JAW Magazine Issue N°2: Men

N°2

NOV/DEC 2012

Men’s Issue: Movember / Osteotypography/ GhostXShip / Yellowism / Walt Whitman / Kevin Monahan / N. Hoolywood

JAW

contributing artists & writers

What’s up? This is me. Beards, beers, and body mods. 21 in real life; 5 years old in my mind. Going on random ass adventures in nature or in walmart. Experimenting with food is what im about. I’ll try anything once.

MELANIE SMITH — COPY EDITOR

Twenty-two years old / writer, designer, and mother of one kitten / wreaking havoc on the streets of downtown los angeles / horror movie enthusiast / worships e. e. cummings, kurt halsey, and damien rice / obsessed with all things scandinavian / dreaming of my own type foundry.

CARLEY PARSONS — COPY EDITOR

Twenty-three year old soul with an unhealthy fetish for stationary. My writing gets better when dressed in a good font. I like to make short films using tripod-toolbelt snorricams and skateboard dollies. A Frankenstein mix of Conor Oberst and “anyone lived in a pretty how town” by e.e. cuummings created the monster in me ten years ago and I’ve been spitting out awkward metaphors ever since.

LAUREN MAHAFFY

ERIC RIKER

Grandmother in a 23 year old body / artist + designer / swing dancin’ son of a gun / hand drawn type whore / avid snail mail sender / thrift store enthusiast / maker of nifty things + stuff / diy or die.

FELICITY GRACE ROSE JONES

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9, 14, 64

ALEX GRANOZIO

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50

Twelve year old trapped in a twenty-two year old body / music student in boston, but dreaming about LA / roller coaster and dance party enthusiast / love everything that most people hate / the weirdest person you will ever meet.

Age: Older than I look, younger than I feel.Current Job: Managed to work 50 years of hours in a 26 year time span.Musical Interest: All types, all volume levels. Self-taught musician, played in three different bands with a wide range of styles. There is nothing like playing in front of a crowd who dig what you are playin’. Cold Weather: HATE IT. No, really. I HATE IT.

CHARLES SAIDEL

Modern day Paul Bunyan, but instead of a Blue ox I have a long board that I use to carve down the hills of Gouverneur, NY, a small town where the Amish are considered regulars. Instead of an axe, I use my computer to chop down trees. By trees I mean design projects with dumb font choices and atrocious layouts. If I had to eat one meal for the rest of my life it would be ham, eggs, homefries cooked with onions, and garlic butter toast.

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JORDAN SWARTZ

Jordan Swartz is a photographer & writer, born & bred on the east coast, but now home is nowhere. He enjoys punk rock & whiskey based beverages, as well as sandwiches & making out. He would very much like to sleep on your couch when he is in your town. Keep up with histravels at thefacelesskid.com

21, 24, 52

23, 26 cover

MELANIE SMITH — COPY EDITOR

FELICITY GRACE ROSE JONES

ERIN GLEESONFood photographer working many years in New York City, for such clients as The New York Times & The James Beard Foundation. Earned an MFA in photography at SVA and taught photography at FIT for 4 years. Relocated to a lovely cabin in the woods of Northern California and has been inspired by the local and seasonal ingredients to create “photographic recipe illustrations” for The Forest Feast.

SARAH LIDDELL

22-year-old Buffalo native / knitting and doodling extraordinaire, but not all at once / seeing patterns wherever I go and sometimes putting them into print / a pencil in one hand and a tub of garlic hummus in the other / hand-drawn type, pastel colors, and purposefully off-register prints / future pig owner.11

MICHAEL ROHR

I believe in watches, wine, and Where the Wild Things Are.

