PUSHING THE MEDIUM My Own Private Dialogue with Director GUS VAN SANT

PUSHING THE MEDIUM

My Own Private Dialogue with Director GUS VAN SANT
By Tyler Malone
Spring 2013
(As seen in PMc Magazine, May 2013)  
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Great artists are often those who push their respective mediums into new directions, questioning, through technique and tropology, that which came before. They needn’t necessarily invent whole new ways of thinking about or experiencing art, but it is important that they slightly fray the edges of the tapestry that makes up the “canon” of their artistic discipline.

When I spoke with director Gus Van Sant, I was pleased to learn that this concept of pushing the boundaries of cinema was an idea that was on his mind. Whether he makes big Hollywood movies or small indie films, Van Sant as artist is always interested in the “art” of cinema.

While Van Sant certainly has some stylistic idiosyncrasies which the discerning viewer can pick up on from film to film, the uninitiated might find it surprising to realize that the same guy who made My Own Private Idaho went on to make Finding Forrester, and that the guy who made Milk had made Even Cowgirls Get the Blues.

His resume is long and impressive: Drugstore Cowboy was his early critical success, Good Will Hunting his biggest from a commercial standpoint, but later it was the small film Elephant which won him the coveted Palme d’Or (the top prize at Cannes).
Some of Gus Van Sant’s films, admittedly, work better than others–some are praised, some are not–but most critics can agree that his films are always interesting, the work of a true auteur. For someone with such a varied career, I was surprised to discover the endearing fact that Van Sant claims he loves all his films equally–though he has no pretense that they’ll last forever. Celluloid isn’t stone, and digital files even less so.

Tyler Malone: Ever since I visited Thomas Jefferson’s grave at Monticello a number of years ago, and the glaring omission in his epitaph was pointed out to me, I’ve been intrigued by what great people and great artists want to be remembered for. [Jefferson doesn't mention his presidency, nor any accomplishment he achieved during it, on his gravestone--just that he authored the Declaration of Independence and the Statute for Religious Freedom in Virginia as well as that he founded the University of Virginia.] Do you have a film or a few films that you really want to be remembered for? Ones you personally think stand above the rest regardless of whether or not they’re the ones that get the most critical or popular acclaim?

Gus Van Sant: I like all of them, so I don’t really have any things that I want to stand out. I always figure that the things that remain, if they are like tombstones, will be things like car keys, or ripped shirts, probably not films of mine. Maybe a few frames of one of them, but judging by what we have left over from the past, most of it is made of stone, so film probably will not last.

TM: You’ve made big Hollywood films and small independent films, and continue to kind of vacillate between the two worlds. Do you prefer one or the other? And what do you think is the benefit of being able to move between the two?

GVS: Some of them are made in collaboration with others, which are the Hollywood ones, then the other ones are coming from me alone, and those are the smaller less Hollywood ones. I haven’t yet made a really big Hollywood film on purpose, but that’s what I’d like to do next if I can.

TM: In addition to being a filmmaker, you’re also an accomplished painter. How does your painting influence your filmmaking? And vice versa?

GVS: I guess it relates in a visual way. I have in the past taken images from the paintings, like the barn crash in My Own Private Idaho is from a painting, or floating images in Drugstore Cowboy are also from paintings. But there isn’t too much of a relationship, at least that I know of…

TM: I know you’re friends with Harmony Korine, and he’s the one who got you interested in Alan Clarke’s Elephant, which I’ve read had an influence on your Palme d’Or winning film of the same name. I’d be curious to hear what your thoughts are on Korine’s newest film Spring Breakers…

GVS: Yes, Harmony had told me about when he saw Elephant and said it was his favorite film. And Harmony was supposed to write the script to my film, which was only called Elephant because Colin Calendar of HBO who produced the film, who had previously worked at BBC, referred to Alan Clarke’s film as a work that commented on Northern Ireland violence right during the time when it was at its height in 1989. He said he couldn’t do “Columbine” (he meant making a direct dramatic unfolding of the Columbine events) but he could do “Elephant” (by which I think he meant a more universal comment on high school violence). I actually didn’t see Alan Clarke’s Elephant until later, after we had made our film. I was influenced by the long tracking shots because of Bela Tarr, a Hungarian filmmaker, who himself may have been influenced by Alan Clarke’s filmmaking, so the greatest influence was just the title. I used the title because Colin would refer to our film as Elephant, and so I asked Danny Boyle, a producer of Elephant, if he though it would be okay. But there have been a few red-faced Brits who feel I ripped off Alan Clarke. Harmony never made a script and I wrote it later after a few years of procrastination.
As far as Spring Breakers goes, I have seen it, and I thought it was a pretty nice cautionary tale…

TM: Another 2013 film that I wanted to ask you about is the much-talked about Paul Schrader and Bret Easton Ellis collaboration, The Canyons, starring Lindsey Lohan, which you’re also an actor in. Tell me a bit about your role, and about how that opportunity came about. Have you seen a cut of the film? Any thoughts on the production?

GVS: I haven’t seen The Canyons yet. I played a psychiatrist in it, and I knew the producer, and he and Bret Easton Ellis asked me to play the role.

TM: You’re well-known for great casting decisions, for picking the perfect person for the right role, whether they are big name movie stars, lesser-known actors, or even untrained high school students. Is there an actor or actress you’ve been dying to work with but haven’t yet because you just haven’t found the right role for them? Or for some other reason you’ve just never been able to collaborate with them?

GVS: Not so far. I would ideally like to cast unknowns, but it’s not what I’ve been doing, I use a lot of well-known actors, but the ideal to me is an unknown actor.

TM: Speaking of perfect casting, your use of River Phoenix in My Own Private Idaho still is one of those phenomenal choices that comes to mind. What a great film and what a great performance! This Halloween will mark the 20th anniversary of his passing. Do you have any thoughts on River Phoenix looking back two decades past?


GVS: Yes, he was great, and he is very missed. He was the one person that in my life, it just seemed impossible that he would stop being, like JFK.

TM: On Milk and on Restless, I read that, inspired by Terrence Malick, you did a lot of silent takes. You even released a “silent” version of Restless on the DVD stitched from those silent takes. Is that something you now do with all your films or does it just depend on the story you’re telling whether or not you would film silent takes of each scene?

GVS: It is a way to have material where there is no dialogue, sometimes the scenes don’t need dialogue–and if the script has a lot of dialogue, you do some takes without, just to have some choices later on.

TM: As a filmmaker who oscillates between directing your own material and directing others’ scripts, what draws you to a script and makes you decide that it is the next film you should make? And also, what makes you decide you want to write for a specific project as opposed to having someone else write it?


GVS: It’s mostly an artistic inspiration, not something that you could explain, other than an irrational compelling reason to propel yourself into a particular project for reasons you can’t quite understand to yourself. I can write some things, but I can also be limited as a writer, so I sometimes want other people to write for me.

TM: I know Milk was in the works for years before it finally came to fruition. Is there any other project you’ve always wanted to make work, but that has still always continued to elude you?
GVS: There are a few projects that have never been made, some are just thoughts. There was one recently that just came back into being, and it’s always interesting when an old idea becomes fresh again..

TM: In an interview with Bruce LaBruce a while back, you were talking about your interest in challenging the narrative techniques of film, and you said: “Otherwise I might as well be directing Superman or X-Men. Either go for the money or actually try to question the medium.” Could you ever see yourself making a superhero film? Couldn’t you “try to question the medium” in the context of a bigger Hollywood production (which I think you’ve certainly done, but obviously not in a superhero film, or a big tentpole style franchise film)?

GVS: Yes, I think that you can do big projects that are pushing the medium in new ways, that would be the ultimate. It’s just that the audience has to be able to, in some ways, catch up to you. Otherwise, you can lose them quite easily. When you go a little too far, there is trouble, which is what some artists are pushing for, and sometimes what I’m pushing for. Yes, I could do a big film and would like to.

