RED DOOR 25

RED DOOR 25 

THE DEVIANT ISSUE 

WINTER 2020 

REDDOORMAGAZINE.COM

ED 

PEN AND PAPER: 

PUNKS IN PRINT 

8 -13 

WICKED WOMEN: 

PHOTOGRAPHY BY 

ALEJANDRA GUERRERO 

34 - 41 

14 -19 

RED DOOR 

GALLERY 

IS NOW ON MØLLEGADE!

THE ART OF 

MONICA HEE EUN 

32 -33 

25 

FEATURED 

ARTIST: 

ERVIN 

VAN MURIEL 

26 -31 

DOOR

TABLE OF 

CONTENTS: 

ILLUSTRATIONS BY: 

Anna Nygren 

FEATURED Artist: 

Ervin Van Muriel 

Kultivera presents: 

PEN AND PAPER 

Punks in Print 

RED DOOR GALLERY 

Opening Report 

RED TRANSMISSIONS 

PODCAST: 

“Rewiring your 

expectations” 

with Oliver Harris 

The art of 

MONICA HEE EUN 

PHOTOGRAPHY SERIES 

WICKED WOMEN 

by Alejandra Guerrero 

The NEON REBEL 

A Deviant for the Peoples 

Editor in Chief, 

Designer and Art Director: 

ELIZABETH TORRES 

M A D A M N E V E R S T O P 

madamneverstop.com 

FEATURING THE 

POETRY OF: 

CALVIN WHARTON 

...pg.44 

PANKHURI SINHA 

...pg.44 

LUZ CASSINO 

...pg.45 

FRANCISCO MUNOZ 

SOLER 

...pg.45 

SERGIO LAIGNELET 

with translations by 

Fernanda Balangero 

...pg.46 

GORDON MEADE 

...pg.46 

SIVAKAMI VELLIANGIRI 

...pg.47 

MARIA GALINA 

with translations by 

Nina Kossman 

...pg.47 

ISBN: 978-87-94003-00-1

SUBMIT CONTENT to 

RED DOOR MAGAZINE: 

Red Door Magazine releases digital issues quarterly 

with an emphasis on visual art and poetry. It also 

includes multimedia art, essays on adventures and 

activism, as well as relevant media articles. The magazine 

always features a poetry selection, prose, and 

occasional interviews by established and emerging 

artists. We’re here to give you a handful of essential 

pieces you can digest in one sitting. 

We’re currently seeking visual art, music, film reviews, 

travel and media articles, poetry, fiction, and creative 

nonfiction. Simultaneous submissions are always ok, 

and if you have a piece accepted elsewhere, please 

let us know by adding a note to your submission. 

Please send your content to reddoorny@gmail.com 

________________________________________ 

File specifications: Your article may be a maximum of 

two pages, and we accept a maximum of 5 poems 

per submission. 

Please include a small biography of up to 10 lines 

about you. All this must be included as .doc files. 

All images must be attached as .jpeg images in a resolution 

of 1080 x 1080 px or its equivalent in format 

so it can be used for print and hi-res for web. 

ISSUE #26: 

THE RESILIENCE ISSUE 

SUBMISSION DUE DATE: 

JANUARY 25TH, 2021 

LEARN MORE AT: 

WWW.REDDOORMAGAZINE.COM

THE COLLABORATORS 

& correspondents: 

Special thanks to Australian 

correspondent Melaine Knight, 

the Neon Rebel... and best 

wishes to all the Red Door 

correspondents: Brandon Davis, 

Tanya Cosio, Mario Z. Puglisi, 

Carolina Olguin, Monica 

Gonzalez Velazquez and all of 

you who have participated in this 

issue. 

THE ILLUSTRATOR 

ANNA NYGREN 

ISSUE #25 OF RED DOOR 

MAGAZINE FEATURES THE 

ILLUSTRATIONS OF: 

Anna Nygren, a Swedish artist 

living in Gothenburg. She is 

a writer and playwright, also 

working as an illustrator. 

Her published work includes the 

novel HUNGER and her poetry 

collection PISTASCHE. 

FOLLOW her work via Instagram 

@jackieocandy

To understand the history of 

humanity is to look back at many 

wars, conquers and injustices, 

as well as natural disasters and 

horrible famines, and through 

this find a constant display of 

resilience, of continuation, of 

survival, that sometimes is difficult 

to comprehend. 

In Greek mythology, hope is seen 

as an extension to suffering, a part 

of that package in Pandora’s box, 

depicted as the young woman 

Elpis, often carrying flowers. In 

Hesiod’s poems Works and Days, 

it is explained that once Pandora’s 

box was open, “Only Hope was 

left within her unbreakable house, 

she remained under the lip of 

the jar, and did not fly away.” By 

default, it is often said, that hope is 

a curse of the gods, entertained by 

humanity’s inability to give up. Oh, 

how entertained they must be this 

year! 

Looking back at 2020, we will find 

a multitude of grievances, sorrows 

and challenges, human errors 

and unmentionable losses, ego, 

fake news, mass panic, corrupt 

idiots stepping over others to get 

their dose of spotlight and away 

with piles of money. We will find 

inept governors and uninformed 

decisions. We will find an extensive 

list of names of those lost to the 

pandemic, taking their stories and 

dreams with them prematurely, 

and leaving behind grieving and 

broken families. We will find an 

international preference for bailing 

out banks and big companies rather 

than independent businesses, 

families and students, as well as 

those at-risk minorities which often 

get left behind. 

We will find abandonment to 

those who were seen as essential 

workers, and more ignoring of 

those who weren’t. And right next 

to that we will see that plenty of 

those companies still fired their 

employees and profited unfairly or 

didn’t make it to the next round, as 

it is already becoming obvious. Oh, 

we will find a huge gap between 

opinions about everything, from 

mask-wearing to vaccines, to 

whether or not the pandemic is real 

and how it came to be. Pretty much 

as with climate change, the greatest 

emergency we as a humanity 

continue to face and ignore / doubt 

/ dismiss / panic about. 

Due to all this, #25 of Red Door 

Magazine was designed to speak 

openly of our stubbornness; of the 

reasons why, whether it is a gift or 

a curse, we keep on holding on. 

Deviant is meant as what one would 

usually call a NSFW issue, but 

since plenty of us are working from 

home, well, who’s to say? Deviant 

speaks of the deepest desire. The 

secret wish. The whispered dream. 