A & J

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Who are we? Just a couple of sailor-talkin’, vodka-imbibin’, cat-lovin’ gingers. Players of bar room trivia, seekers of adventure, appreciators of the great outdoors—so long as we’re not too far away from running water and an all-night Indian restaurant. Lovers of art and conceptual thought living in the plastic wasteland of Los Angeles. Alyson comes from a Fine Art background and currently works as a graphic designer. Jordan is a student of Literature who stumbled into writing ad copy and always feels like a phony when writing about himself in the third person.

in this editionCHRISTINE COVER

Another Half-Eaten SandwichAnotherhalfeatensandwich.com Contact: [email protected], 78

MOVEMBER & SONS

www.movember.com43

37

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GHOST X SHIPwww.seventhdagger.comghostxship.bandcamp.com facebook.com/ghostxship24

BEARD BUDDY

www.beard-buddy.com77

KEVIN MONAHAN

[email protected]

table of contents

design

music

fine arts

7.........'w' as in whiskey ANOTHER HALF-EATEN SANDWICH

9.........osteotypography MELANIE SMITH

11........alternatively ampersand: metallic ink SARAH LIDDELL

13........whitman excerpt ERICA RIKER

14........type hunt LA MELANIE SMITH

17........feature: Beards by Reginald Reynolds ERICA RIKER

15.......embroidered bukowski FELICITY GRACE ROSE JONES

6........editor’s letter

5.........JAW Statement ERICA RIKER

INTRO21........derek trucks: just sliding along ERIC RIKER

23.......new shit LAUREN MAHAFFY

26.......album review: Babel LAUREN MAHAFFY

24.......upcomers interview: GHOSTxSHIP ERIC RIKER

27.......shows we love: Who Shot Rock & Roll

A & J

31.......what the hell is yellowism? ERICA RIKER

36.......works we love: Cai Guo-Qiang ERICA RIKER

photo

fashion

writing

food

fine arts

21........derek trucks: just sliding along ERIC RIKER

23.......new shit LAUREN MAHAFFY

26.......album review: Babel LAUREN MAHAFFY

24.......upcomers interview: GHOSTxSHIP ERIC RIKER

37.......the forest feast: Spicy Corn & Cauliflower Tacos ERIN GLEESON

39.......cooking with chooch: Sriracha BarBeerQue ALEX GRANOZIO

42.......bottoms up: Dirty Martini ERICA RIKER

41.......red hot like pizza supper: Steak & Onion ERICA RIKER

50......dead authors: Walt Whitman CARLEY PARSONS

52......what a bunch of horse shit ERIC RIKER

61.......micro review: Skinned ERICA RIKER

65.......film analysis: The Master (2012) ERICA RIKER

64.......films we love: Oldboy (2003) MELANIE SMITH

67.......#instajaw ERICA RIKER

78.......editorial: the classy lumberjack CHARLES SAIDEL & CHRISTINE COVER

89.......feature ad: Beard Buddy NATHAN BELL

88.......collections we love: N. Hoolywood F/W 2012 ERICA RIKER

on the cover "Sun Studios," shot by Jordan Swartz

film

53.......an interview with an artist: Kevin Monahan ERICA RIKER

43......movember & sons ERICA RIKER

EDITOR-IN-CHIEF & CREATIVE DIRECTOR

Designer, installation artist, daughter, sister, activist.

ERICA RIKER

editor’s letter

We love the men in our lives. From left to right you can see my little brother, my father and my darling sailor, and I personally would give an arm and a leg (perhaps more) to make sure they are all healthy and happy; that’s what we celebrate in this issue. Having collaborated with the marvelous Aletheia Hunn of Movember and Adam Campion of Gallery of Mo, we’re doing what we can to educate our readers far and wide about the importance of men’s health.

Raising awareness and funding for prostate and testicular cancer is a serious cause, but we’re bringing it to you in a pretty damn stylish and well-designed way. 158 artists have volunteered their time for the 2012 round of portrait making (with the addition of a mo’) for the Gallery of Mo, and Movember & Sons is not only giving you all the health facts but a nice guide to awesome moustache-growing.

So whether it’s a sweet ‘stache for Movember, a full-on mountain man face for No Shave November, the hunters, the vegans, the boys who love the booze or the straight edge fellas, we love you all and this issue is for you.

