look or style that felt was like my “visual voice”.
AM: In 2014, you published the book “Vietnam” in collaboration with Kim Meinelt.
How long did you spend working on this project and what was your goal in capturing
this image series?

SI: Kim Meinelt is actually my wife. She is also a photographer and a visual artist. We
have done several big trips together to southeast Asia, which is one of our favorite
places to travel. Vietnam was a big trip we did in 2014. We were there for a month and
traveled through the whole country. We had the idea of doing a book from the very
beginning, so it was basically just a reflection of our travels. The images in the book
are both mine and Kim’s images. It was one of the first times we actively decided to
not take credit for individual images. The book was a combination of both of us, and
we felt the images belonged to both of us.
AM: Your upcoming exhibit at Collier West Gallery is also with Kim. How did this
exhibit come to be?
SI: Yes, the Collier West gallery is also with my wife, Kim. We have exhibited together
a few times now, and hope to do more in the future. This show is also a combination
of our photography, and again, we are not taking credit for individual photos.
We have called our photo husband and wife team, waxenvine. This exhibition came
about through meeting the gallery owner through some mutual friends, and she loved
the work. We’ve broken the show in into two parts: one is a vision of New York - very
moody images of buildings, people, street scenes. The other is a series of portraits
that have been manipulated and double exposed. We’ve been calling this ongoing
portrait series “haunted”.
AM: Digital photography has become such a main component in the industry. What
compels you to continually shoot film?
SI: Yes digital photography has definitely taken over. It is a great tool that I have
embraced. For a lot of jobs, film photography is simply too expensive and too timeconsuming.
However, film is still a great medium and I still use the darkroom and film
cameras for a lot of my work. I have also been experimenting with bouncing backand-forth
between digital and analog. Manipulating images digitally, and then bringing
them into the darkroom environment and printing them traditionally. The combinations
are endless, and it’s great to be able to use both.
AM: In the future what do you hope to accomplish in your work? Are there any personal
projects you have in mind?
SI: I hope to do more future projects with Kim, under the umbrella of waxenvine. I
am also excited about using new photography equipment and blending it with traditional
ideas and techniques. I always love finding new models and people to photograph.
I also look forward to new travel opportunities and adventures. I am a big
maker of books, so I’m sure there will be many new books in the near future.

Photographed by IRON MIKE SAVOIA
Interview by ABIGAIL LEYVA
Makeup/hair & styling by THE FAME RIOT

ABIGAIL LEYVA: Do you think it’s better to be street smart or book smart?
LIZ: I think that’s a circumstantial question. I believe that there’s a time a place for
‘this’ and for ‘that’. If you wanna buy illegal drugs, you wanna be street smart.. If you
wanna start a law firm, you wanna be book smart, yeah?
SHAZAM: Generally speaking, I’d rather be strolling along the brighter side of town
with all of my blood, than a nerd lying dead in the wrong alley, amidst his his student
loans and cultural studies thesis.
AL: What kind of power have you found in music?
LIZ: The ability to match physical energy to emotional response and sensation. It’s
like pseudo mind-body control and I love it. MWUAHHAHAHA!!
SHAZAM: The power of voodoo.
AL: What’s your favorite way to spend a rainy day?
LIZ: Drinking coffee.. making beats.. Netflixing.. Gaming.. Cuddling.. Sporadic outdoor
nude photo sets..
SHAZAM: Reading cultural studies theses from the Library of Alexandria. “We read
to know we are not alone.”
AL: Which is better to listen to your heart or your brain?
LIZ: Well factually, our brains tell us what our hearts are feeling.. so as long as you
know that that bias is there, you should be able to determine which one is cohesive
for each moment -once again, circumstantial..
SHAZAM: If you are at THE FAME RIOT, and your heart is telling you to get naked
and jump onstage and dance, but your brain is telling you to sit down cause nobody
wants to see that, go with your heart cause we want to see that.
AL: If you had to challenge someone to a duel, what would your weapon of choice be
and why?
LIZ: A lightsaber cause I can use The Force.
SHAZAM: My Hattori Hanzo hair shears. Cause I could make that pleb look like shat,
baaa-tch. ;)
AL: Are you the kind of friend you would want to have as a friend?
LIZ: Of course. At times, I have no choice, I am my only friend..
SHAZAM: “You are your own worst enemy.”
AL: What’s a song that everytime you hear it makes you want to dance your life away?
LIZ: Oouuu great question, baby! So many -TOO many!! Hmmm top 3? Okay, top 3
are: “Love Never Felt So Good” - Michael Jackson, “Moon Rocks” - Talking Heads, and
“Get Off My Cloud” - Rolling Stones.
SHAZAM: Ohhhh babe you went there! How bout these: “Just the Two of Us” - Bill
Withers “What A Fool Believes” - The Doobie Brothers “Four Kicks” - Kings of Leon