When we look at erotica in poetry, 

photography and art, apart from 

the perversions or lust it might 

supposedly provoke, as well as 

when we look at deviance in other 

levels, what we are truly looking at 

is ourselves at our most intimate 

level, without any pretensions - 

doing what we want / need. 

I wanted to use this issue as a 

reminder of this. Of the thirst and 

the lust, of the cravings and the 

fantasies, of the unpredictable 

impulses and the mischievous 

curiosity in all of us, because this 

side of us often comes out, only in 

the dark. 

EDITORIAL 

For this issue I have recruited the 

help of very talented visual artists 

to fill these pages with entire 

universes that hopefully will take 

you away, if only momentarily, and 

bring out the mischievous, curious 

self in you too. 

I’d like to take this opportunity 

to thank all the artists and poets 

who participated in this issue, as 

well as the correspondents and 

collaborators, with a special mention 

to Kultivera / Litteraturcentrum SVU 

in Sweden, for encouraging that 

next step this magazine needed to 

take, and convincing me to go from 

exclusively digital to deliciously 

printed. It makes a difference for 

those who are into collecting, and 

disconnecting from the screen. It 

also makes a difference when it 

comes to giving back to the efforts 

of maintaining this magazine 

running. 

Speaking of, this was also the year 

when the Patreon platform was 

started, and I want to thank all those 

supporters who have said yes to 

the campaign and joined, gaining 

access to exclusive content and 

goodies, yes, but mainly giving their 

support so that this magazine can 

continue, along with the podcast 

and the other Red Door initiatives. 

Thanks to each one of you, for 

giving your time, showing your 

support, sharing your passion, and 

making of this a poetry takeover. 

Wishing you hope, strength and 

clarity, 

Madam Neverstop.

PEN AND PAPER 

PUNKS IN PRINT 

Pen and Paper : Punks in Print 

is a work of creative non-fiction 

by Dominic Williams that will be 

published by Kultivera this winter. 

The text is a mixture of essay, 

memoir, journal and poetry. It was 

produced as an artistic response 

to an archive of letters exchanged 

between punks in the 1980s and, 

in a true DIY punk style, it is a wordbased 

collage. 

Williams provides responses not 

only to the contents of the archive, 

which often manifest themselves in 

found poems, but also with prose 

and poetry that responds to his 

own creative process as well as the 

practices and the artistic outputs 

of his fellow artists. Williams uses 

personal anecdote and memory; 

alongside social commentary and 

verse, to create a narrative that 

embodies the full experience of 

participating in this contemporary 

arts project. Here is an extract from a 

late draft of the book that describes 

the experience of the arts collective 

exploring the physical collection of 

correspondence for the first time. 

“Not long after Martin, Irena, Milica 

and I met in Tranås for the first time 

for the initial punk letters residency 

we decided that one of our first 

collective actions should be a trip 

to Jönköping and the archive. (…) 

We would all respond differently 

to what we had seen or were to see 

and maybe pushed by our previous 

artistic disciplinary practices would 

be examining different elements in 

the letters. As a practitioner in the 

language arts the textual content of 

the letters was important to me, the 

narratives. 

08 

However, as Irena pointed out 

there was so much repetition in the 

letters, the vocabulary was similar 

in most of them. The requests to 

exchange cassettes or records, 

the endless catalogued lists of 

bands and EP titles, the same 

questions for interviews for zines, 

the constant apologies for delays 

and waits … and yet there is so 

much to read between those lines, 

the very idea of such commonality 

between young people from 

distinct cultures, living in different 

political and social situations, often 

thousands of miles from each other. 

Text also interested Irena but, as a 

book artist, perhaps from a more 

aesthetic perspective than mine. 

Martin and Milica both, had a far 

more visual curiosity. (…) 

We had a great welcome form 

the team at the archive, joined 

them for Fika and were given a 

tour of the archive before we were 

led to a room where we could 

spend as long as we wished with 

some letters from the archive. 

There are literally thousands of 

letters in the collection, it was 

quite a conservative number that 

had been scanned and ‘digitally 

archived” when the archive was 

shared with us virtually, in fact the 

scanning of the collection is still 

incomplete (November 2020) and 

I don’t think any single person has 

yet had access to all that has been 

scanned. So it was, we were asked 

what letters we would like to see. 

The process of archiving the letters 

is at present pretty rudimentary. 

The contents of each ‘package’ are 

scanned as jpegs; The back and 

front of the envelope and the back 

and the back and front of any letter, 

poster, fanzine (page by page). Each 

image is individually numbered, each 

image within a package sharing the 

same number except the final digit. 

Packages are therefore numbered 

chronologically and are segregated 

by country of origin only, there is no 

cataloguing as such. No reference 

to the author or date of the package 

is recorded. Following scanning, the 

items are then returned to the box 

files in which they are stored in the 

chronological order assigned by the 

scanning system. (…) 

We had been engaged with this 

collection of letters, distantly, remotely 

as a “digital archive” for nearly a year 

but nothing had prepared us for 

the beauty, the pleasure, the nearecstasy 

of exposing all our senses to 

the physical and tangible experience 

of these artefacts. Texture, creases, 

folds, colours, show-through on 

thin paper, shiny tape, worn and nolonger 

sticky, cardboard beaten and 

bent, evidence of missing coins, and 

of re-used postage stamps, warnings 

that postal workers could read while 

cradling these packages in their 

hands. This was a good day and we 

dived in like children on Christmas 

morning excitedly telling each other 

about every new discovery we made. 

As we trawled through our treasure 

trove of missives we naturally started 

a discussion about handwriting. 

Most of the letters are from male 

correspondents and the smaller 

amount that were from female 

correspondents we often found quite 

easy to identify.

www.reddoormagazine.com 

09

010 

We played with the idea of trying 

to guess the gender of the writer 

from their script. In most cases 

we guessed correctly. But then 

we came across a small, tidy, 

very consistent hand. A script 

that seemed androgynous. 

We identified the author as an 

American, Ken. My fellow artists 

found this name hilarious. My 

father’s name is actually Kenneth 

but I guess it is quite uncommon 

outside of the UK. The only Ken 

they’d ever encountered was 

Barbie’s boyfriend! 

We came across a couple more 

letters from Ken before we 

discovered another neat hand, 

another correspondent who wrote 

quite lengthy communications, 

Charlie, also from the USA. The detail 

of Charlie’s letters was significant; 

there was real sense of wanting 

to share experience with others. 