TM: I always love the THR Oscar Roundtables, and in the directors’ roundtable this year, you quoted Dennis Hopper saying that something harder than making a movie is not making a movie. You went on to talk about those odd moments between making movies, where you’re happy to be done with a film, and yet you’re happy to get to your next project. I feel like I’m potentially interviewing you at an interesting time in that context. Are you between projects right now or are you already on to your next project? If so, what stage are you at and can you talk about it? We’d love to know what you’re doing next…

GVS: Not sure what is next, but yes, Dennis [Hopper] was probably saying that it is nice to be working on something, to be able to direct your energy someplace, to ward off boredom.
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Gus Van Sant is an Academy Award nominated and Palme d’Or winning director. He has made such iconic films as Drugstore Cowboy, My Own Private Idaho, Good Will Hunting, Elephant, and Milk.

LINKS:
Gus van Sant on IMDb
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Written and Edited by Tyler Malone

Photography by Patrick McMullan, Andreas Branch, David Crotty & Nicholas Hunt for PatrickMcMullan.com

Design by Marie Havens
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Captions:



Page 1/Cover:


Gus Van Sant, SUPRA Footwear Presents the SPRING BREAKERS LA Premiere and After Party, Arclight Cinemas and Emerson Theatre, Hollywood, CA, March 14, 2013, Photography by David Crotty for Patrick McMullan.com

Page 2:

Ryan McGinley & Gus Van Sant, The Cinema Society with Dior Homme & GQ host the after party for “Restless,” Electric Room at Dream Downtown, NYC, September 14, 2011, Photography by Nicholas Hunt for Patrick McMullan.com

Page 3:

Gus van Sant, Greg Gorman, & John Waters, Ed Ruscha PSYCHO SPAGHETTI WESTERNS Opening, Gagosian Gallery, Beverly Hills, February 24, 2011, Photography by Patrick McMullan for Patrick McMullan.com

Page 4:

Juliette Lewis, Gus Van Sant, & Kyra Sedgwick, Sally Singer and Jacob Brown host the T: The New York Times Style Magazine pre Golden Globes Party, Garden’s of Taxco, West Hollywood, CA, January 13, 2011, Photography by Andreas Branch for PatrickMcMullan.com

Page 5:


Gus Van Sant & Ron Howard, GAGOSIAN GALLERY Opening of GUS VAN SANT and JAMES FRANCO’S: Unfinished, Gagosian Gallery, Beverly Hills, February 25, 2011, Photography by Clint Spaudling for PatrickMcMullan.com

Page 6:

Gus Van Sant & Usher, THE CINEMA SOCIETY with DIOR Homme & GQ host a screening of “Restless,” Landmark Sunshine Theater, NYC, September 14, 2011, Photography by Nicholas Hunt for PatrickMcMullan.com

SUMMERS LOVE: A Conversation with Musician ANDY SUMMERS, One-Third of the Band THE POLICE

SUMMERS LOVE

A Conversation with Musician ANDY SUMMERS, One-Third of the Band THE POLICE
By Chiara Spagnoli
Fall 2012
(As seen in PMc Magazine, November 2012)   
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Andy Summers, the English guitarist and multi-instrumentalist, is an artistic of eclectic talent. Not only was he the guitarist for the rock band The Police, and thus a pioneer of several sonic innovations in rock music, but he also established himself in the world of photography.

The popular and successful songs “Can’t Stand Losing You,” “Roxanne,” “Don’t Stand So Close To Me,” “Every Breath You Take,” become worldwide hits for The Police, and while the band was loved by fans the world over, critics also took to their new brand of rock, with the band winning multiple Grammys, including two for Best Rock Instrumental Performance with “Regatta de Blanc” and “Behind My Camel.”

It’s remarkably inspiring to retrace the history of this outstanding life, listening to Andy Summers unveil his artistic path, where music blends in with photography as his pop career leads to the mentorship of young talents.

Chiara Spagnoli: How was it to hold a guitar in your hands for the first time?
Andy Summers: I was given a guitar by my uncle when I was about 12 and a half years old and it was an instant symbiosis: I would never put it down. I think my fate was sealed by that gift. I used to play the piano before, but the guitar was my thing.

CS: You started playing gigs when you were just a teenager, what do you remember of those times?
AS: I grew up in a town called Bournemouth, in England, and I was in a band, there were little groups. I played ten hours a day. But it was great for me, I found myself to be very fortunate to have found out at that age that music was the road forward for me. We eventually would go to London with my band and be in shows for weeks. I completely lived a life of music.

CS: Was joining The Police that moment that gave a twist to your career?
AS: Not in an obvious way, because I joined The Police when it was a sort of fake punk band, on the instinct of something I felt and I also wanted to be in a trio. But there was no future, there was no money, there was no record company. I joined a band that was going nowhere. But then something started to happen: when we came to the US on a tour of the East Coast people got very excited and that was gratifying and authenticating. Those three weeks really put us together as a band.

CS: What happened?
AS: We did this three week tour with literally no money but we had eight songs that we would stretch out in a jam and we would play for an hour and a half: it was very good for us as a band. We went back to England and we were offered to go off on a tour with the comedy rock band called the Albertans. For a 21 day college tour they offered us a pitiful sum to join them as a support act. The first night we went to Bath University and we got on at 7:30pm in a place that was jam-packed with punk kids. We were on stage and the place went in complete pandemonium, there were screaming girls and when we came off the stage the crowd was clear utter riot. The poor Albertans were standing to one side with white faces wondering what had happened. So somehow we started getting known outside of London, and from then on, it got more intense, with sobbing girls and chaos everywhere we played. That is when we knew we had to keep going on.

CS: When did you figure the time was ripe to continue playing solo?
AS: Well, as I truly am a musician, my musical life depends on more than being in a pop band. I’ve been a serious musician before, I’ve been to the college of American studies of music, I was fully pledged. I absolutely would have carried on as a musician. After The Police, I started making records on my own pretty quickly.

CS: Through your music career you experimented with different kind of sound effects, like Echoplex?
AS: Yes, it was a sonic landscape sort of thing, particularly in The Police. Echoplex was one of the signature sounds of the band. I started to use this device which gave me repeat rhythms with beautiful spacey echos and from there I started to add more things until I had a sort of sonic pallet. So during the course of a two hour show I could change the sound of the guitar from song to song and do different things with the technology that was available then. I didn’t know then, but I was starting to innovate with some of these sounds.

CS: You’re also established in the world of photography, how did that come about?
AS: Well, at the beginning I was so absorbed with music that I didn’t take to photography with the same sort of devotion. But it was in the early days in New York, maybe the second time we came here, I had the money by then so I could get a really good camera and I went out with a photographer to the B&H store and bought the icons with upper lenses, and decided to do it seriously. I started to take pictures all the time, carrying my camera everywhere with a bag of film. I became completely obsessed with photography too. I was able to talk to a lot of photographers. Hence, I basically photographed all The Police from day one: I was photo-reporting the band right from the inside.

CS: How did the documentary Can’t Stand Losing You, based on your life, come about?
AS: The documentary grew organically. I had written my autobiography and I also had done a book of photographs. At the same time I saw a film called The Kid Stays in the Picture by Brett Morgan, who is one of the producers of the documentary, and was going to be the director. I was so impressed with the film of the still photographs, animated with a new technology, and the voiceover, I decided to contact him. And as destiny turned out I met somebody in Los Angeles who knew Brett and put me in touch with him. So I literally contacted him by email and eventually sent him the autobiography and he was blown away by it. So we got together and started working on the film. Then other producers got involved, and the film got financed very quickly, I was pretty amazed.