Happy Holidays,

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'w' as in whiskey

DESIGNER: christine cover

'another half-eaten sandwich'

DESIGNER: MELANIE SMITH

DEER LEG

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10

MINK JAW

ALTERNATIVELY, AMPERSAND

DESIGNER: SARAH LIDDELL

METALLIC INK

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13DESIGNER: ERICA RIKER

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type huntLA

TYPE hunter: MELANIE SMITH

The laughing heart

DESIGNER: FELICITY GRACE ROSE JONES

BY CHARLES BUKOWSKI

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BOOK FEATURE

BEARDS BY REGINALD REYNOLDSTYPE DESIGN BY HERB LUBALIN

WRITER: ERICA RIKER

"MR. REYNOLDS ROARS GENIALLY DOWN THE CORRIDORS OF TIME SHOUTING 'BEAVER!' WITHOUT SPLITTING A HAIR, HE WRITES OF A TANGLED SUBJECT LUCIDLY. HE TAKES HISTORY ON THE CHIN AND TELLS US ALL WE SHALL EVER NEED TO KNOW ABOUT BEARDS." - NEW YORK TIMES

I was first and only introuduced

to Beards because of the cov-

er art by Herb Lubalin, the fa-

ther of conceptual typography

(who had a pretty sweet ass

beard himself.) Every design

professor I ever had brought

Lubalin's Beards design to the

table when trying to show us

the best of the best. In the spirit

of No-Shave-November, we're

going to spotlight some of

the best quotes about beards

hand-picked by Reginald Reyn-

olds within the book. These

quotes introduce and intermin-

gle with the chapters to give an

entertaining depth to the intri-

cate history he writes about all

things beard-related. From ex-

cerpts from Hudibras by Samu-

el Butler to quotes on war from

Victor Hugo, I've pulled some

of my favorites that help give

social standing, honor, mystery

and much else to the history

surrounding the beard.

"...AND SPEAK WITH SUCH RESPECT AND HONOURBOTH OF THE BEARD AND THE BEARD'S OWNER." -HUDIBRAS

"How Homer could write with so long a beard,

I don't know."

-Tristram Shandy

"In former times penitents, captives and pil-

grims usually went unshaved and wore long

beards, as an outward mark of their penance

or captivity or pilgrimage. Now almost all men

wear curled hair and beards, bearing upon

their faces the tokens of their filthy lust, like

stinking goats."

-Orderic Vitalis

"GREEK FREEDOM AND GREEK BEARDS EXPIRE TOGETHER."

-T.S. GOWING"La guerre des mentons contre les barbes

éclata, Pendant douze grands mois, on ne

s'entendit plus dans la presse. Toutes les ques-

tions, question de Gréce, question des Balkans,

question de Naples, question d'Orient, ques-

tion d'Espagne, disparurent, dans une nuee de

brochures et de feuilletons, sous la question de

la barbe."

-Victor Hugo

"Let me stroke my beard thrice like a Germin,

before I speak a wise word."

-Pappe With An Hatchet

"THAT EVER SINCE THE FALL, MAN FOR HIS SINHAS HAD A BEARD ENTAILED UPON HIS CHIN."

-LORD BYRON (ON ADAM)

Forgotten Favorites

writer: eric riker

Derek Trucks is a 33-year-old Grammy-award-winning guitar player from Jacksonville, Florida. If his last name sounds familiar to some of you, it’s because his uncle Butch Trucks is the drummer and one of the founding members of the Allman Brothers Band. Derek began playing slide guitar at only 9 years old and partially due to the fact that he was so young, his hands were small compared to the guitar and the slide helped him to hit all the notes effortlessly. Derek has been called one of the best slide guitarists to ever play and he has done this all at a young age.