Irena and I became fascinated 

with Charlie as a poet and a book 

artist; the textual content held 

perhaps a greater value than the 

image and visual aesthetic of the 

letters as artefacts that immediately 

appealed to Milica and Martin. 

We searched through boxes looking 

for the familiar writing on the front of 

envelopes. We uncovered several 

letters from Charlie and every time 

we did so, there were squeals of 

delight from Irena and me. The 

content of many of the letters in the 

archive are great primary sources of 

social history, and Charlie’s letters 

add so much to that element of 

the canon. His correspondence 

contained the usual list of cassettes 

and vinyl that he would like to 

distribute in Sweden as well as lists 

of material that he would like to buy; 

recommendations of American 

bands and bands from other 

places around the world) that he 

had been listening to. There is also 

a considerable amount of personal 

information shared in the letters. 

The letters that we have found 

so far span over seven years from 

February 1986 to September 1993. 

The first letter I read from Charlie 

reinforced the effect of time passing 

on this type of communication, 

he writes in late February of just 

receiving a package from Löken 

that has a postmark of 17 February 

and yet contains a letter dated 12 

December. He mentions in the 

letter that he and his girlfriend, 

Kim, are moving and had a special 

deal where they could live in a big 

house for $150 per month, but 

because Kim has just got a dog 

they will have to live in a smaller 

place and pay $500 per month. In 

April 1986 Charlie writes that he is 

working for the forestry service in 

Valdez, Alaska and expressed his 

environmental concerns regarding 

the US biggest ever oil spill. He is 

very unsure about living away from 

his girlfriend for so long, he will miss 

her and mentions he met a Swede 

the other day who was involved in 

the oil-spill clean-up operation. 

By 1987 Charlie is working regularly 

with trail-work for the forestry 

service and he like many of the 

correspondents in the collection 

engages in a discussion with 

Löken about his choices regarding 

compulsory military service in 

Sweden. In several of his letters 

among the tasks he lists as part 

of his job, he includes talking to 

people and this human interaction 

is obviously very import to him. 

The last letters that I have seen as 

yet from Charlie are from 1993,


011

seven years later he now mentions 

the dog by name Kennai. Kim is 

intending to return to school after a 

ten-year break and they are moving 

to Colorado after spending three 

months is Thailand. Charlie has just 

spent three weeks in Idaho fighting 

forest fires. 

There are so many overlaps with 

stories that Löken has told me from 

his own perspective and so many 

personal references to events that 

resonate in world history it is truly 

fascinating. Another particularly 

interesting aspect to Charlie’s letters 

is that he was very mindful of saving 

paper, nearly every letter is written 

on the back of something else, scrap 

paper that he used and these pieces 

of recycled documents often act as 

secondary sources from social history 

supporting the primary source on the 

other side of the page. In fact it is one 

of those partial documents that led 

me to a physical search for Charlie. 

But before I could start that search we 

had to return to Tranås. After several 

hours we reluctantly decide that we 

should leave the archive, allow the 

archivists to finish their working day 

and go home and we needed to make 

the journey back to Tranås before 

the limited regional public transport 

stranded us in Jönköping. The journey 

home was quite a hectic episode 

with regional trains typically being 

cancelled and replaced by buses that 

would deliver us to bus stops a frantic 

dash away from trains connections 

that were leaving within seconds of 

our arrival. We arrived back in Tranås 

travel weary but very, very satisfied. 

www.punklettersproject.com 

012


013


GALLERY 

By Madam Neverstop - Red Door Founder & Director 

On the 7th of October of 2009, while 

headlines in New York were taking 

turns discussing how safe the city had 

become, the disaster of swine flu and 

the Nobel prize awarded to Obama, 

from a corner in Long Island City, 

Queens, I announced the release of 

the first issue of Red Door Magazine. 

Back then, the idea of having a 

digital magazine was laughed at 

by many, who told me that having 

an online magazine was simply 

having a blog, and that to be taken 

seriously I needed to be printed. In 

my opinion, the accessibility of the 

internet and the affordability of not 

printing, gave me the advantages 

of creating a project I could sustain 

without ads or selling out to private 

sponsors wanting featured articles 

in exchange of income. The main 

priority, in my opinion, was creating 

a platform that was accessible at 

no charge, anywhere. Although the 

magazine never really became a 

financially successful venture (no 

surprise there), it definitely became 

an international platform for people 

to exchange ideas, share their latest 

projects, talk about their cultures, 

locations and visions, while finding 

others with similar interests. I have 

had the opportunity of seeing the 

world through this project, and 

having great New York galleries 

come to me for private previews of 

their upcoming shows in hopes I 

write something about them, and 

I’ve had angry diva artists, giving me 

hell for not featuring their work. The 

amount of incredible adventures 

and people I have met through 

this Red Door cannot be counted, 

and many of them are still my close 

collaborators and good friends. 

After leaving New York for a life 

in more democratic, easy-going, 

creative environments, I arrived to 

Copenhagen and soon after, Red 

Door took on the form of a gallery 

and studio, and began to take shape 

as its own creature, a physical aspect 

I never would’ve had the chance nor 

will to manifest in the United States. 

Exactly 11 years later, over 6000 

km from the big apple, on the 9th 

of October of 2020, while headlines 

in the world were taking turns 

discussing the effects of a pandemic, 

Brexit and the US’ most openly 

embarrassing / pathetic / dangerous 

president, in the beautiful city of 

Copenhagen I was given the keys 

to the new location of Red Door: 

Møllegade 23a kld, 2200 Nørrebro. 

014


015

Eleven years is a long time to carry a 

voluntary project, made from the love 

of art and a passion to document it, 

with no income to invest in and no 

profit to take in return. Throughout 

the years, correspondents in 

Australia, Latin America, Europe and 

the United States have with equal 

passion shared their discoveries 

and written excellent articles to 

document their communities for a 

growing readership that pays no 

minds to frontiers. But now that the 

decade has come and gone, the 

purposes for the existence of this 

magazine continue to be reaffirmed 

by the need for freedom of the press 

and of speech, the promotion of 

arts, culture and activism, and an 

urgency to connect our independent 

communities and tell of their projects 

in spite of whatever the times might 

bring as challenges... and who would 

have thought? I’ve followed the 

advise of a league of wise publishers 

and joined their team, and now Red 

Door is both digital and printed. 