AL: Do you believe its better to know about pain and other emotions or go through
life numb?
LIZ: It’s better to know about pain and other emotions, so that you CAN go through
life numb, in my opinion.. numb to these so called ‘problems’. What problems?
What’s your point of reference? You won’t have one, unless you experience it for
yourself.
SHAZAM: I think the best way to go through life is to realize that your feelings have
never been of merit in the grand scheme of the universe. There are so many more
issues going on. Vanity is to view yourself as “that” important. The world keeps
turning, so you must keep loving. Life is pain, highness.
AL: What movie could you watch over and over and still love?
LIZ: How To Succeed in Business Without Really Trying - (1967) - or Momento..
sheesh, tough one again!
SHAZAM: The Princess Bride of couuuuurse :) GREATEST MOVIE OF ALL TIME.
STRAIGHT UP.
AL: What has been the biggest sacrifices that you had to make for music?
LIZ: Sleep.. money, and romance
SHAZAM:​​Battling spiders in all sorts of disgusting housing situations. The fight has
been worth it every single step of the way. Though my sword may be bloody, I have a
duty yet to fulfill.
AL: What about yourself do you find the most pride in?
LIZ: That every human who has ever and will ever exist in this universe is mine and
your equals.
SHAZAM: “Pride comes before a fall.” but damn, I can play some sexy jazz chords on
occasion.... Hell of a drug, jazz chords.
AL: If love was a drink, what drink would it be?
​LIZ: A Sazerac.
SHAZAM: ESPRESSO. Anyone who says otherwise is selling something.
AL: If you could be invisible for a day, what would you do?
LIZ: Jump various flights to multiple locations.. maybe check out the Bohemian grove.
SHAZAM: Swipe the next Game of Thrones book from George R.R. Martin. BTW
WHAT A WONDERFUL INTERVIEWER. These questions were so stimulating to
the mind! Thank you!!!!!

HAFU
In the City of Angels
Photographed by IRVIN RIVERA
Styled by KRISTINA HULEN
Model ALEXANDRIA YAMAZAKI @LA MODELS
Make up by BETHANY GARITA
Hair by DAVID HARRINGTON
Photography Assistant PHIL LIMPRASERTWONG
Production Assistant VICTORIA INNOCENZI

SURF
Surfbort are a blessing for music right now. They’re anti surf-pop and pro-choice;
hence the name. “Two creepy old dudes and two young chicks.”I meet with Dani and
Sean. She’s in a bra and prairie skirt with her dog Grizzly. He’s in grills and green
inked up arms. They invite me to a tattoo party at theirs. She’s a filmmaker, he’s a
painter, his work further embellishing their charming, magpie basement apartment.
They claim to be hoarders, but the wild paraphernalia echoes their sound and image
perfectly, and reflects the special world they’ve so naturally created for themselves.
This band are beyond authentic. They don’t think they just do, whatever the fuck feels
right, and honest. They want to wake people up to think about shit, whilst dancing,
letting go and enjoying being alive. They’re unassuming but driven, frustrated, but
grateful. Their music is chaos with grace, abandoned and intelligent. I’m inspired
watching Dani perform. It’s freedom, makes me feel something important. I admire
her willingness and desire to express. It’s for people, for friends, a shared exorcism of
energy. Which imbues it with a glorious innocence and unaffected magic. As their
fierce rock n roll, comes essentially, from the heart.
BORT
Photographed by CORY INGRAM
Interviewed by LOLA YOUNG