CS: Music, photography, film…any other artistic field you’d like to explore?
Architecture, I’m joking. Music has always been my prime interest and of course I love to do photography. Right now I’m excited about a new rock band I put together with a really brilliant singer from L.A. named Rob Giles. The band is called Circa Zero, and we are just about finished with the album. We’re aiming to put that out right after Christmas and start bringing it out into the world.
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Andy Summers is an English musician and photography, famous for being one-third of the band The Police.

LINKS:
Andy Summers – Official Site
Can’t Stand Losing You – IMDb
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Written by Chiara Spagnoli
Edited by Tyler Malone
Photography and Design by Marie Havens for PatrickMcMullan.com

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Captions:


Cover:

Andy Summers, DOC NYC Presents the World Film Premiere of CANT STAND LOSING YOU Featuring The POLICE Guitarist, ANDY SUMMERS, SVA Theatre, 333 West 23rd Street, NYC, November 9, 2012, Photography by Marie Havens for PatrickMcMullan.com

TOO GOOD TO IGNORE: A Conversation with Rock Stars TOMMY LONDON and TOMMY MOKAS of THE DIRTY PEARLS

TOO GOOD TO IGNORE

A Conversation with Rock Stars TOMMY LONDON and TOMMY MOKAS of THE DIRTY PEARLS

By Jonathan Metzelaar
Fall 2012
(As seen in PMc Magazine, October 2012)     
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If you want to make a name for yourself as a musician in New York, you need more than just musical talent. It sounds trite, but for people to take notice of you or your band, you’ve got to have that little something extra, that one thing that pushes you above the sheer volume of talent out there. When you look to some of the musical acts that made it in New York, more often than not you can see that distinguishing characteristic. Bob Dylan had the inimitable falsetto and the generation-defining lyrics. KISS had the face paint and the personality. The Strokes had the attitude and the charisma. Here it is not enough to simply be good; you have to be exceptional.

Enter The Dirty Pearls, a New York-based band with the attitude and the stage presence that rock and roll has been sorely lacking for a while now. Watching them perform live, you can sense them feeding off the enthusiasm of the crowd and channeling it into their music. These guys pretty clearly love doing what they do, and they’ve got the musical chops to back up their enthusiasm. Their brand of rock is gruff and manic, but instrumentally tight, a sound that is quintessentially New York. With their first full-length album, Whether You Like It Or Not, having just been released, and a potential cross-country tour on the horizon, these guys have been very busy, but lead singer Tommy London and guitarist Tommy Mokas still found the time to sit down and answer a few questions.

Jonathan Metzelaar: How do you view the New York music scene right now compared to other cities? How do the audiences, venues, and musical talent compare? What are some of your favorite New York-based bands and venues, and why?

Tommy Mokas: I think the New York scene is very volatile in terms of its perceived popularity, but always very vibrant in terms of the participation of the musicians themselves.  It may go without saying, but New York City is probably the most difficult place in the country to be a successful, functioning unit.  Every single factor about existing is against you, but I firmly believe this is what makes it exciting as well.  Being a band in New York has changed significantly these past twelve years in terms of the scope of requirements for both the individual and the band, but what hasn’t changed is the amount of crazy you have to be to even try.  I think it’s a bold statement to even be a band in this city at all.  There is a vast amount of talent here, and because the pool is so vast, sometimes your “average” band doesn’t get very far here, when it would likely succeed in another place due to less competition.  Other cities have the advantage of being cheaper, easier to get more space, easier to have a vehicle, etc. But none of those other places are New York.  If it wasn’t such a drug, there wouldn’t be 8 million people trying to be here!

Venues in New York have gotten better over the years, but I think the more venues we have, the less of a scene there is. It’s been quite a while since a scene was centralized around a couple of key spots.  I personally believe this makes it harder for a scene to grow.  In other cities, you only have a few choice spots to frequent if you want to see live music, let alone good music.  In New York, you have the choice of hundreds of venues on any given evening, and you rely largely on word of mouth as to where you’re going to go to enjoy yourself.  You could go out to a venue, really enjoy it, and never go back there again before it closes up for good.

The last place that I feel had a really rabid and vibrant scene in New York rock was Snitch. The stage was shitty and narrow, there were barely any stage monitors, and it had a crappy sound system, but fuck, the crowds!  The Monday night party was the place to be, because you could step on that stage and rock a full room. Even if nobody knew you, they gave you a chance just for having the courage to try. That was the last time I felt that sort of energy from a venue and a scene.
As for NYC-based bands, there have been a lot of good ones in recent years, and the range covers it all: The Strokes, LCD Soundsystem, The Walkmen, Ryan Adams, Yeasayer, Grizzly Bear, Vampire Weekend, Holy Ghost… I mean it’s all over the place.

Tommy London:  Yeah, there are a lot of great bands on the NYC music scene right now. It reminds me of when I read about the NYC rock scene from the 70′s, where all these bands were different in their own way, yet they still shared a core audience and were part of the same scene.  You had The Ramones, Blondie, The Talking Heads, New York Dolls, and many more all coming from a different place, but still part of of the same scene.  I feel that is the strength of the downtown rock music scene at the moment.  It’s not like a Seattle scene or hair band scene, where all the bands were cut from the same cloth.  Don’t get me wrong, I’m not knocking those bands. I purchased all their music and still love it today.  I’m just saying that the rock scene in New York has always been an eclectic one, and it still is.  Though I think it’s more of a “community” than it is a “scene”.  We have a strong community of rock music enthusiasts who just live and breathe rock ‘n’ roll.  That’s what its all about–keeping the spirit alive.

And whenever we play out of town we always discover that small community of rockers, just like in NYC.  They are just as passionate about rock ‘n’ roll as us and our friends in NYC.  It’s pretty amazing.  Sometimes I feel as if they are seeking that larger community of people that they can relate to, and when I sense that I always tell them they need to come to the the city for a week and experience the bars, parties, and venues that cater to their taste.  Then they will see why New York City truly is a drug.

As for venues, we’ve played most of them in New York, like Irving Plaza, Gramercy Theatre, Bowery Ballroom, etc.  They all have their own history, which makes them special to play.  But I have to say the one that really did it for me was when we first headlined the Bowery Ballroom.  That was our first venture into a large venue.  On the NYC rock club scene, the Bowery Ballroom has always been considered the “Madison Square Garden” of the scene.  They never booked bands from the rock scene.  So when we landed our first headline show there, it not only represented the fact that The Dirty Pearls had arrived, but it also gave a lot of attention to the scene that we came from.

JM: You’re new album, Whether You Like It Or Not, was just released.  In what ways would you say this album is different from the music you made prior, and which songs do each of you guys enjoy playing the most on the album?

TM: When I joined the band, I had every intention of making it a decidedly more hard-hitting band, but expanding on the pop sensibility.  In my previous band, Nova Clutch, I was influenced by a lot of heavier and more progressive bands like Muse, The Mars Volta, and Soundgarden, but I was always rooted in bands like Aerosmith, Guns n’ Roses, and The Clash.  Playing with The Pearls made me get back to my roots and start thinking in a simpler, more straightforward way about songwriting.  I think the songs which best portray that spread of influence would be “Who’s Coming Back To Who” and “Mayday”.  Those also happen to be my favorite to play live.

TL: Yeah I have to be honest, when Mokas and I got together and started writing, the band started shifting in a different direction–in a good way! The songs I wrote in other bands before The Dirty Pearls were cut-and-dry, fun rock tunes. But when I got together with Tommy Mokas the songs took on a whole different life of their own.  To be honest it was pretty magical.  We pounded out a bunch of killer rock/pop songs with strong hooks, melodies, lyrics, and riffs.  Then when Sunny Climbs joined the band we hit the songwriting trifecta.  I’m looking forward to the three of us writing some new songs.