So here we are, in what I like to call the 

most poetic street of Copenhagen, 

not just because it is next to the 

oldest Jewish Cemetery of the city 

and I’ve always been fond of such 

calm, historic locations, nor because 

it is one of the oldest streets in the 

municipality of Nørrebro, a buzzing 

hub of migrants, independent 

businesses, residents and tourists… 

but because it simply is, by reputation, 

a street that radiates poetry. 

016 

When Danes are allowed 

to gather in big groups, 

at least two poetry 

festivals take place on 

this street, outdoors, 

with people sipping beer 

while enjoying poetry 

with their friends. 

Take the neighbors, for example. 

On No.7 is the headquarters of 

LiteraturHaus, a meeting place for 

writers, artists and people with an 

interest in literature, and under them 

Poesiens Hus, a union and cultural 

house with its own poetry bus and 

plenty of poetic activities, like visits 

to schools and festivals, all around 

the subject of poetry. Nearby is Det 

Frie Gymnasium (No. 26) which is 

an alternative school with a focus 

on creative programs and a focus 

on school democracy and openminded 

teaching methods, meaning 

the young artists and punks walk 

by on their way to school filling the 

streets with laughter. There’s three 

bookshops and several art studios, 

a comic book shop and a few cafés… 

and a sculpture of a girl reading a 

runestone, by Anders Bundgaard. 

Oh, yeah. When Danes are allowed 

to gather in big groups, at least two 

poetry festivals take place on this 

street, outdoors, with people sipping 

beer while enjoying poetry with their 

friends.

MØLLEGADE 

1993 

Red Door Gallery is also the 

headquarters of course of Red Door 

Magazine and the other Red Door 

projects under its umbrella: The 

Red Transmissions Podcast, the 

Poetic Phonotheque, and soon, 

Red Press, a small publication 

project with a focus on poetry in 

translation. At this location you can 

find exhibitions of international and 

local artists, signed prints of various 

themes for a wider palette of colors 

and flavors, object books, books in 

translation, poetry, poetry, poetry, 

poesía, risograph books, comics, and 

even a small bookshop of miniature 

books such as the Art of War and 

Alice in Wonderland, tended by a 

puppet version of me, hoping to also 

persuade you to join Patreon. 

Additionally, in the future my dream is 

to be able to have physical prototypes 

of the Poetic Phonotheque for you 

to be able to listen to – and record 

– poetry, as well as installations, 

sculptures, talks, projected films 

and workshops. The sky is the limit. 

1958 

Whether you are visiting or residing 

in Copenhagen and need inspiration 

for a new project or would like to 

get suggestions or ideas, or if you’re 

looking to expand your art collection 

or give a unique gift, or if you just 

need a break from the world and 

want to hide here… I look forward 

to welcoming you. And if you are 

reading this from a distant city, 

whether there’s a pandemic or not, 

handwritten letters and postcards are 

always more than welcome to: 


MØLLEGADE 23 A, KLD 

2200 NØRREBRO 

COPENHAGEN, DENMARK 


017


GALLERY 

018

Send your exhibition 

inquiries and other 

proposals to 

reddoorcph@gmail.com 


MØLLEGADE 23 A, KLD 

2200 NØRREBRO 

COPENHAGEN, DENMARK 


019

A DEVIANT 

FOR THE PEOPLES 

By Melaine Knight - THE NEON REBEL - AUSTRALIA 

This Neon Rebellion interviews Nicholas X Morley, on the Medical Cannabis 

Story, his work getting it out to the people, and his documentary film Greenlight. 

020 

In sociology, Deviance describes an action or behaviour that violates 

social norms, including a formally enacted rule (e.g.,crime), as well as 

informal violations of social norms ... Although deviance may have a 

negative connotation, the violation is not always a negative action; 

positive deviation exists in some situations. Although a norm is violated, 

a behaviour can still be classified as positive or acceptable.

Nicholas Morley is no stranger to being 

in the spotlight. 

Having grown up in the Melbourne, he 

started Hairdressing at 15, it took him 

on a path as a freelance professional 

hairstylist + makeup artist worldwide, 

for over 10 years. 

After living in NYC, he moved to 

Bali + started the iconic rock’n’roll 

celebrity fashion label Buddhist Punk, 

collaborating with acts like The Rolling 

Stones + AC/DC. 

At the peak of building this successful 

brand, Nic parted ways with his 

partners + started his own eponymous 

fashion label Nicholas X Morley. He 

went on to creatively direct Australia’s 

legendary surf brand Mambo + spent 

some time in L.A. helping set up Ed 

Hardy’s label for designer Christian 

Audigier. 

He then returned to Bali + set up 

a boutique production house, 

manufacturing some indie Australian 

labels like PAM, Alice McCall, Life 

Of Bird, One Teaspoon, Romance 

Was Born) turning illustrations into 

garments. The years of experience 

producing Buddhist Punk gave Nic all 

the skills to produce for these labels, 

but in the end, he felt like he was 

running a sweatshop + that wasn’t 

really the gig he wanted to pursue. 

After moving back to Australia with 

his partner at the time, well loved 

Australian designer Alice McCall + 

their 2 young kids, things changed in 

their relationship + Nic moved to Byron 

Bay with his eldest daughter. 

At this point, having reached a bit of 

a crossroads which often happens 

when people find themselves in Byron, 

Nic was suffering from depression 

+ confusion about where life was at 

+ a different path started to emerge. 

He met back up with an old pal who 

was an ethno-geneticist + by all 

accounts a modern day practicing 

shaman, who introduced him to CBD 

+ the power of medical cannabis. 

He then met kindred spirit + long 

lost brother Luke whom he found 

instant connection with + they would 

embark on a journey that finds them 

where they are today helping literally 

thousands of people though their 

work with medicinal cannabis. 


021

Initially they worked with Endoca (from 

Denmark) one of the foremost companies 

that produce a fully organic full spectrum 

plant product of the highest grade. 

This was 7 years ago, before anyone really 

knew about CBD + its medicinal uses. 

The word got out + the boys found 

themselves on the phone all day long 

helping people get hold of medicinal 

cannabis products. They were running a 

website with information + guidance for 

people needing to access the products who 

suffered with chronic pain, cancer, + many 

of whom were parents of kids with epilepsy, 

where there had been research in the US to 

show CBD minimised seizures without the 

side affects known medication had. 

“There is many different 

types of Epilepsy. The 

retractable epilepsies, the 

severe epilepsies, there is 

no medication or western 

medicines that can stop it. 