ALICE Magazine: Both your shows at Elvis and Rough trade were amazing. Elvis
maybe even better, in your environment.
Dani Miller: Thank you! Yeah big shows are weird I’m like what the fucks going on?!
The sound is too nice I can hear myself!
Sean Powell: I like being close to people.
DM: I like being on the ground. I love dancing with people, it’s fun.
AM: So obviously you guys as a band are very real, open and truthful which is rare to
come by, especially in the time we live in. What do you think ?
DM: About being real?
SP: Auto tune makes me sick.
DM: I think mental illness is super real, and depression. So just meeting people and
connecting with other humans - it’d be weird if I wasn’t real to others. The shows are
to hang out, work sucks so might as well get together with people and release your
crazy pent up emotion.
AM: Exactly. So how did the band begin? How did you find you wanted to do the
same shit and communicate the same message?
DM: I saw Charlie had a guitar in her room and I don’t know about music or anything
I was just like yo lets start a band I want to scream shit and dance to music.
AM: How did you guys meet?
SP: We met at a show where another band I was in was playing.
DM: I ate a whole burrito before the show and I didn’t drink anything but half way
through the set I was like oh shit I’m gonna puke! And then I puked, and then we fell
in love!
AM: Thats cool. Were you like whatever keep going!
DM: The band kept playing so I wiped off my mouth and kept singing, and the next
band that played was like “this mic smells like shit!”
AM: Did you decide there was something you wanted to capture with the band or it
just happened?
SP: Organic.
DM: We kind of started the band as a joke. Our friends from LA wanted to play this
house show and we named our band for it after Beyonce.
AM: Do you find it funny that its got serious and everyone loves you now?
DM: Haha it’s still a joke! I’m happy to meet new people and dance with my friends,
it’s basically just laughing with them about the end of the world. I hope it never gets
serious.
AM: But do you want to help instigate any change in the world or how people think?
DM: Definitely. It’s like a sweet mixture of having a platform where I can say shit
that’s important to me and bring up how fucked current politicians are, and we have
songs that are about saving the environment, but we try to put humor into it as well.
Everything is so fucked up its pretty hopeless! But the other day we were playing
with this band and they were like “I hate it when people mix music and politics.” I’m
like dude really like fuck! I enjoy some music that’s just to make you feel good but I
would rather have something to say.
AM: Yeah what else are you going to talk about when all this shit is going on. But you
definitely keep it playful and funny and talk about everyday stuff which is cool.
What’s the writing process like?
DM: Me and Sean get together at night sometimes.
SP: I’ll just play something on the guitar and just play it over and over until she can
find something she can sing along to - She doesn’t like much!
DM: I get really annoyed with rock n roll psychedelic music. I enjoy it from the 60s or
70s but anything now is just boring to me.
SP: She secretly wants to sound like No Doubt.
AM: Do you consider yourself a punk band?
DM: A freak band.
SP: When you say punk I think of something that -
AM: Happened.. and died right?
SP: Yeah..in the 70s. So if you’re a punk band now you’re like a member of the punk
reenactment movement..
AM: I agree. You guys have definitely reinvented something different.
SP: It’s like civil war reenactment like if you have a fucking flannel butt flap on with
like zippers on your pants and a mohawk and shit and you’re a punk rocker then I
think that you’re a weird person.
DM: Jocks in punk suits.
SP: You know whatever we are, if its jokey or punk or serious or whatever it’s a really
heartfelt band. When I saw them play I knew that it was a big steaming pile of shit,
like it was definitely a really fucked up chaotic loose gnarly band but I really liked it, I
was like woah, this is a real band.
AM: Can you put your finger on what touched you ?
SP: Just really gnarly energy. I don’t mean like roaaaaar..
AM: It’s not like that at all.
SP: They’re real songs. It’s a real fucking band. It’s scary.
AM: Yeah you seem to have this no inhibition chaos but you tame it in a beautiful
way which makes the message and your energy come across even stronger. I don’t
know where that comes from I guess it’s just natural.
DM: Thank you. I don’t know what I’m doing at all!
AM: It’s very truthful which is great. Obviously you give a lot when you perform, all
of you, but particularly you Dani being front woman.
SP: We’re all trying to give ourselves heart attacks.
AM: Do you find it draining? Emotionally or physically, or you feel liberated?
DM: I feel really liberated. Just working jobs and dealing with whatever everyday
issues, I have really bad anxiety and just getting up there and letting it all out with
friends who all have different problems and the same problems, it’s very liberating,
like fuck man! Of course playing a bunch of shows is exhausting but when it comes
down to it it’s just really good therapy.
AM: Do you feel completely yourself when you’re up there or do you enter a different
state?

SP: I feel like I’m completely myself after the shows over and its 30 minutes later and
I’m eating a hamburger.
DM: I feel myself on stage but it’s definitely exaggerated emotions of myself. When I
wake up I’m not going to start screaming and singing…I should start doing that
actually… It just gives me a place to do that. Still myself, just a more dramatic version.
SP: A good out let.
AM: I loved it when you stripped off!
DM: Yeah I don’t know why I like doing that! Sometimes it’s because of the heat, and
I like wearing leotards. I don’t really feel like people look at me… like I don’t want to
be a sex symbol or anything like that. I just want to be myself, dressing up in weird
revealing shit, but still my freak self. I just love hanging out that way and singing!
AM: You play so many shows. How do you keep them all fresh, exiting and different?
DM: We try to write new songs a lot. I always try to bring up current things. I try to
talk to people like “hey whats up how’s it going, today this happened, oh shit!”
AM: Do you guys have plans or just see what happens?
DM: We’re going to record hopefully in September. I’d like to put out a record, we
just have a 7-inch out right now, put out another music video, tour Europe next
summer, just continue playing music.
AM: I love that you were cinema driven and then this just happened and it’s just gone
off!
DM: I’m really excited about working in film and also having music. I think it’s important
to do multiple different things, for anyone.
AM: Do you think the special energy that you and your band have, that authenticity, is
happening elsewhere in cinema or culturally or wherever?
DM: Definitely. It’s a broad thing to think about but I fucking hope so otherwise that
sucks!
SP: Not happening in the main stream thats for sure..
DM: It’s happening underground! Yeah if you’re doing cool shit lets hang out!