As for performing live, my favorite songs to perform live are “Who’s Coming Back To Who,” “Sucker For A Sequel,” and “New York City Is A Drug”.  There is just an energy behind them live that makes me want to jump into the audience and put my fists in the air with them.
JM: How do the songs you guys write typically come together? Is each band member responsible for coming up with their own part, or does one of you kind of give the others direction? And is Tommy generally in charge of lyrics since he’s the one who has to sing them, or is it more of a collaborative effort?

TM: Because I’ve been a recording studio owner since 2003, I can safely say I’ve forced my influence on the parts in the songs that I’ve helped write.  I would generally demo out the songs in my studio, playing all the parts and getting the ideas out of my head.  But in the hands of the other members, they have been allowed to come alive.  This became even more true under the direction and wisdom of Mr. David Kahne, who took our piece of granite and chiseled a nice group of songs from it.  His ear and ability to edit tightened the songs even more, both musically and arrangement-wise, and the songs are better for it.  Lyrically, London and I work out the initial ideas together, but I’ve always allowed him the space to sing whatever he’s gonna sing.  I know from years as a singer, you have to believe what you’re singing, so I tend to be slightly hands-off in that respect.  But I give my input when I feel it’s needed or helpful.

TL: A lot of the songs actually start with a chorus melody and chord structure, and then we build around it and see where it leads.  But as Mokas said, it was our producer Daivd Kahne, who has worked with Sublime, The Strokes, and Paul McCartney, that really helped mold the clay and make our songs just pop even more. After we get the initial demo down with melody and structure, we take it to the band so they can help develop it even more, and that’s when the song starts to come to life.  That’s actually the best feeling in the world; coming up with an idea with a guitar and a vocal, getting the band involved, and then starting to feel it come to life.  The icing on the cake, of course, is when you perform it in front of an audience to see their reaction.  It’s amazing, I can’t even describe it.

JM: The illegal downloading of music has been a pretty big issue in the music industry for awhile now. As a band trying to make a name for itself, I’d imagine it’s pretty frustrating to lose out on some of the profits you could make in music sales, yet some musicians look at the silver lining and say it’s okay as long as their music is getting out there. Where do you guys stand on this issue?

TM: As the owner of a studio, and a lifelong musician, I say stop whining.  It’s over.  It’s been devalued, and it ain’t ever going back to the way it was.  Figure out new ways.  Its called the music business.  It always changes, and it always will.  It isn’t profitable to sell typewriters anymore, but people still write, don’t they?  Someone made money when the trends changed, and it wasn’t cause they lamented the death of the typed word on paper. If you want to be financially successful in music, which, for the record, is not a God-given right, then you have to be an enterprising individual.  If you want to be a musician, make music.  They are two separate things to me.  I treat them as such.  You think Hendrix was thinking about how to market “Foxy Lady”?  No, he was too busy being Hendrix.  As Steve Martin said, “Be so good they can’t ignore you.”  That is how I believe you have to be to win.  Oh, and have a good manager!

TL: I think Mokas just said it all!  I mean the internet became a double-edged sword for a lot of things, not just music.  But let’s be honest, an unsigned band like us have the opportunity to be seen and heard all over the world by just the touch of a button.  That’s pretty amazing and special if you ask me.  You have to learn to market your music as a way to sell your live shows and merchandise.  Plus, there are many other avenues to make money with your music besides downloads.  Commercials, TV, and movies are still profitable venues for you to make money with your music.

JM: The Dirty Pearls have a very distinctive sound, kind of a gruff-yet-polished rock and roll. Have you guys ever felt confined by that? Were there ever any songs you wanted to include on an album that you had to exclude because they didn’t really fit? And do you envision yourselves experimenting with new things on future records, or are you guys devoted to the sound you’ve got?

TM: Personally, I’m making all different kinds of music all the time.  I’m a composer, it’s what I’ve been doing since I was 13.  So for me, The Pearls is an outlet for making the kind of music that I really love, that I might not make to this extent on my own.  I don’t think it would be wise to say we’re devoted to the sound we’ve got, but I’d say we’re devoted to the feeling we’re trying to create.  I’ve seen how crowds react to us when we hit them over the head with a set, and that’s an energy I want to expand on.

TL: We never felt confined at all to be honest.  We did have a few songs that we recorded for this album that just didn’t blend with the songs on the album as a whole.  But that’s not to say we won’t be performing them live, or that we won’t consider them for the next album, or even that we won’t release them as an individual single online.  We have a few demos we’ve written that are experimental in sound and groove that will definitely show our growth as writers and musicians, which we will showcase on the next album for sure.  But at the end of the day, it will always be rock ‘n’ roll.

JM: What upcoming events or projects are you working on that you’d like people to know about?

TM: I’ll let you answer this one, London.

TL: We just released our first full-length album, Whether You Like It Or Not, which at the moment is only available through our website, but you can also purchase some of the singles from the album on iTunes.  We have generated a lot of major interest with the album, and that’s why we haven’t released it fully on digital outlets… yet.  We’re playing regional dates in support of the album with some national acts, as well as our own headline shows.  We are lining up a big NYC headline show for the end of the year, and we’re hoping to take the band cross-country soon, especially due to the fact that a lot of radio stations have recently started to spin the songs from the album.

A few of our songs have recently been picked up by the popular video game Tap Tap.  As far as I know, we are the first unsigned band to be included in this game, so it’s a really big deal for us.  Metallica, Lady Gaga, Green Day, and many others are included in the game, so I’d say that’s pretty good company.  We have a lot of other things in the works that involve tour support slots, film, and television, but it’s too premature to discuss them just yet.  But you can always find all the updates on everything that’s happening with us, from tour dates to news, on our facebook, twitter, and of course on our website.
—
Tommy Mokas and Tommy London are both members of New York-based rock band The Dirty Pearls, whose first full-length album, Whether You Like It Or Not, was just released.

LINKS:
The Dirty Pearls Official Website
—
Written and Edited by Jonathan Metzelaar

Photography by Coco Alexander

Design by Marie Havens
—
Captions:
Pages 1-7:
The Dirty Pearls in NYC, 2012, Photography by Coco Alexander

ROCK-N-ROLL IN HER DNA: Talking with Rock Goddess BEBE BUELL

ROCK-N-ROLL IN HER DNA

Talking with Rock Goddess BEBE BUELL
By Lori Zimmer
Fall 2012
(As seen in PMc Magazine, October 2012)    
—
Bebe Buell is one of those people that makes it so you can’t help but smile when you have the luck to be in her company–and I’m not talking about her amazing rock-n-roll making, rock star dating, Liv Tyler parenting, Playboy modeling past. So incredibly grounded and humble, her lust and passion for rock music has made her a rock-n-roll missionary–the exact opposite of the groupie stereotype that the media has consistently pegged her as.

At first, I didn’t even want to mention the word “groupie,” as if its utterance would give it some sort of validation, but it is relevant since Bebe has been accused of being one for much of her life. Contrary to the “groupie” stereotype, Bebe’s life-long obsession has not been with rock stars, but with the music itself, with rock-n-roll. Yet the stigma has stuck, which after only a few moments with her, I found totally infuriating, and unfair. She speaks of her musical experiences with excitement and fervor, inviting others to join her enthusiasm rather than alienating them with elitism. She’s the kind of person you want to be around, first to hear her fascinating stories, but then because she just makes you somehow feel included in them.

Her involvement in rock-n-roll over the last forty-plus years was founded on a deep connection to music–even now she lives and breathes rock-n-roll with every breath. Her relationship with husband Jim Wallerstein is heavily steeped in music, the pair have been steadily making it together for over ten years, partnering in both love and art. The Bebe Buell Band continues to thrive; their latest album, Hard Love, kicked off with a video for the track “Devil You Know.” The track features Bebe’s signature raspy voice fused with powerful rock and an appearance by the Power Animals that climb and claw throughout the vid. The band continues to play the New York area, and headlined the CBGB’s fest at High Line Ballroom this summer.