They can slow it down but the 

side affects are so damaging to 

children (or anyone who takes 

it) that it’s basically the kiss of 

death anyway. Sure the seizures 

will slow down but it will make 

you fucking brain dead.” 

The boys were slipping through a fine 

legal loophole at that time until they got a 

message from the TGA (Therapeutic Goods 

Administration in Australia) who threatened 

to fine them “a couple of million dollars 

unless they shut the site down.” 

They did shut the site down but continued 

to spread the word + things just grew from 

there. 

So what is CBD oil? 

CBD stands for cannabidiol. It is the second 

most prevalent of the active ingredients 

of cannabis (marijuana). While CBD is an 

essential component of medical marijuana, 

it can be derived directly from the hemp 

plant, which is a cousin of the marijuana 

plant. While CBD is a component of 

marijuana (one of hundreds), by itself it does 

not cause a “high” or any form of intoxication 

caused by another cannabinoid THC. 

According to a report from the World Health 

Organization … 

“In humans, CBD exhibits 

no effects indicative of 

any abuse or dependence 

potential…. To date, there is 

no evidence of public health 

related problems associated 

with the use of pure CBD.” 

(Harvard Health) 

CBD can come as an isolate from hemp 

plants or marijuana plants, where it is pure 

CBD cannabinoids or it can come from a 

whole spectrum plant which will contain 

elements of THC. 

What does it do? 

It puts the body into homeostasis. It 

regulates the whole system, assisting 

the body to find its own neural + healing 

pathways. 

It has been proven to aid in dealing with 

pain relief, anxiety, sleep, depression, nerve 

+ neural disorders (such as Parkinson’s 

Disease + epilepsy seizures.) 

022

Is CBD Legal? 

As of 2020 – yes, CBD is legal in 

Australia with a prescription from a GP. 

The Therapeutic Goods Administration 

(TGA) has classed it as a Schedule 4 (S4) 

drug since 2016. 

However, it’s only legal if the CBD 

component of the oil is more than 98% 

concentration – meaning it has less than 2% 

of other cannabinoids found in cannabis. 

Similarly, to date in the US, Hempderived 

CBD products (with less than 

0.3 percent THC) are legal on the federal 

level, but are still illegal under some 

state laws. Marijuana-derived CBD 

products are illegal on the federal level, 

but are legal under some state laws. 

So herein lies some misinformation 

about the different types of CBD oils 

available + what they are used for. 

Much of the CBD oil available through 

healthfood stores + pharmacies to date, is 

CBD isolate, which is CBD on its own mixed 

with another oil, it is most likely derived 

from hemp plants, contains no THC, nor is it 

an outdoor grown organic product. 

The CBD oils Nic works with are full 

spectrum organic whole plant medicine. 

Why is it important to have a full 

spectrum organic whole plant product? 

Without at least a small amount of the 

THC, the CBD isolated doesn’t perform as 

it should. Through working with the plant 

+ watching the ever growing research 

coming out of the US + working with many 

people in chronic health states, Nic quickly 

realised that “while CBD was a great help, it 

was the THC also that did the hard miles, in 

a lot of cases, especially in cancer cases ...” 

Its also important to have an organic natural 

product. 

Most of the commercial medical cannabis 

producers at the moment, not all, are 

growing plants hydroponically in 

hothouses + light rooms under artificial 

lights + conditions that are missing the most 

vital important element. Nature. 

“The most potent + highest 

quality products that will 

deliver the best results are 

derived from plants grown 

the way nature intended. 

With Sun, rain, wind + in an 

organic soil full of microbes 

+ bacteria ...” 

Around 3 years ago, Nic was approached by 

some filmmakers to make a documentary 

about the work the boys were doing. For 

whilst they were providing medicines to 

some very sick people, essentially they 

were taking great risks + breaking the law. 

Nic felt the story was important + needed to 

be told. 


023

The film looks at the real people who have some serious 

issues + are finding relief. It really drives home the reality 

of the situation. 

It sat as somewhat of an underground indie film until 

just last month. It’s been picked up + is being streamed 

on Stan here in Australia + can be viewed on Vimeo 

worldwide. (links at bottom of article). 

This correlates with the timing of the TGA opening the 

floodgates legalising CBD + making it available through 

chemists over the counter, admitting that it’s safe. The 

entire CBD story has become decriminalised, something 

the boys had always been saying needed to happen 

+ why they kept working, in spite of the slow health 

administration + legal systems. 

Why then, with so much evidence, do global 

Governments. not want to legalise Marijuana? 

When there’s a bottle shop on every corner + the 

undeniable facts that alcohol related deaths outnumber 

anything marijuana related …. THC needs to be 

regulated, which requires much more education for 

prescribers, whilst having the medicinal benefits taken 

in particular ways, unlike CBD, it can really fuck people 

up. 

The answer is a few years ago when the CBD story was 

kicking off big pharma companies started investing in 

the medical cannabis industry. 

According to Business News Australia, as of June 2020, 

Australia has hit the global market as a huge contender. 

It had listed over 30 ASX (Australian Stock Exchange) 

Cannabis companies. 

This is considerably more public companies than all of 

the European countries listed combined. 

These companies are mainly producing for export + 

since Covid have been forced to encompass the local 

market when global profits were plummeting. 

Where there is profits to be made in producing medical 

cannabis that is Government regulated + taxed with 

pharmaceutical companies trying to control it, then 

there is the rub. 

At this point, its also worth it to mention that Australia 

is also one of the worlds biggest cultivator (Tasmania) 

+ exporter of poppies. These go onto make pain relief 

medication like Endone + Oxy Contin (). 

With CBD/THC also a major contender for pain relief 

with a much less addictive + in all sorts of ways a friend 

024 

to the body, this poses a major threat to big pharma + 

their dominance in the market. 

That said, Marijuana for recreational use or straight up 

personal cultivation doesn’t look like it will be legal 

anytime soon but it does mean that for people with 

conditions, access without penalty is certainly in sight. 

Access to superior product is what Nic is all about. 

He has set up an online clinic that services about 6,500 

registered patients, offering advice on how to get full 

spectrum organic whole plant medicine. 

You can book a consultation here. 

www.greenlighthealth.com.au 

Greenlight Movie 

https://www.greenlightmovie.com

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Thanks for joining us! Looking forward to sharing with you! 

www.patreon.com/madamneverstop 


025

ERVIN 

VAN MURIEL 

IT COULD BE THAT SOMETIMES THE MUSES 

TAKE PREFERENCES. IT COULD BE THAT 

THE PERFECT COMBINATION OF DISCIPLINE 

AND PASSION REALLY PAYS OFF. IT COULD 

OF COURSE ALL BE INNATE TALENT. 