ELEGANTLY
WASTED
GERARD MARTI
Photographed by GEORGIA MITROPOULOS
Words by MELISSA RODWELL
Some people are just born with rock and roll in their DNA. And Gerard Marti is one
such person. Born in Marseille and schooled at École des Beaux Arts in Paris, Gerard
knew he wanted to pursue a career in the music industry even at a young age. After
school he became a musician and songwriter, then he became a sound engineer,
record producer and video director for one of the biggest music labels in the world:
EMI Records.
Frustrated with the ever-changing recording industry, in 1990 Gerard Marti moved to
the United States and settled on the island of Maui in Hawaii. Through his passion
for music and the great personal relationships he forged during his time at EMI with
some of the world’s biggest rock legends and industry entertainers, he created
Celebrity Galleries, the first ever art gallery to feature artwork created by uber-famous
celebrity artists such as John Lennon, Miles Davis, Paul McCartney, David Bowie,
Ringo Starr, Jerry Garcia, Ronnie Wood, Paul Stanley, Tony Bennett, Richard Chamberlain,
Billy Dee Williams, Mick Fleetwood, Steven Tyler, Michael Madsen…..the list
goes on……In fact, Bob Gruen, legendary rock photographer who has shot everyone
from Muddy Waters to The Rolling Stones, Elvis to Madonna, Bob Marley to
Bob Dylan, has exhibited in Gerard Marti’s galleries, they are long time friends.

In 2014, Gerard and his business partner, former model runway model Jennifer
Vinklarek, purchased the Robert Kidd Gallery in Birmingham, Michigan. Jennifer,
being a marketing genius, looks after the social media, press relations, special events
and finances, with plans to open a Robert Kidd Gallery in her native Austin, Texas.
And while Marti is proud to exhibit the works of his friends like Steven Tyler and
Paul Stanley, he also is an artist in his own right, creating incredible pieces definitive
of the Post-Modern Eclecticism, Symbolism and Expressionism form of Pop Art. His
style beautifully integrates fragments from pop music, advertising, technology and
urban street poetry. He engages in free association and in his words; “Pop art should
be glamorous, entertaining, and popular. My pieces combine all of these elements.
People who look for symbolic meanings fail to grasp the inherent poetry and mystery
of the images. I question the idea of authority and the traditional role of the artist. I
like to take something from the everyday world and transform it into art. Most of my
paintings involve the post-modernist technique of appropriation of anonymous
images. My inspiration comes from the imagery of consumer society and popular
culture.”
And not only is he a great artist, he has incredible stories. I’ll leave you with my two
favorites: The guitar portrait is from his vintage Washburn Washington J9 guitar that
he acquired in Toronto a few years ago because his friend Ronnie Wood invited to
come see the Rolling Stones rehearse. He spent 5 or 6 days in an abandoned TV
studio, watching them play. Keith stood out for him through out the week-long trip,
he remembers not being able to take his eyes off him. Between each song, he was
pouring himself a drink from the bottle of Jack Daniel’s sitting on a little table next
to him. They were playing 30 to 40 songs every night. That should tell you how many
glasses went down and many bottles were killed! When he returned to his home in
Maui with his new acquired guitar, he set up a little table and a bottle of Jack in his
basement and put on his fave Stones song “Can’t you hear me knocking” and spent a
few nights playing along, being Loud and Elegantly Wasted.
In his own words, I’ll leave you this last story that I absolutely love!
“In 1983 while working as a record producer for EMI records. I was asked to manage
a young French band newly signed by the company . We had just finished the reco
In 1983 while working as a record producer for EMI records. I was asked to manage a
young French band newly signed by the company . We had just finished the
recording of their first Lp, and on this summer day of June 1983, we were all waiting
in the make up room of the French TV channel TF1 for the lead singer to be done
with make up and hair. Like it is often the case in bands, the lead singer was a total