The face that launched a thousand rock-n-roll ships, Bebe’s influence has helped inspire and shape friends and lovers like Todd Rundgren, Stiv Bators, Steven Tyler, Joey Ramone, Iggy Pop, John Taylor, Rod Stewart, amongst dozens of other rock-n-rollers that her life has touched. Her commitment to rock has been a force in its longevity, glamour and appeal. Rock-n-roll will never die as long as Bebe Buell is at the helm.

Lori Zimmer: You’ve been called a groupie, but anyone that really knows of you knows that even muse is an understatement, that you’re more of a rock-n-roll catalyst. Does this negative connotation of women who influence musicians bother you?
Bebe Buell: It has gone on since the beginning of time. I’ve just chosen to voice my distaste for labeling another person for their personal life experience. I’m more like Forrest Gump with a high IQ than a vixen. I don’t like getting called names period! The term “groupie” is not a job discription–it’s more of a taste description. But sadly it has gotten tarnished by those that drive the pop culture bus. It went from being something kind of cool and innocent to being something focusing on sexual exploits. I’m not very sexual–I’m more cerebral. I have sexual energy as an entertainer, but it comes from the music. I move the way the music makes me feel.

LZ: Being a musician yourself, do you think it is an unfair double standard?
BB: Again, that’s gone on since the beginning of time–but I have never let my sex get in the way of my dreams. I’ve had to work harder, prove myself a little more, but in the end, I am doing what I want to do. I’m the lead singer in a rock band. Double standards will always exist–it’s how you let it affect you that matters.

LZ: I don’t want to dwell too much on the past, but your life and experience with some of the world’s most iconic musicians is hard to entirely gloss over. When looking back, what spurred your heavy involvement in the rock-n-roll scene?
BB: Basically I’ve always just followed my heart, and my heart beats for music–all kinds of music. But rock-n-roll is in my DNA; I have a connection to that kind of music. I’ve kept the bloodline alive with the birth of my rock-n-roll love child. Birds of a feather flock together. In my life, I am ruled by chemistry. I go where I’m comfortable and where I belong. I feel blessed to have known so many talented, interesting people, and to still meet people every day that fascinate and elate me.

LZ: When did you realize that you’d made it beyond the average fan and into the inner circle?
BB: Probably around the same time anyone who comes to NYC at 17/18 years old and is accepted into the inner circle. I felt like I belonged almost instantly after getting here. I imagined all of it, visualized all of it, starting at around 10 years old. When I saw The Beatles on The Ed Sullivan Show, I just knew those were my people, HA! We are rock people!

LZ: Do you remember when you first met Patrick McMullan?
BB: I could never pin down the day because I feel like he has been a constant in my life for the last four decades. He’s one of those people who has been an important part of the entertainment scene in NYC since the 60s. No one like him. I adore the guy!

LZ: How has raising a daughter changed your interaction with the music world / fame monster?
BB: I could never measure it because I was so young when Liv was born. She has always been part of my life and career. She’s in it. And I in her’s. It’s a legacy, a family business at this point. Look at my mother, she’s our matriarch.

LZ: In a world of egos, the impression you give off is a down to earth, breath of fresh air. Taking that ego into consideration for a moment, how have you managed to not only keep it at bay, but to encompass the humble yet confident way of life that you live?
BB: Spiritual practice–keeping myself in check with a higher power. Never letting pain stop you from loving. I try not to give haters power.

LZ: Your new video just debuted earlier this summer–how did you come up with the concept  and working with the Power Animals?
BB: I saw them around NYC and in a clip somewhere. I knew I wanted to have them in there in some capacity. Aren’t they fabulous?!

LZ: You’ve been married to a musician (and collaborator) for the past ten years. Do you work together as a couple in the studio, or do you leave your love out of the workplace?
BB: It becomes second nature. Jim plays in my band, co-writes my music, produces me, helps get the bands together. He’s my musical partner. We have date nights and go on vacations to keep the romance alive, but basically music is our lives. Full-time. All the time.

LZ: You kicked off summer with a show honoring CBGBs, with your new music in tow, can we expect more shows this fall, or a tour?
BB: Touring is costly and of course we want to tour. We are seeking sponsorship as we speak. But we do play regionally and will play in NYC again before the end of 2012. As soon as the new Cutting Room opens, we will be doing a residency there. It’s been a long wait for this state-of-the-art new place, but it will be worth it in the end. The place is gorgeous and the stage is heavenly! Can’t wait to grace it. I’m also working on a one woman show. I will always consider NYC my home, the place I unveil my projects. I can’t wait to do a run here, a weekly thing. That’s what I’m working towards right now…so stay tuned…
—
Bebe Buell is an American fashion model and rock star, not to mention Playboy magazine’s November 1974 Playmate of the Month.

LINKS:
Bebe Buell Band – Official Site

Bebe Buell Band – Twitter
—
Written by Lori Zimmer
Edited by Tyler Malone
Photography by Jonathan Grassi
Makeup and Hair by Natalia López de Quintana (Twitter/instagram/Tumblr: duchessnatalia)
Style by Delvin Lugo
Stylist Assistance by Rasaan Wyzard
Male Modelling by Dan Morris
Design by Marie Havens

—
Captions:
Pages 1-5:
Bebe Buell, 3 of Cups Lounge, New York City, July 7, 2012, Photography by Jonathan Grassi
—
Clothing:

Look 1: (pie)
Jacket by Marc by Marc Jacobs
Blouse by Zara
Fishnet Glove by LaCrasia

Look 2:
Jacket by Calvin Klein
Tshirt by Bess NYC
Pants by Zara
Necklace by Alexis Bittar
Look 3: (on the bar)
Same as above
Pumps by Christian Louboutin
Look 4: (at the door)
Knit Bolero Jacket by Cheng
Pants by Zara

BRINGING IT ALL TOGETHER: A Glimpse Into the Mind of Designer ERIN BARR

BRINGING IT ALL TOGETHER

A Glimpse Into the Mind of Designer ERIN BARR
By Jonathan Metzelaar
Fall 2012
(As seen in PMc Magazine, September 2012)   
—
There is a common misconception that fashion is confined strictly to clothing, that how fashionable a look is simply comes down to the pattern and the cut of the shirt, the pants, or the dress. In reality though, fashion is much broader. It incorporates hairstyles, makeup, and accessories, among other things. For something to truly stand out in the fashion world, there needs to be a synergistic relationship between the look of the clothing and the look of the person presenting the clothing.

With several years of experience as a hair and make-up artist, along with a degree from the renowned Aveda Institute, designer Erin Barr has the necessary background to craft more complete stylistic visions. Her collections feature styles that are both classic and innovative, sophisticated and practical, styles that merge a number of looks while also paring down the excess so that they aren’t overwhelming. Erin was kind enough to talk a bit about her style, her inspiration, and her creative process.

Jonathan Metzelaar: How do you come up with your designs? Do your ideas just kind of randomly come to you? Do you build off of looks you see people wearing on the street? Some combination thereof?
Erin Barr: I always start by collecting images that I am drawn to, usually the season before or directly after a season. Then, once I figure out what direction I’m going in, I spend about a week or two at the library getting more inspiration and ideas. I definitely pay attention to people on the street, but I wouldn’t say I am pulling directly from there. A lot of it is ‘how can I take this idea, and make it new and fresh?’ Then the ideas start to just flow out on paper.

JM: What other designers do you look to for inspiration?
EB: I really love looking at vintage Armani collections, especially from the 90’s. The clothes and the fabrics are really incredible.


JM: I’ve always been curious about this, and given your background as a hairstylist I’d imagine you’d be the perfect person to ask. It’s obviously in your best interest to design clothing that would look good on anybody, but I feel that some looks just work better when paired with certain hairstyles. Do you ever design an outfit with a particular hairstyle in mind?