WHATEVER IT IS, VAN MURIEL’S WORK 

DISPLAYS A NATURAL ABILITY AND 

FLUENCY NOT OFTEN SEEN IN OUR TIMES. 

026

Originally from Medellin, Colombia, but 

with an impressive international trajectory, 

Ervin Van Muriel’s style is recognized as 

contemporary realism and has been exhibited 

in the United States and Europe extensively, 

awarding him recognitions such as the Erotic 

Signature – Book Winner in 2007, a spot on the 

book of World’s Greatest Erotic Art Today Vol. 

2 in 2008, and a position of notoriety and his 

art being auctioned by Sotheby’s in the past, 

becoming the youngest artist whose work was 

ever auctioned there. For some time, he was 

also represented by Wally Findlay, the second 

oldest gallery in the world which exclusively 

represents great masters, with only a handful 

of living artists in their repertoire. 

The things about Van Muriel’s art and 

persona (or is it personality, one doesn’t 

know sometimes with artists) that augur good 

adventures and opportunities with his art are 

many, such as the signature thick oil brush 

strokes that he uses, the contrast of lights and 

shadows in his work, the seductive intimacy of 

the pieces he creates (even in this selection of 

mostly portraits which is his most recent work) 

and the fact that he, against all odds, has been 

a self-taught, self-actualizing artist all of this 

time. 

MY ART IS 

ABOUT THE 

CHARACTERS 

IN MY LIFE, 

REAL PEOPLE 

I INTERACT 

WITH. 

During our interview, he explained that the 

sole purpose and reason for painting was 

a need to narrate what he experiences and 

sees, and what he paints actually now on 

constant loop provides new life experiences. 

“My art is about the characters in my life, 

real people I interact with, not models, as I 

feel uncomfortable painting people I don’t 

know. The role my partners, companions and 

relationships have played is fundamental to 

my work, even since before I began painting 

professionally”. 


027

At the age of 18 Van Muriel enrolled in 

the Art Institute of Fine Arts of Medellin, 

where he studied classical music and art 

for two years, when he would curiously 

analyze the suggestive figures of Boris 

Vallejo’s illustrations. However, his true 

identity developed from personal research 

and investigative nature with different 

techniques and media. 

He also explains that being from Colombia 

helped him find great mentors during his 

artistic development, when he had the 

opportunity of meeting, for example, master 

Luis Caballero, and how his friendship with 

other artists helped him have a fuller selftaught 

process, learning the importance of 

erring in order to solve the big questions 

that would later improve his work. 

Van Muriel enthusiastically mentions his 

great affinity for the work of Lucian Freud 

and Francis Bacon and of course great 

masters such as Leonardo, Rembrandt 

and Velazquez. A great lesson he shares as 

advice for fellow artists, is to not let oneself 

be compromised by current commercial 

trends, but have an impermeable insistence 

to the art, something, he clarifies, is not an 

easy task. 

“Through the years I was able to realize 

the influence of artistic concepts in almost 

everything I know and see in society 

and in my personal development. I am 

definitely curious about aesthetics, so I 

feel as a craftsman of forms. We owe it to 

the great artists before us who took risks 

with their ideas and feelings, opening 

the doors to those of us who see art as a 

labor, and therefore need an audience that 

can discern between cheap consumerist 

disposable art and true art”. 

Follow Ervin Van Muriel on instagram: 

@van_muriel 

028


029

030


031

MONICA 

HEE EUN 

Now, if there is one contemporary artist 

that pops to mind when mentioning the 

theme of deviance in our Copenhagen 

artists’ community, it would without 

a doubt have to be Monica Hee Eun. 

Originally from South Korea, Monica is 

an artist who lives and works in Denmark 

and whose signature style is an exquisite 

combination of sensuality and darkness, 

at many times seemingly reflecting the 

human aspects that only come out in 

032 

private confessional moments, at 

others appearing as portraits of demonlike 

figures that could also be seen as 

studies-of-self of a more critical nature. 

The focus of her attention, which could be 

categorized as dark-pop art, is described 

by the artist as her attempt to explore 

and understand the shadow side of our 

psychological composition, perhaps to 

understand our human complexity.

“I am interested in portraying certain 

primal drives and urges within the 

human experience - those deep rooted, 

seemingly irrational, darker emotions 

and impulses. 

An ongoing theme within our existence 

is this complex struggle with our primal 

behavioural tendencies, which we 

constantly and meticulously try to either 

repress, regulate or even disguise to 

function and coexist. 

Although, however hidden or well 

managed, these ancient, unconscious 

impulses are indisputably part of 

our ground foundation as a species, 

influencing our everyday actions and 

how we individually and collectively 

exist in this world. 

My attempts are to explore and manifest 

the visions I have of these drives by 

giving them form, bodies or faces - 

to acknowledge them and perhaps 

better understand them as a part of my 

condition as a human being.” -MONICA 

HEE EUN. 

To learn more about Monica’s work, visit 

her website: 

www.monica-hee-eun.com 

Or follow her on social media: 

@monicaheeeun 

I AM INTERESTED IN 

PORTRAYING CERTAIN 

PRIMAL DRIVES AND 

URGES WITHIN THE 

HUMAN EXPERIENCE 

- THOSE DEEP 

ROOTED, SEEMINGLY 

IRRATIONAL, DARKER 

EMOTIONS AND 

IMPULSES. 


033

The notorious erotica photographer, 

cosmologist, seductress and thrillseeker 

Alejandra Guerrero, who 

also goes by the name of Corporate 

Vampire, shares with Red Door 

Magazine an exclusive selection 

of photographs from her beautiful, 

hardcover book WICKED WOMEN, 

released in 2020 by Circa Press after 

a successful kickstarter campaign 

backed by her collectors. 

”The dream of this book came up 2 

years ago, when I was reorganizing 

my website, as erotica can be 

categorized by many different 

themes. The fetish oriented 

photography I called Wicked 

Women, (…) and Circa Press was 

very in agreement 

with this selection of photos”. Due 

to the pandemic they were scared 

that the campaign wouldn’t reach 

its goal, but it came through. 

There were big delays due to the 

long-distance aspects of printing 

and distribution, and tours were 

cancelled, but Alejandra rejoices 

in the fact that her book is out, as 

a collector’s edition, as her and her 

editor had envisioned in New York. 