“ prima donna ”, and his bratty behaviors were annoying the hell of everyone in the
room.
At some point, because I felt that punching him in the face just before his first TV
appearance, might not be necessarily a good idea, I decided to leave the room and get
out to take a deep breath.
Because I was on the verge of committing and homicide, I opened and pushed the
studio door fairly abruptly and immediately realize that by doing so, I just hit a
person who was coming in on the other side. I slowly pop my head and saw a man
slightly bending over, holding his face in his hands and behind him a girl carrying a
make up bag looking at me with stupor . A few seconds feeling like an eternity passed
and while the man moved his hands to his nose making sure that it wasn’t broken, I
heard myself mumbling in French “ Oh my god, I’m so sorry, are you okay ? “ the man
double checked that his nose wasn’t fractured , then slowly removed his sunglasses
and said “ I think I’m okay !!! “. At this point, like everyone else around us, I
recognized the pair of alien eyes looking at me under these infamous platinum blond
locks, he smiled at me and said in an British accent “ Bonjour ! I am David, I
murmured, Bonjour! I am Gerard, I am so so so sorry !! .
That was my first encounter with David Bowie who was in Paris to perform at the
Hippodrome D’ Auteuil during his 1983 “ Serious Moonlight Tour “ . A couple of days
later on June 8, I found myself standing backstage watching Mr David Robert Jones
setting the Paris crowd on fire with his freshly released #1 hit “ Let’s Dance “ .
Around my neck an All Access VIP pass is hanging, where my name is supposed to be
printed, someone has handwritten “ The man who ALMOST broke my nose “ .
The new released watches are a collaboration
between Gerard Marti who created the silver
skull on the watch’s face and Ernst Benz the
famous swiss brand . Each watch is produced as a
limited edition of 25 worldwide .

T
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Photographed and Interviewed by JANA EARLY

Jana Early sits down with Dustin Kensrue, lead singer and rhythm guitarist of the
band THRICE before they go onstage in Atlanta!
ALICE MAGAZINE: So, first, What in the world did the guys say when you told
them you wanted to come back and start Thrice up again after calling it quits a few
years back?
DUSTIN KENSRUE: Everyone was into the idea in general. We had to kind of figure
out logistics. Everyone just really wanted to make sure that it was going to be sustainable
this time. Just trying to start over with better rythyms. yeah, i don’t think anyone
expected me to hit them up again within a few years like that. It was hard for
everyone in different ways (ending Thrice a few years back), but it was really good for
us all to have a break, I think. Like, we all have a much better perspective and
appreciate things more now for sure.
AM: How many of the songs on the new record were songs you had written in the
past or worked on in the past, or was all of this completely new material?
DK: Its all new in a sense, I mean we all sort of tend to kick ideas around constantly,
like, “hey check out this riff... it may be cool to use in the future.” Generally, I never
have lyrics aside from the song i’m actually writing at the time. So, generally its all
just new, or built off some random old idea or something; generally very skeletal,
if theres anything (written previously) it’s just some simple crapy recording on our
phones or something. Most of mine are just like me humming quietly into my phone
because i’m somewhere where I can’t be loud and I”m just like “ggrrrhhhherrrr,”
(Dustin sort of growled into his phone at this point to demonstrate how he quietly
records random ideas.) Then I’ll go back and listen and I have no idea what it was
that I was thinking. (laughs at himself in that quiet Dustin Kensrue way of laughing).
AM: So all new material. Thats cool. Now on the record itself when you get into
“Blood On the Sand” and just the racial violent chaos...
DUSTIN: Yeah, in 2015.
AM: Yeah, exactly. Could you just comment on that I guess? We all saw the hell of
2015 and what happened, could you just comment on that? Why sing about it?
DK: Yeah, part of it is that I try to let the songs themselves dictate a lot of where the
lyrics go. So, we always write the music first and thats kind of telling a story on it’s
on, and I need to find something that overlays it that makes sense with it. So I’ll have
a variety of things that I’m thinking about or an idea that would be a great song, so i
kind of sit with those songs and see what they feel like they are kind of telling. I think
because the music in Thrice is kind of weighty feeling and serious in a lot of ways, I
end up having to choose weighty and serious subject matter. So, that could be a
variety of things, but this year it just ended up being a lot of that stuff on my mind
that was bothering me. For me, writing stuff like that is a way to process some of it. In
the creative process of writing, I end up doing a lot of research about whatever I’m
writing about, just trying to understand it before I write. When I’m writing a record
I feel more engaged in the world than I am at other times, and I like that. Makes me
feel like I need to be more engaged more of the time too. Better than none at all