EB: That’s a great question. I think a lot of designers get frustrated when it comes down to hair, because it really can make or break a runway show, look book, etc. It is so important to be thinking about your girl throughout the process. I don’t design based on a hairstyle, per se, but I always have something up on the mood board that draws a certain mood to the direction of hair and makeup.


JM: Looking over your newest collection, a lot of the outfits seem to have a classic, minimalist feel to them, yet they also all possess a modern twist that really makes them stand out. What kind of aesthetic were you going for when you thought up these designs?

EB: I feel like there’s a bit of minimalism in each collection, but I wouldn’t categorize myself there. I use the minimalist aspect in my clothes to cleanse anything that can quickly get too busy. But I also like adding that ‘twist’ to it with some utilitarian details, whether it be buckles, strapping, plackets, etc. This collection was based on the idea of an Angel who has fallen back to the Earth, and she is stuck in purgatory at the Boardwalk. There was a lot of contrasting the soft and hard, dark and angelic, the lace with the leather, and so on. It’s very angular, too, which I’m always really drawn to.

JM: What fashion trends have popped up recently that you really enjoy? And on the flip side, which trends aren’t you a very big fan of?
EB: I think it’s been refreshing to see the mix of prints and color that have come back recently. On the flip side, flared pants with a cuff; you always just end up with a dirty hem and crumbs in the cuff.

JM: What were some of the most difficult challenges you faced, and continue to face, as you try to make a name for yourself in the fashion industry, and what have you done to try and overcome them?
EB: I think the obvious and most difficult challenge has been the initial cost of having a line. You have to be ready to work very hard. I haven’t had a day off in three months. But it’s very rewarding when you see that hard work paying off.

—
Erin Barr is an American fashion designer currently based in New York. Her Spring 2012 Collection, “An American Tomboy in Paris,” was shown in presentation form during New York Fashion Week.


LINKS:
Erin Barr Official Website
—
Written & Edited by Jonathan Metzelaar
Photography by Coco Alexander

Design by Marie Havens

—
Captions:

Erin Barr, ArtSlant Studios, August 21, 2012, Photography by Coco Alexander

POINT OF VIEW : Tommy Hilfiger

TOMMY HILFIGER

Fall 2012
(As seen in PMc Magazine, September 2012)   
—
TOMMY HILFIGER’s Point of View on the Dangers of Success:
“I think it’s dangerous to think that you’re successful, because then you become complacent.”
—
Tommy Hilfiger is an American fashion designer and founder of the premium lifestyle brand Tommy Hilfiger Corporation.

LINKS:
Tommy Hilfiger’s Official Website
—
Photography by Amber De Vos for PatrickMcMullan.com
Design by Marie Havens
—
Captions:
Tommy Hilfiger, TOMMY HILFIGER Men’s S/S 2013 Fashion Show, The Maritime Hotel, NYC, September 7, 2012, Photography by Amber De Vos for PatrickMcMullan.com

FAME: The Official Launch of LADY GAGA’s New Perfume

The Official Launch of LADY GAGA’s New Perfume

By Marie Havens
Fall 2012
(As seen in PMc Magazine, September 2012) 
—
Multi‐platinum and Grammy Award‐winning artist Lady Gaga released her first fragrance, LADY GAGA FAME, in September 2012. The fragrance, released through the artist’s own Haus Laboratories in association with Coty, is the latest breakthrough expression of her immense creativity.

She launched LADY GAGA FAME officially on September 13, 2012, at the legendary Solomon R. Guggenheim Museum on 5th Avenue in New York City to mass hysteria and fan anticipation. The star-studded and very memorable masquerade event evolved into a performance art piece for Lady Gaga which she entitled, “Sleeping With Gaga,” where all onlookers could reach their hands into the large egg dome to touch her. She even peed into a champagne bucket live, in front of quite an intrigued audience. The closing act was her onstage live tattoo session (an angel tattoo on the back of her head) and partial head shave, a dedication to both Terry Richardson‘s mother and her own.
Bound to surpass all norms and standards in the fragrance industry with its innovative technology, LADY GAGA FAME, is the first ever black Eau de Parfum that sprays clear and becomes invisible once airborne. The black‐to‐clear fragrance is a fantastic innovation of patent-pending fluid technology, exclusively launched with LADY GAGA FAME. Gaga collaborated with fashion industry legends in the creation of LADY GAGA FAME: the bottle was designed in collaboration with Nick Knight, and the ad campaign was directed and photographed by Steven Klein.
Lady Gaga most certainly ended NY Fashion Week with a huge bang. Like her work, this event will not be forgotten.

Visit the full event gallery for the FAME Guggenheim Launch and at the FAME MACY’S Launch at PatrickMcMullan.com
—
LINKS:
LADY GAGA
Haus Laboratories
Lady Gaga: A Film by Steven Klein
Steven Klein Studios Tumblr
Nick Knight
Little Monsters
—
Edited by Marie Havens
Designed & Photographed by Marie Havens for PatrickMcMullan.com
—
Captions:
Pages 1-4:
Lady Gaga, The HAUS Laboratories in Paris, Coty Inc, LADY GAGA, STEVEN KLEIN and NICK KNIGHT celebrate the LAUNCH of Lady Gaga FAME, the first ever black eau de parfum, Solomon R. Guggenheim Museum, NYC, September 13, 2012, Photography by Marie Havens for PatrickMcMullan.com

Pages 5:
Atmosphere, The HAUS Laboratories in Paris, Coty Inc, LADY GAGA, STEVEN KLEIN and NICK KNIGHT celebrate the LAUNCH of Lady Gaga FAME, the first ever black eau de parfum, Solomon R. Guggenheim Museum, NYC, September 13, 2012, Photography by Marie Havens for PatrickMcMullan.com

THE ART OF SHOPPING: A Spotlite on STEPHANIE PHAIR and KARI ALBERT of THE OUTNET

THE ART OF SHOPPING

A Spotlite on STEPHANIE PHAIR and KARI ALBERT of THE OUTNET

By Beth Melillo
Fall 2012
(As seen in PMc Magazine, September 2012)

—
As Fashion week approaches, I’ve had the opportunity to learn all about THEOUTNET.COM and this convenient way to shop for designer runway looks and cutting edge label must-haves.
When I sat down to talk with them, Stephanie Phair, Managing Director,
 
and Kari Albert, Vice-President of Global Sales & Marketing, gave me some great fashion insight on how to shop as well as the strategy of their success.

Beth Melillo: Congratulations on all the success of THE OUTNET. Please describe THE OUTNET and what this fashionable outlet offers your customers?
Stephanie Phair: THE OUTNET.COM was launched in April 2009 by the people behind NET-A-PORTER.COM and sells 250+ designer labels from previous seasons at up to 75% off, as well as exclusives made just for THE OUTNET customers. We edit collections carefully for our customers so that they only shop the best fashion that’s relevant, irrespective of the season it came from. We also show them how to wear it through cool videos and compelling fashion shoots.

BM: How would you position the convenience of shopping online today verse shopping in the stores? What do most do?
SP: In-store and online shopping both have their place. In-store is more occasion shopping whereas being online is woven into the fabric of everyday life. Whether or not you have a desk job, most people have access to a computer, so online shopping has become the way to shop for convenience and accessibility.

BM: Please tell us about the new luxury direction of your business and what makes the experience for your customers unique for an online shopping site?

SP: We realized quickly that our customers were affluent and happy to spend on great designer fashion providing it’s at good value. Our branding reflects the customers we have and also the caliber of designers we stock, which includes Christian Louboutin, Marni and Valentino.

BM: What are some of the luxury brands you carry besides Alaïa, Balmain, Stella McCartney, and who are your customers?