I had a chance to see The Derek Trucks Band in Syracuse, New York a few years back in 2009, while his band was on tour promoting the Grammy winning album Already Free, and I am still talking about it to people. This particular show had so many different age groups there to witness first hand, a guitarist who gets lost in every note he slides across. When you watch him on stage holding his Gibson SG, he seems to go into a trance with his

eyes closed, while his hands, mind and soul are creating an awesome sound that never seems to be repeated. If you haven’t heard of him, then it is time to check him out.

You can find one of his 8 Derek Trucks Band CDs or his Road Songs DVD, and he has also been an official member of the Allman Brothers Band since 1999 and recorded 3 CDs and a DVD with them. He is currently out on tour with his wife Susan Tedeschi, in what they call “The Tedeschi Trucks Band.” They have already recorded 2 CDs with their debut album Revelator winning the Grammy for Best Blues Album.

Ok, so back to Derek. He plays a wide range of musical styles that include Blues, Soul, Jazz, Rock, Latin music and sounds from Eastern India and Pakistan. Don’t let the musical diversity scare you away if you don’t think you will like some of the styles, because when Derek puts it all together in his music, it pulls you into the same trance that he seems to be in while playing.

It would be nice to see him come back out with The Derek Trucks Band, but in the meantime, check him out in one of his many projects that he gets involved with, especially when he is playing with the great Warren Haynes of Gov’t Mule, who is also a guitarist in the Allman Brothers Band.

Derek uses only glass slides that are specially cut from antique bottles. He is seldom seen using a guitar pick, but the fingering style that he uses is amazing in itself to watch. Look him up on You Tube or get one of the DVDs and watch for yourself this incredible young guitarist whose playing ability is truly awesome. If you are a fan of great guitar music or just an overall fan of music, you will be glad you added Derek’s work to your collection and I know you will be hooked and wanting more.

So have fun, enjoy, relax and experience Derek Trucks, you're going like what you see, hear and feel.

writer: eric riker

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Tedeschi Trucks Band. Photographed by James Minchin

DEREK TRUCKSJUST SLIDING ALONG WRITER: ERIC RIKER

new shit

To put it simply, Frank Ocean is one of the most honest songwriters of our time. His major label debut, Channel Orange, is a poetic (and beautifully sung) look at extreme wealth, loneliness, and unrequited love. If these songs do not move you, then you probably don’t have a soul.

JOHNNY CASH FOLSOM PRISON BLUES

throwbackgreats

FRANK OCEANCHANNEL ORANGE

ALBUMPRODUCERS - FRANK OCEAN, MALAY, OM’MAS KEITH, PHARRELL

On MS MR’s Facebook page, they describe their music as “Tumblr Glitch Pop.” This would be reason enough to make fun of them, but their new EP is too damn good to laugh at. Tracks like “Bones” are full of dark imagery, but the future is nothing but bright for MS MR.

MS MRCANDY BAR CREEP SHOW

EPPRODUCER - LIZZY PLAPINGER & MAX HERSHENOW

The 17-minute video for “Ramada Inn” (off the upcoming album, Psychedelic Pill) is half nostalgia and half acid trip. By combining vintage clips that resemble dusty, old home videos and trippy kaledeiscope images, Neil Young has created the perfect visual component for this perfect track.

NEIL YOUNGRAMADA INN

MUSIC VIDEODIRECTORS - NEIL YOUNG & CRAZY HORSE

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ORANGE

WRITER: LAUREN MAHAFFY

How many of you plan to grow out your beards for No Shave November OR start fresh and do strict mo' for Movember?

CHRIS SMITH: Well as far as Kyle, Keith and I are concerened everyday is no shave ever day. Sean and Matt can't exactly grow one to participate in the festivities!

How has the Syracuse music community influenced your success?

CHRIS: Syracuse has a long history of Straight Edge Hardcore bands that have influenced and motivated us for years and to carry that respect with our band.

What equipment do you guys prefer to use?

CHRIS: Peavey 5150 is the guitar head of choice, Ampeg for bass gear, and Pearl drums.