I guess.
AM: So because of it being a heavy band, because its more serious, it causes you to
have to go after heavier topics?
DK: Yeah, totally.
AM: What about your own solo stuff? You came out with “Thoughts that float on a
different Blood.” How was that received as you toured, released that album, and
made your way back into writing and performing.
DK: You know, it was like, less of a big-to-do, I think just because it was covers and
live, and for me it wasn’t like a huge undertaking to make, but it was something I had
been thinking about doing for a while just because I enjoy doing that in that kind of
environment. I like taking these songs and deconstructing them, and I wanted to
capture them raw like that. I don’t know... It seems like people really dig it...
AM: I seriously love it. It’s so well done.
DK: Obviously, this record is a much bigger deal, with all of the stuff surrounding it.
So, yeah, I wanted to get it (solo record) out before all of this happened.
AM: So, plans, future, Thrice, any other hiatuses scheduled?
DK: No, no. We are all stoked and ready to rock. So, yeah, I don’t know when we will
record again, but I”m pretty sure we will start writing soon. We are touring through
the end of the year on and off.
AM: Any international touring?
DK: Yeah we are doing several European festivals in August and a couple club shows
over there. Then we aren’t announcing the other side of this tour yet. (smiles).
AM: So, I’ll be honest... I have a massive headache right now. What do you do when
you have a massive headache and you still have to go crazy and rock out? That sounds
terrible to me. (we all sort of laugh)
DK: I have a couple drinks, then go rock out.
AM: yeah, that’s what I’m about to do as well. What do you usually drink?
DK: Well, (laughs), our tour manager, Matt, is really into the tiki world. He’s pretty
much an expert at really well crafted tiki drinks and knows all of the top tiki bars in
every city. So we all go have tiki drinks.
-Dustin then proceeded to tell me the entire history of original tiki drinks as told by
Matt. Who knows if it was actually accurate because the man who brought it all back
is named Beach Bumberry. I don’t know if I trust the story. It made for good backstage
weirdness as we tried to make our own drinks though.

Assistant & Videography SAM WALLANDER
Editing by HARD ZART IMAGING , LLC
Styling by DONALD LAWRENCE
Assistants to Donald NICOLE WOODS & TAK LAVARES
Hair & Make Up by NATALIA MOZART
UNDER
THE
BLACK
SUN
Photography by CAROLINE HOERMANN
www.hardzart.com
Models MATTHEW S. / HIDEKI A. / ELIZA H. / ALL @FUSION MODELS NYC

Top & Skirt MARIA CORNEJO
Boots LAURENCE DACADE
Vest HYDROGEN
Pants LEVI’S
Boots DR. MARTENS
Hat PATRICIA UNDERWOOD
Harness ROBERTO CALASANZ
Shirt DEATH TO TENNIS
Pants C.P COMPANY
Boots DR. MARTENS

Hat PATRICIA UNDERWOOD
Jacket HYDROGEN
Pants LEVI’S
Boots LAURENCE DACADE
Scarf STYLIST’S OWN

Pants C.P. COMPANY
Shirt DEATH TO TENNIS
Harness ROBERTO CALASANZ @ LEATHER BOUND
Hat PATRICIA UNDERWOOD
Boots DR. MARTENS

D
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Photographed and words by CORY INGRAM

What I think about ‘Modern-Rock’ or ‘Alternative’ music in the year 2016 is as follows;
A lot of modern, maybe a guitar or two and some live drum kit samples, an extra
fuck or bitch or some other cuss word thrown into the chorus somewhere that
it doesn’t need to be so the song gets an explicit rating, and a singer in a leather
jacket, preferably wearing pants that cost more than my rent. All so they can register
their songs under ‘rock’ on iTunes. There’s no balance in the dynamic anymore.
Hell, there’s barely a dynamic, all I hear when I turn the radio on is analog drama
with the most depressing, desperate, and subdued first position guitar chords laid in
somewhere underneath “synth track #11”. On top of all that, it seems the only bands
playing real rock ‘n’ roll music seem to be out on their eighth farewell tour, but something’s
gotta give sooner or later, right?
My hope for the lost art of keeping the ‘rock’ in ‘Modern-rock’ or the ‘Alternative’
in... the word ‘Alternative’ was rejuvenated late last year when I started touring in
what seemed to be the underground revival of all things sacred to a rock ‘n’ roller.
Glam bands, and funk heads, and new-age nimrods in a mad dash across the country