SP: THE OUTNET is known for stocking runway designers such as Balmain, Chloé and Stella McCartney, but customers can also shop cutting-edge labels like Jonathan Saunders, Peter Pilotto and Thakoon. We have buyers based in New York and London who attend the International Fashion Weeks and scour the world looking for the best labels to bring to our customers.

BM: I hear you were considered to be a designer discount shopping expert before THE OUTNET, how did that help you in building the direction of the business?

SP: I shop the way our customers shop. I love great fashion and brands at great value and at THE OUTNET we’re all about celebrating that.

BM: It’s become popular to buy designer at discount prices, please describe the creative strategy and process to pick the right designers and clothes to sell on your site and price range?

SP: Our buying team works constantly to discover designers our customer might want and edit product so that it is relevant to the season’s trends even though it is previous season. They look for pieces that have that emotional draw because it’s how our customer shops. We stock a range of categories to allow for head-to-toe dressing. Prices range from $15 for lingerie up to $6,000 for a Balmain embellished jacket.

BM: What are some of THE OUTNET’s new initiatives and what will we see next?

SP: We will continue to focus on providing our customers with outfit solutions by creating more How-To-Wear-It videos which are very popular and link directly to product sorted by occasion. More and more of our customers are browsing and shopping on their mobiles and four times as many sales are coming through iPads, so we are developing shopping apps to be unveiled later this year.

BM: Stephanie, you have been a leader in the fashion industry and recognized as a top director for your initiatives, what’s the one thing you have learned that stands out in your rising success?

SP: There are so many different jobs out there in fashion so if you want to get into the industry talk to as many people as you can because contacts crop up anywhere and you never know what path you might take that gets you there.

BM: What fashion advice would you give to your customer to follow when they visit THE OUTNET.COM?

SP: THE OUTNET is known for its editorial content which focuses on providing customers with outfit solutions. If you are shopping for an occasion and need inspiration then visit our “Dress Me” section which is the most popular area of the site.

BM: Kari, what is your role at THE OUTNET.COM? And how do you market to your customers during and after Fashion Week?

Kari Albert: My role oversees all consumer touch points for THE OUTNET, including marketing, public relations, and customer care. During Fashion Week, we attend the shows and leverage social media to bring a behind-the-scenes perspective to fashion lovers across the globe, and our customers, who span 170 countries. We give a peek into what is on the horizon for our customers’ favorite designers and we also host spectacular onsite events where they can snap up the best of their collections at an unbelievable price. Last Fashion Week, it was all about Stella McCartney to celebrate her presentation in London.

BM: In your opinion, what do you see most of your customer’s buying and why?

KA: Every woman loves shoes! And THE OUTNET is known for its shoe events. During our legendary Christian Louboutin event, we sold a pair of shoes every 3 seconds! We recently had an Alaïa shoe event and sold out of most of our stock in just a few hours. I think one of the reasons women buy shoes so readily, is that even if you’re not feeling your best, shoes ALWAYS  fit! They make you look and feel fabulous.

BM: Please educate us on the latest launch of Pinterest what you like most about it?

KA: Like many women, I’m addicted to Pinterest! THE OUTNET has 8 Pinterest boards, with themes ranging from Date Night to Work and Weekend. Pinterest serves as our inspiration, as much as it inspires our customers and followers. It’s an unbeatable way to explore and share a passion for all things fashionable.

BM: Please tell me in your words how mobile & social media play a role in fashion when it comes to setting trends? How is this different today from past?

KA: Mobile and social media are game-changers when it comes to fashion and setting trends. Social media allows us to communicate trends to a wider, global audience, using images and video, in addition to editorial. And it’s interactive, so you know immediately whether something is resonating with your customer. Mobile shopping has taken convenience and access to fashion, to levels never been seen before.

BM: Please tell us what stands out most about your top tier customer care team?

KA: A lot of people are surprised to learn that when they phone THE OUTNET’s customer care, an actual person picks up on other end! The team is also fashion savvy! They know their boucle fabric from their cut-on-the-bias. If you need an expert opinion on fit, fabric, or styling, our customer care team can help. And with live chat, you can get answers to your questions while you shop online, without picking up the phone. No matter how you choose to reach out, they’re here 24/7.

BM: Any advice for your customers?

KA: Don’t be afraid to try a new designer or a brand. THE OUTNET has its own buying team who work directly with designers and brands like YSL, Stella McCartney and Diane von Furstenberg–but we also love to introduce our customers to up-and-coming brands, and designers they may not yet be familiar with such as Sara Berman and Karl Donoghue, who have each created exclusive collections of irresistible accessories and apparel especially for THE OUTNET. Bottom line: fashion is fun! So go ahead and try something (or someone) new!

BM: Thank you ladies, now let’s go shopping!
—
Stephanie Phair and Kari Albert are the Managing Director and Vice-President of Global Sales & Marketing, respectively, of THE OUTNET.

LINKS:
THEOUTNET.COM
—
Stephanie Phair and Kari Albert interviewed by Beth Melillo
Written by Beth Melillo
Edited by Tyler Malone
Photography Courtesy of THEOUTNET.COM
Design by Marie Havens
—
Captions:

Stephanie Phair and Kari Albert, Photography Courtesy of THEOUTNET.COM

MASTERS AT WORK & PLAY: A Conversation with MAURICIO & ROGER PADILHA from MAO PR on the Launch Of Their Highly Anticipated New Book: Antonio Lopez: Fashion, Art, Sex & Disco

MASTERS AT WORK & PLAY

A Conversation with MAURICIO & ROGER PADILHA from MAO PR on the Launch Of Their Highly Anticipated New Book: Antonio Lopez: Fashion, Art, Sex & Disco
By Marie Havens
Fall 2012
(As seen in PMc Magazine, September 2012)

—
I first met Mauricio and Roger Padilha over a decade over. They were cool and edgy publicists; I was a young and eager photographer. I remember their all-black showroom on lower Broadway, and I remember photographing them at every great fashion party. They always greeted me with multiple hugs and kisses. I loved them then, and I love them now.

To say they are still going strong is an understatement. In fact, they have created one of the most well-known PR agencies in New York City: producing fashion shows and carefully overseeing the paths of all their hot, young designers. But they’ve always been more than fashion publicists, and they’ve always loved more than fashion: they truly loved pop culture, New York City nightlife (including all its legendary cast of characters and creatures of the night), legendary artists and performers, and underground musicians. They became masters of not only PR and nightlife, but of re-discovering the lost archives of underground pop artists like Stephen Sprouse and legendary illustrator Antonio Lopez–helping their work to be published, noticed, and experienced on a mainstream level. So on the eve of their new book launch, I was absolutely thrilled to interview Mauricio and Roger for PMc Magazine.

Marie Havens: Hi boys!
Mauricio & Roger Padilha: Hey Marie! Always such a pleasure speaking with you! We are such fans of Patrick’s and, of course, of the work you did on his so8os book! We are lucky to be friends with both of you.

MH: Thanks, likewise. And let me just say congratulations on the completion of your new book, Antonio Lopez: Fashion, Art, Sex & Disco (Rizzoli, 2012)! How did you both get involved with such an incredible project focusing on such an amazing artist?
RP: Well, both Mauricio and I have loved Antonio’s work since we were young, aspiring fashion students in the 80s. We were mesmerized by his work in Vanity, American Vogue, the ads for Bloomingdales and Norma Kamali, etc. We had a chance to do an article on Antonio for our magazine MAO MAG a few years ago and through that became very close to Paul Caranicas (who is in charge of the Antonio Lopez archives) as well as Antonio models such as Corey Tippen, Jane Forth, and Pat Cleveland. We always knew in the back of our minds that we wanted to do an Antonio book which showcases his work in a different way to the new generation, and it was a process to gain everyone’s trust. Antonio’s associates are to this day rightfully very protective of his legacy and we just had to make sure that they understood that our intentions were honorable.