In your own words, explain Straight Edge and how it affects your work.

CHRIS: Straight Edge to us is our lifestyle and keeping integrity with our beliefs. It's keeping a clean and focused mind to accomplish bigger and better things with ourselves in the band and in life. We choose to put our time, money, and efforts into positive things for ourselves like this band to keep our message and beliefs strong.

Brace yourself for an onslaught of raw power from Syracuse, NY's

straight edge hardcore GHOSTxSHIP. Signed to the Seventh Dagger record label and cranking out music with pure energy, and getting it done in strict sobriety, this powerful band will have you giving back as much energy as they put out. Even if you could not see or hear, you could still go to a show and feel the music and the energy all around you. And even want to smash some shit.

buy their music at: GHOSTXSHIP.bandcamp.com 24

Give one word to describe your fans.

CHRIS: Wild!

What was your most memorable show in 2012 and what are your future tour plans?

CHRIS: Our most memorable show was with Earth Crisis at Bogies in Albany, NY. We have plans to release an EP this spring and tour the US and hopefully Europe.

From left: Chris Smith (drums), Kyle Howe (bass), Keith Allen (vocals), Matt Travers (guitar), Sean Mott (guitar)

WRITER: ERIC RIKER

WRITER: LAUREN MAHAFFY

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On June 12, 2010, London-based band, Mumford & Sons, rose from the very bottom of the Bonnaroo lineup to play an emotionally charged set to a crowd of devoted, yet very overheated fans at one of the smaller tents of the festival. As the sky opened up to give the only rain of the entire weekend during a rare performance of “After The Storm,” it was safe to say that Mumford & Sons possessed an extraordinary kind of magic. One year later, on that same dusty farm in Tennessee, Mumford & Sons took the stage again, only this time to one of the largest crowds of the festival. This bigger crowd didn’t come from the fact that the music had changed; it had come from the fact that people had finally started to believe in the magic that their music possessed. If something isn’t

broken, don’t fix it; just make people believe in it.

Despite a much larger, more arena-appropriate sound, Babel is not very different than its predecessor, 2009’s Sigh No More. It still contains at least one foot-stomping anthem perfect for sing-alongs (first single, “I Will Wait”), one sappy song for the brokenhearted (“Ghosts That We Knew”) and one track that uses the word “fucked” just as effectively as “Little Lion Man” did the first time around (“Broken Crown”). By following the same formula of the first album (and by using the same producer, Markus Dravs), Mumford & Sons have created a seemingly exceptional folk album. However, despite the comforting similarities to Sigh No More, Babel is lyrically an album all its own.

Judging by Marcus Mumford’s religious upbringing (his parents co-founded the Vineyard Church UK), it is no wonder that Babel is filled with religious references and imagery. Babel itself is a reference to the “Tower of Babel,” and other tracks, such as “Whispers In The Dark” make biblical references within lyrics like, “I’m a cad but I’m not a fraud, I’d set out to serve the Lord.” Although these references are primarily metaphorical, they are prominent and are a large part of the makeup of this album. But along with religion comes love, which is ultimately the core of Babel.

One of the standout tracks on the album is, “Lover Of The Light.” Although the meaning is vague, the lyrics are pure and the song itself is beautiful (especially

when performed live). The following track, “Lovers’ Eyes,” is also a beautiful love song, but it is lyrically much darker with lines such as, “there's no drink nor drug I tried to rid the curse of these lovers’ eyes.” Somewhere in between the two lies “Where Are You Now?,” a bonus track so strong, that it should have been included on the main album. These three tracks not only fully encompass most aspects of love, but they also showcase Mumford & Sons at their best.

As impressive as Babel is, it is nothing in comparison to seeing the band in a live setting. The magic is still there within their words, but it is something that must be seen to be believed.