to revive the art they so sorrowfully mourned for. In the continuation of my efforts
to join the movement, my call to arms, if you will. I continued on through the winter
and spring, in search of something exciting, perverse, and existential. In the early
spring month, I ended up on a national run that started me in Los Angeles. It was a
three band package for twenty-eight shows in thirty-nine days or something like that.
The days, highways, cities, and plethora of hotel rooms all begin to blend together
somewhere near the end of week two anyway.
The band I had been routing with since October was on the bill. As was a Canadian
group of guys who were all kind, generous, and talented as hell. They were much
bigger in Canada than America, and that probably says something about the disparity
of the state our music industry is currently in, but that’s a story for another time. The
headlining act, originating from most corners of the country who had settled in Los
Angeles by way of Brooklyn, was Dreamers.
Dreamers is a trio. Marc Nelson on bass, vocals, and synth. Jacob Wick on drums
and vocals. Nick Wold on guitar and lead vocals. The night the tour started, at The
Roxy, on Sunset, I spent most of their set across the way at the Rainbow Room catching
up with an old friend over Margaritas and a sub-par cheeseburger. Shortly after,
I came to regret my decision. I returned to the venue near the end of their set and
continued to drink in celebration of finally ending the four-day drive out from New
York. The last song Dreamers played that night was a cover. I’m never particularly
fond of most bands who do covers in our day, because they’re mostly just songs off of
the radio, to draw the crowd in. I particularly dislike when bands end their set with
a cover. But this experience changed my opinion on that. Nick Wold came up to the
microphone prior to the performance and said “ We’re gonna do one more song for
you, and if you don’t mind, it’s going to be a cover. There are a lot of crazy, terrible
things going on in this world right now and we need to take a stand and change that.
We need a revolution.” As Nelson and Wick began to add noise behind him Wold let
his guitar amp shreek out a rebellious feedback and continued “ Our friend Max from
Arkells is going to come out and help us out with this one, sing along if you know it.”
The song was ‘Revolution’ by The Beatles. It was a flawlessly original rendition with
the most conviction and understanding I had ever seen anyone play the song with.
They knew what they were saying, and they meant it. From that point forward I stuck
around for as many of their sets as I could while we traveled together. Their honesty
and conviction carries over into their originals too. Each night I watched the trio play
several of the tracks off of their upcoming record, “This Album Does Not Exist” and
the execution, emotion, and expressiveness only got better each night. This is not a
band one can get bored with easily when watching them play live.
Dreamers unique brand of Modern-Rock is the perfect Alternative cocktail to claim
the genre respectfully and skillfully. Tracks like their latest single, ‘Sweet Disaster’,
incite references to The Rolling Stones, The Ramones, The Talking Heads, and more.
With influences like that, it’s difficult to fall away from the path of success. The overdriven
grunge-like guitar tones, straight drum beat, and throaty bass all cut through
the track like any rock record should, although, they’ve artfully added synthesizers,
electronic drums, and other analog electronics to attribute to the claim of the ‘Modern-Rock’
category because that’s what it is. Modern, and rock. Without the addition
of any tongue in cheek radio cliches that could let them slide into the iTunes classification.
The debut album from the trio is due out at the end of August and they’ve already
had three of the tracks debut on alternative radio and I have a feeling this is only
the beginning. When “This Album Does Not Exist” drops I suggest you grab it. Even
more so, I suggest you keep tabs on this band and catch a ticket to one of their shows
when they come to your city. And you can hope that the show you see is only half as
good as the time they played at Nuemo’s in Seattle that packed the legendary grunge
birthplace out and blew the roof off with a full blown rager of a dance party, right on
the stage to conclude the night.