MH: I always say the story of how a book is made is nearly as interesting as the subject itself! So please take us through your creation process. What did it take to get this book developed, designed and published?
MP: Well, once we convinced Rizzoli to get on board, we wanted to select an art director who truly understood Antonio. And we approached Marc Balet, the former art director of Andy Warhol’s Interview who knew and worked with Antonio. From there, we went through the archives and looked at the many thousands of illustrations, photographs, diaries, letters, agendas, date books, etc. and edited it down to what we felt would be appropriate for the book. This process took hours and hours and was so hard, as everything in the archives is amazing. Editing is the hardest part.
RP: And at night I would stay up til all hours of the night constructing the writing. Antonio’s life was not very linear–he was constantly working on multiple projects at once, and changing his style between jobs, that it was difficult to put his life into a chronological order. Also, his life was as interesting as his work and really informed his art so it was important to put all that in as well. So in the end I decided to section the writing by decade, and within the decade really pull out his greatest achievements and divide the chapters into that format.

MH: After doing so much research, is there anything that the world still doesn’t know about Antonio Lopez…
MP: Our hope is that our book is the tip of the iceberg that encourages people to really learn more about this master, but our book really uncovers so much. You will grasp a great understanding of Antonio as well as fashion during the 60s, 70s, and 80s by the time you are done with our book!

MH: Well, ironically there isn’t too much I know about your upbringing/childhoods and I’ve known you for so long! Perhaps we should do a book on how two brothers from New York City created a PR empire? Tell me your story…
RP: The funny thing is that Mauricio and I planned and studied for years as students for something we didn’t ultimately do but informs our work everyday, and that’s what is different about us and our PR company. We are brothers originally from New York (our parents immigrated to the the States from Brazil shortly before we were born) and we were just obsessed with fashion and art from a very early age. We took every art class we could, spending our weekends at the FIT high school program as well as taking Sunday classes at the Met. And any other free time, we would be at Bloomingdales, Fiorucci, Patricia Field, etc. just studying clothing and designers as well as devouring every fashion publication we could get our hands on. We both went to Parsons to study fashion design and serendipitously fell into Fashion PR and Production after I had a clothing line called Spooky which closed. We were lucky in that there was a niche open for young designers. We seized that opportunity, and we became known for discovering new talent such as Peter Som and Jason Wu.

MH: Antonio Lopez: Fashion, Art, Sex & Disco is officially your second book. The first being, The Stephen Sprouse Book (Rizzoli, 2010), which we loved, of course, being that Patrick had such a close relationship with Stephen. Was that process similar to that of making the Antonio book? I suppose you learn quite a bit after making your first book?
MP: Yes, making a book is such a different process than anything else we have ever done. But we were told very early in life by our parents that we could do anything so I suppose that our main advantage for a lot of the things we do is NERVE! We just jump in and do things and learn from our mistakes.

MH: Is there a new book in the works? Or a future project or subject you’d love to dive into?
RP: Yes, and the next book will blow everyone away, but you’ll have to wait to find out what it’s about!

MH: Well, as far as this book goes: André Leon Talley wrote the forward…amazing! What was it like collaborating with such a fashion god?
MP: Gosh, that was so major–as well as having Anna Sui, one of our heroes, write the epilogue. People have been so supportive and generous to us that we really have to pinch ourselves everyday!

MH: You both are 24/7–running a PR company, managing the careers of numerous hot designers/brands, producing fashion shows, actively on social media, attending parties, publishing books–how do you (if ever) relax?
RP: One of the things you will learn from our book is that there was no separation between work and life for Antonio Lopez–everything fed off of each other. And that’s how it is with Mauricio and I. Even when we want to blow off some steam and go to a nightclub and drink with friends, we invariably run into a fashion editor or a stylist or a potential client or hear a song which would be good for a show or…you get the picture. It’s always work, but we love it, and one day when you take a look back at all of our shows and books and clients, you’ll get a pretty good sense of who the both of us are. It’s all there in the work.
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After years of working in the fashion industry separately and together, brothers Mauricio and Roger Padilha launched MAO PR. In its first decade, MAO has successfully introduced new talent to the fashion industry as well as conceptualizing and producing runway shows for various top Fashion Designers. Now in its 13th year, MAO Public Relations is enjoying a reputation as one of the hardest working Fashion PR Agencies in the Fashion Industry. In addition to Public Relations, MAO’s productions of events and runway shows (most notably MAO SPACE, a week-long alternative show venue to the 7th on Sixth tents which was produced for 5 years) has garnered them many awards and accolades including an award from Mayor Bloomberg for Promotion of Local Business, becoming the youngest members of the CFDA Fashion Week Advisory Council, BizBash’s top 15 event planners behind New York City’s biggest events and smartest marketing strategies and being named two of OUT Magazine’s most influential people in 2010 and Instinct Magazine’s 10 Men of the Year in 2005. In 2010, the Padilha brothers wrote The Stephen Sprouse Book which was published by Rizzoli and continues to be one of the best selling fashion monographs. Now in 2012, they have completed their second book, Antonio Lopez: Fashion, Art, Sex & Disco.

LINKS:
MAO PR
MAO PR BLOGSPOT
The Antonio Lopez Book by Mauricio Padilha and Roger Padilha FACEBOOK Page
The Antonio Lopez Book
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Mauricio and Roger Padilha interviewed by Marie Havens
Written by Marie Havens
Edited by Tyler Malone
Photography Courtesy of Paul Caranicas / Copyright the Estate of Antonio Lopez and Juan Ramos
Design by Marie Havens
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Captions:
Cover/Page 1:
Polaroids (taken using Antonio Lopez’s original Polaroid SX 70) of Mauricio Padilha and Roger Padilha, 2012, Photography Courtesy of Mauricio Padilha and Roger Padilha
Underlay/Transparency: Ribbon Cover Photo: Nina Gaidarova / Antonio Lopez: Fashion, Art, Sex & Disco
Page 2:
Underlay/Transparency: Ribbon Cover Photo: Nina Gaidarova / Antonio Lopez: Fashion, Art, Sex & Disco
Page 3:
Group shot: Antonio Lopez with Pat Cleveland (centered) and friends at his NYC studio, Photography Courtesy of Paul Caranicas / Copyright the Estate of Antonio Lopez and Juan Ramos
Page 4:
Black and white photograph: Donna Jordan, Corey Tippin and Antonio Lopez (in white robes) in San Tropez, Photography Courtesy of Paul Caranicas / Copyright the Estate of Antonio Lopez and Juan Ramos
Page 5:
Jerry Hall, Photography Courtesy of Paul Caranicas / Copyright the Estate of Antonio Lopez and Juan Ramos
Page 6:
Sketches by Antonio Lopez, Photography Courtesy of Paul Caranicas / Copyright the Estate of Antonio Lopez and Juan Ramos
Page 7:

Antonio Lopez with plastic bag, Photography Courtesy of Paul Caranicas / Copyright the Estate of Antonio Lopez and Juan Ramos
Page 8:
Black and white photograph: Juan Ramos, Cathee Dahmen and Antonio at the Carnegie Hall Studio, Photography Courtesy of Paul Caranicas / Copyright the Estate of Antonio Lopez and Juan Ramos
Page 9:
Woman in Gold seated: Anita Russell Paris, Photography Courtesy of Paul Caranicas / Copyright the Estate of Antonio Lopez and Juan Ramos
Page 10:
Anna Piaggi and Antonio Lopez, Models, Pat Cleveland and Antonio Lopez, Karl Lagerfeld and Antonio Lopez, Photography Courtesy of Paul Caranicas / Copyright the Estate of Antonio Lopez and Juan Ramos
Page 11:

Beach photo: Antonio Lopez, Donna Jordan, and Corey Tippin in San Tropez, Photography Courtesy of Paul Caranicas / Copyright the Estate of Antonio Lopez and Juan Ramos