With an introduction by Violet 

Blue - one of the world’s leading 

commentators on female 

sexuality, the book depicts a 

series of previously un-released 

photographs of her trajectory, 

which started in 2003 when as part 

of a Chicago artists’ organization 

called Fluxcore two of her 

photographs were included in an 

art show about sex and technology. 

Alejandra resides and works 

between Chicago and Detroit and 

was one of the 50 international 

photographers featured in The 

New Erotic Photography2, edited 

by Dian Hanson (Taschen 2012). 

In episode 18 of Red Transmissions 

Podcast Alejandra shares that her 

upbringing in Colombia, learning 

design and fine arts, but also being 

surrounded by a very conservative 

environment, led her to take a 

break and head to Chicago to work 

in a photo lab. This, she explains, 

became the beginning of her 

education in photography, at the 

University of Illinois (UIC) and a life 

of traveling and collaborating with 

renowned models and other artists 

internationally. 

“I like depicting sexy, strong women 

the spirit of a dominatrix. Through 

my work I explore the part of my 

personality that enjoys teasing and 

provocation. In doing this, I’ve seen 

the change and growth of myself as 

a person, a woman, a lover, a critical 

open-minded thinker and, most 

important, as an artist.” - Alejandra 

Guerrero. 

You can learn more about the 

great Corporate Vampire Alejandra 

Guerrero and her book Wicked 

Women by visiting: 

www.corporatevampire.com 

034 

ALEJANDRA 

GUERRERO


035

Through my work I explore the 

part of my personality that enjoys 

teasing and provocation. In doing 

this, I’ve seen the change and growth 

of myself as a person, a woman, a 

lover, a critical open-minded thinker 

and, most important, as an artist.” 

- Alejandra Guerrero. 

036


037

038


039

040


041

Rewiring the expectations: Interview with 

Oliver Harris 

Episode 26 of Red Transmissions 

Podcast invites deviance in 

through a very specific corner of 

American Literature, or more of a 

blackhole of it, one of the favorite 

holes musicians, artists and many 

writers alike like to get lost into and 

often quote as some of their main 

influences: The Beat Generation. 

Several previous episodes of the 

podcast and articles in Red Door 

Magazine have already mentioned 

specifically the importance of 

William S. Burroughs in our current 

culture, from artists like David 

Bowie, the Beatles and Nirvana, to 

Robert Anton Wilson and Robert 

Shea, Patti Smith and others, but 

who better to get in deep on the 

subject with than renown academic 

and professor Oliver Harris, author 

and editor of over 14 books, 

including a dozen editions of works 

by Burroughs… as well as founder 

and president of the European Beat 

Studies Network. 

042 

Oliver shares in this conversations 

the reasons why he focused his 

career on this very unusual and 

specific subject for an academic, 

and how his relationship with 

Burroughs, from having him 

approve the thesis he had written 

about him, to visiting him various 

times in the US and editing his letters 

afterwards, allowed him to see the 

world and surround himself with an 

interesting collection of characters 

who shared his admiration and love 

for Burroughs. 

Of his encounters with Burroughs 

he remembers “he was very 

dynamic and very in character… 

he was much more human on a 

level that I had no expectations of. 

I bonded with him partly because 

I missed a father figure to relate 

to. It never occurred to me that 

this father figure would present 

itself in William Burroughs.” When 

asked about if he had a chance to 

see Burroughs’ writing process, he 

explains that at the time he wasn’t 

interested in talking about writing 

(Naked Lunch, 30 years earlier) as 

he would prefer to talk about visual 

art, and specifically his shotgun 

paintings. 

As a professor at Keele University, 

Oliver Harris has the opportunity 

of providing his students the 

attention, space and care he felt 

he learned from Burroughs, where 

rather than indoctrinating, a more 

pedagogic style could be applied, 

to ideally be inspiring to the new 

generations to find their own, very 

unique path. 

In celebrating the 50th anniversary of 

the publication of the controversial 

Burroughs novel Naked Lunch in 

2009, a group of academics and 

artists came together in Paris to 

make a conference and book with 

leading academics and creatives, 

which led to the forming of the 

European Beat Studies Network, 

with the purpose of bringing 

people together who share 

similar interests but might have 

completely different professions 

and lifestyles (herein comparing 

academics with creatives as an 

example and the synergies formed 

by these connections). Several 

virtual, hybrid and physical 

events are being organized in the 

coming years by EBSN, including 

a gathering in Paris and London in 

2023, CUT-Ups@63. 

Our conversation then leads us 

to discuss the excellent edition 

published by Tangerine Press of 

Burroughs’ Blade Runner, as well 

as the 3 Burroughs publications 

by Moloko Print released this year 

edited by Oliver, Battle Instructions, 

Minutes to Go and the Exterminator. 

Listen to the full episode at 

reddoormagazine.com/podcast or 

learn about the EBSN at ebsn.eu

WHEN YOU EXPERIMENT WITH CUT-UPS OVER A PERIOD 

OF TIME, YOU FIND THAT SOME OF THE CUT-UPS AND 

REARRANGED TEXTS SEEM TO REFER TO FUTURE 

EVENTS. WE HAD NO EXPLANATION FOR THIS AT THE 

TIME, JUST THE SUGGESTION THAT WHEN YOU CUT 

INTO THE PRESENT, THE FUTURE LEAKS OUT.” 

-WILLIAM S. BURROUGHS 


043

HERE COME THE 

DEVIANT POETS 

The office hours 

Celebrity 

The suddenly well-known surfer 

cresting waves of human health, 

recognized by name everywhere, 

A-list invader becomes 

virus laureate, writes overbearing lines, 

taints many stanzas with infected imagery; 

now captive audience, feverish, 

learns new words and phrases— 

coronavirus, social distancing, 

self-isolation, flatten the curve— 

a species forced to look closely 

at itself to understand and adapt 

behaviour to this latest trend; 

each day all previous charts are topped, 

yesterday’s high count fades 

as today’s numbers roll out for scrutiny, 

and the uncertain faithful, 

bearing surgical masks and latex gloves 

reluctantly climb the rickety bandwagon 

paying careful attention to the turning wheels 

that might squeeze breath from lungs, 

leaving them collapsed like discarded rag; 

while the celebrity strolls red carpet, 

waving and pointing into the crowd, 

cameras catching the gleam in the eye, 

and that dark, dark grin. 