BLEACHED
Photographed and Interviewed by CORY INGRAM

Sugar, and spice, and everything nice. That’s what girls are made of, Right? What
about the ones that aren’t? The girls who don’t get up early on Sunday morning; The
girls who wear all black and jeans to a family BBQ in the (San Fernando)
valley in July and sneak away to have a smoke or two while everyone is down stuffing
their faces with baby back ribs. What’re those girls made of? Worms? - It’s better
than nothing and says a hell of a lot more for ladies like those in Bleached. The SoCal
trio, whose latest album, ‘Welcome To Worms’, resembles everything from Joan Jett &
The BlackHearts “Ridin’ With James Dean” to “Charlie Don’t Surf” off of The Clash’s
1980 release, ‘Sandinista!’. The acid washed, four-chord, surf-rock is nothing short of
reminiscent of everything we’ve been missing for decades. With a modern sparkle and
melodic twist that leaves the listeners and crowd goers completely engrossed. With
summer in full swing and more flower crowns and five panels than any early-spring
festival, I caught up with the girls at the 104.5 Block Party at the aptly named, Festival
Pier.
ALICE MAGAZINE: With the new album, ‘Welcome to Worms’, consisting of song
titles such as “Trying to lose myself again”, “Wasted on You”, “Desolate Town”,
“Chemical Air”, and the obvious “ Hollywood, We Did It All Wrong” it’s easy to say
Bleached has gotten a handle on embracing the darker side of life. Songs that
obviously depict that everything isn’t always what it seems in the land of money, fame,
and plastic surgery. How do you feel, being from California, other people misconceive
Los Angeles and the concept that everything isn’t always what it seems in Hollywood
and how confronting that is as a universal theme throughout this record, along with
facing and overcoming personal demons as well?
JENNIFER: Los Angeles has always been portrayed as the dream town of California
with perfect weather and beautiful people - but that bores me. I find beauty in the
darker, mysterious side of LA. The way my mind sees it is what inspired a lot of this
record. Sometimes I would get sucked into partying, being self-destructive and other
times I would find myself and need to escape to the desert seeking some peace of
mind. Ultimately what I learned is life’s a package, the good and the bad, and if life
were perfect we would be bored and ungrateful.
JESSIE: Los Angeles can be a very distracting place, so the need to escape it is
important sometimes to focus... But, I love it because it’s made me who I am today,
more so the San Fernando Valley where we spent a good portion growing up.
MICAYLA: LA has a toxicity to it that can be really distracting. I like living here now
because I find everything to be amplified and filled with extremes; extreme beauty,
wealth, and so-called idealized versions of human life, as well as the converse extremes
of poverty, competition, and despair. That polarity I find inspiring because it
forces me to reach inside and be myself. All I can do is face myself in the middle of a
chaotic sea of conflicts. It really is sink or swim. Eventually, I want to live somewhere
more relaxing and naturally beautiful.
AM: Jen and Jessie, as sisters, it’s clearly not a question of “how did you meet?” , to
state the obvious; But - at what point did you say to each other “let’s make music and
start a band together?” what was the catalyst for your musical endeavors together and
who were some of your initial influences?
JENNIFER: We used to go to as many shows as possible every weekend, it didn’t
matter who was playing we just wanted to see bands play. I was watching this opening
band one night called f-minus and there were two girls. That’s when it hit me that I
needed to start a band with my sister. I went home, picked up one of my dads’ guitars
and taught myself how to play. I had two records Blondie and The Slits and one VHS
video called “Girls Bite Back” that had the most amazing and inspiring video of
Siouxsie and the Banshees. I was obsessed and that’s what led me in my musicaldirection.
JESSIE: I had been playing bass at that time, so when Jen started playing guitar I was
super stoked to have someone to play with. I totally admit it, I was that girl singing or
playing bass in the mirror because I wanted to be in a band so bad! I was only like 12.
Around that time a neighbor gave me a tape of The Velvet Underground, and I had
this little jam box I would record songs I liked from the radio, but when I put that
tape on and heard the song Rock n Roll for the first time I was so excited! It wasn’t
like anything on the radio... And when that guitar solo kicked in, oh my god, I was
dying.
AM: Micayla, knowing you initially began playing with Bleached as a live member and
only began writing contributions on this most recent record, where and when did you
get your start in playing music? Did you have any bands or projects prior to this?
MICAYLA: I started playing about age 12 or 13 when I discovered The Beatles. I
spent the majority of my teens in my room learning to play Beatles on guitar, and
was fairly isolated from other kids. Then at 17 a girlfriend asked me to join her band
called The Tanks. I was immediately thrown into a world of musicians who were socially
awkward nerds like me, but all of a sudden we belonged and were even a little
cool! I had never considered being in a band before being asked to join that band,
but have somehow been in one ever since. Other serious projects if played in include
Clear Plastic and Only You, a few bands I started in LA that had great potential but
fizzled out too soon due to personal conflicts. I was so thankful to get hooked up playing
with Jen and Jessie because they had momentum and I had the energy to match
them and help push Bleached to rise to its full potential. I admire them both as true
artists and visionaries, and respect them and what they have built as a sister duo. I
also feel a real energy and pureness that comes when we write as a trio and I hope to
be able to keep the ideas coming and contributing on the next recordings.

AM: Expanding on that last bit, writing your newest album, ‘Welcome to Worms’, was
a new experience for all of you because, as Bleached, you had only written as a duo
prior. What was the shift in dynamic like for your writing? How did the conversation
start about opening up the family affair to Micayla as a writer?
JENNIFER: Writing wise it’s been great. We started off slow to make sure we could
work together. And it’s rad because I still got to write alone, Jess and I still wrote as
a duo, and a few songs we all three wrote together. It literally goes all ways and the
more material the better and adds more dynamics. We are now starting to write with
our drummer Nick.
JESSIE: Its cool to expand a little, try new things. When Jen and I started I was used
to having more than just 2 writers and everyone having their instrument to play, but
with just Jen and I we were able to have hands on more than one instrument and
taught me so much more.
AM: You worked on this record with Joe Chiccarelli, who has worked with everyone
from Elton John to The Strokes, and co-producer Carlos De La Garza, how did you
come to the decision that this was the team for your sophomore record, and what did
they bring out of the experience that might not have otherwise come about?
JENNIFER: Confidence. I feel like if I had been offered to work with these two before
this record I wouldn’t have been ready for it. I was finally accepting of my potential
as a musician and Joe and Carlos helped me see that in myself
JESSIE: Joe and Carlos were super respectful, and I felt they truly believed in our
musicianship, so I was comfortable to try a lot different things.
AM: You’ve got a pretty heavy and vast touring schedule for the next few months,
from Kansas City to Newton, New Zealand. After the next few months wrap up what’s
next for Bleached?
JENNIFER: Very excited to play Seth Myers! Then we go on small tour playing a
bunch of cities that bands don’t always tour through which is gonna’ be fun. Then we
go on a US tour with the band Beach Slang aka the tour name “Bleached Slang”. So
stoked on what we have going on, I feel like now is the time!
MICAYLA: I feel so much energy surging around this band and feel very alive when
we’re playing together. We are united and have a clear vision, and are pushing
ourselves to be our best. I can’t wait for all the cool shows coming up!!!