Had he not followed me 

So closely 

Had he not followed me 

In a way that revealed 

That not only were strangers 

Keeping an eye on me 

On all my activities 

Including my restaurant trips 

But my own people 

With an account of the bills 

That were generated 

And my husband 

To whom they were sent 

All were keenly observing me 

And had authorized him 

To appear at random 

To appear before me 

In these places 

As though formally 

And vocally keeping an eye 

And 

Had he not exercised 

His powers exceedingly 

Excessively 

I would not have asked him 

The exact mechanics 

Of how he accomplished it 

Given the town was all with him 

And against me 

All distances were within his reach 

But had he not taken advantage 

Of all of their espionage 

The students would not have pounced on me 

The way they did 

And I would not have insisted 

For the exact mechanics 

Behind his patrol 

And it just might have prevented 

A lot of war. 

CALVIN WHARTON 

Calvin Wharton 

North Vancouver, BC 

Canada 

PANKHURI SINHA 

Bilingual poet and story writer from India. 

Two books of poems published in English, two 

collections of stories published in Hindi, and five 

collections of poetries published in Hindi. 

044

Delirium 

In my delirium 

impure 

savage 

everyday 

I cross your city of corners with brackets 

and I move towards your mouth which opens in 

a parenthesis 

I linger on your chest highlands and plains 

where all the drums rumble 

I dishevel in your belly button 

where daring gardenias bloom 

and I go down slowly until you lift up and I lift 

myself 

in my delirium 

over and over again 

I break the sixth commandment 

I navigate indecent waters 

over unwritten laws 

which I invent in each attack 

and I enjoy playing in the middle of the 

shipwreck. 

LOS INTERESES CREADOS 

Los intereses creados convierten 

la verdad en demagogia, 

la libertad en bien colectivo, 

el progreso en materiales de consumo 

y la felicidad 

en un seguro para después 

de la muerte. 

THE CREATED INTERESTS 

The created interests turn 

truth into demagogy 

libery into a common good 

progress into materials for consumption 

and happiness 

into an insurance 

for after death. 

Translated by 

Elizabeth Torres. 

LUZ CASSINO 

Argentine-Italian Writer living in Vilanova i 

la Getrú (Barcelona). Luz Cassino currently 

works on her 4th book. 

FRANCISCO MUÑOZ SOLER 

Málaga, Spain 


045

THE UGLY DUCKLING 

The little duck peers 

at the surface of the lake 

and beholds himself 

echoes of guffaws fill his mind 

he turns pale 

shivers 

counts to three 

and dives to the bottom 

with a stone tied around his neck 

EL PATITO FEO 

El pequeño pato inclina la cabeza 

sobre la superficie del lago 

y se contempla 

un eco de risotadas apresa su mente 

Floreana Mockingbird 

Apparently, in the good old days, 

I was Charles Darwin’s muse; 

the inspiration behind his theory 

of Natural Selection. These days, 

however, I am singing a somewhat 

different sort of tune; a lamentation 

for the decimation of the Prickly Pear 

Cactus, on which I like to roost. 

Without it, I might soon be 

gone. Does this, I wonder, make 

Darwin’s idea of the survival 

of the fittest, right or wrong. 

palidece 

temblequea 

cuenta hasta tres 

y se zambulle hasta el fondo 

con una piedra atada a su cuerpo 

SERGIO LAIGNELET, Colombia 

residing in Madrid. With translations by 

Fernanda Balangero. 

sergiolaignelet.blogspot.com 

GORDON MEADE 

Gordon Meade is a Scottish poet based in 

the East Neuk of Fife. He is the author of 10 

poetry books. 

046

I was on the edge of the earth 

I saw places 

Where emptiness peeped out of the eyes of the 

locals 

A man spoke to me 

He chased his wife with an ax 

Not because she was unfaithful to him, 

But because she was not the one. Someone 

simple 

Is easier to replace for creatures with stars. 

Betelgeuse, Sirius, Procyon 

Her daily diet is measured out. 

At night, there is light above the empty villages, 

Sirius, do you copy , 

He snores, turning his face to the wall, 

She transmits: 

Recall the landing crafts 

This land is killing even its own… 

Bark bursts on trees 

A badge of the moon in the cross of a window 

On a hill near an empty hut 

The dead stand like rooted posts. 

As for the Earth-Moon pair, 

Of all the scouts, only I survived... 

She does not know the subtle art of sleep. 

She carefully arranges herself on the edge, 

Corrects her sprawling face 

And hears him mutter– I’ll kill you bitch ... 

The news is carried to the sky by an oblique ray, 

Towards the constellation of Gemini. 

Someone heavy is tossing and turning on the 

other side of the wall. 

She shakes his shoulder: 

- I’m scared. Talk to me. 

UNCLE MOLE 

Uncle had siblings 

whom he bypassed to obtain 

what was not legally his. 

After a time relatives and friends could gauge 

how his brain worked 

they caught him at the unexpected path. 

People called him 

the 20 th Century Fox 

I thought it was the Aesop’s fables 

until I saw the movies 

and thought what a shame 

the cinemascope was larger than life 

and there was no place in it for a man like him. 

MARIA GALINA 

Translated from the Russian by Nina Kossman. was born 

in Kalinin (now the city of Tver) in 1958. She started 

publishing fiction in the 1990s under the pen name 

Maxim Golitsyn. 

Nina Kossman is a bilingual writer, poet, translator of 

Russian poetry, and playwright. 

SIVAKAMI VELLIANGIRI, India. 

A senior poet born in Madras and brought up 

at Trivandrum, and now living in Chennai. 

“How We Measured Time” is her debut 

poetry book. 


047

THE RED 

TRANSMISSIONS 

PODCAST 

The Red Transmissions podcast 

aims to document the work, behindthe-scenes 

moments and creative 

process of the incredibly interesting 

characters in our network, be it in 

Copenhagen, New York, or around 

the world where our correspondents 

find themselves or our poetic 

adventures take us. 

Find out why artists, activists and 

worldthreaders do what they do, 

how they do it, and hear about the 

inner workings of their projects. 

Contemporary happenings and 

conversations on culture, music, 

art, film, poetry, environment and 

independent projects around the 

planet. WE EXIST! 

Listen via Spotify, iTunes, most 

podcast providers or directly from 

the website: 

www.reddoormagazine.com/ 

podcast 

048 

Want to share 

your story with us? Write to: 

theredtransmissions@gmail.com

050 

WWW.REDDOORMAGAZINE.COM

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