Photo: Via Twitter @annenbergspace

WHO SHOT ROCK & ROLLANNENBERG SPACE FOR PHOTOGRAPHY, LOS ANGELES

shows we love

Aly and I rolled up to the Annenberg Space for Photography to check out the soon-to-be-closed Who Shot Rock & Roll exhibit, and we were immediately neck deep in nostalgia and sinking fast.

WRITERS: A & J

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We’re both self-proclaimed music dweebs, so every picture we walked past cued up a song, an album, a mixtape in our mind’s ear. And the playlist was long, thanks to the show's impressive collection. Beginning with Elvis and ending with Swedish Death Metal, this massive archive of photographs covers every genre, every decade, and every nation in the grand Whilritzer of rock history.

We weren’t the only ones clobbered by memories. Everyone around us—the haggard groupie grandmas, the fifty-something roadies turned real estate agents, even the pre-permed metal head high schoolers—was travelling backwards in time to the moment

when they first heard the bands hanging on the walls. You could see it in their faces. And as we slogged down Sunset back to our side of town, we couldn’t stop talking about these peoples. Who were they? What drew them to this exhibit? What were they thinking as they stared down the rock stars?

We can’t read minds, but we can put words into the mouths of others. Here are some of those words:

Jack White. Photographed by Mark Seliger

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Eddie Van Halen of Van Halen. Photographed by Lynn Goldsmith.

CHUCK FIELDING 47,GENERAL CONTRACTORGoddamn, Eddie 'Hot-hands" Van Halen sure knew how to cock thrust his guitar. I never could pull off that move, though I pulled my hammie plenty of times. When me and the boys were shredding up the clubs in Cleveland, I must have ripped the crotch out of a dozen pairs of leopard-print unitards attempting it. I’ll never forget the feel of that tell-tail breeze. And the shrieks from the audience…as if they’ve never seen a taint before in their lives. Prudes.

The Ramones. Photographed by Roberta Bayley.

Police Restraining Beatles Fans, Buckingham Palace. Photographed by Central Press Ltd.

GABBY MICHELSON 34,HISTORY TEACHERSee, mom. Your little threats didn’t come true. I’m not a toothless, penniless, crackpot living behind CBGB’s dumpster just because I listened to The Ramones. I still can’t believe that you of all people would be frightened by some brat-beatin’ punks in Keds. You were at Woodstock dry humping hippies in mud holes, remember? So why was your counter culture more palatable than ours? The flowers? We puked cheap beer on your flowers and still grew up to hold down our mortgages.

ELLIS KATZ 68, RETIREDBeatles, schmeatles. Those dandies couldn’t play their way out of a chips bag. Now, Little Richard—there’s a musician. The girls uptown would go wild when he played. When he came to Radio City Hall, I thought I was going to be trampled by these screaming, hysterical ladies. It was a sea of women flowing up against the stage, gnashing their teeth, ripping out their hair, swooning left and right. An utter madhouse. It took more than just a half-dozen flatfoots to control that mob, let me tell you. So The Beatles got swarmed a few times. So what? Overrated if you ask me.

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AMBER NEVIN 27, BARISTANo way! It can’t be true. Grandma used to tell us that she kissed Elvis once. None of us believed her. It was just crazy ol’ May spinning her yarns. As the legend goes, she used to sneak out with her girlfriends to catch shows in town. At one, she supposedly went to the lobby to grab some pops between the acts when she caught the eyes of a fetching young fella in the stairwell. A few words and a couple laughs later, and she pulled him in close for a kiss before stealing back to her seat. Allegedly, that boy was the next act—and the King of Rock & Roll himself. I never took her seriously, but this lady in the picture…looks a lot…Grandma?

Elvis Whispers Softly, 1956. Photographed by Alfred Wertheimer.

The Ramones. Photographed by Roberta Bayley.

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Manifesto of Yellowism Yellowism is not art or anti-art. Examples of Yellowismcan look like works of art but are not works ofart. We believe that the context for works of art isalready art. The context for Yellowism is nothingbut Yellowism. Pieces of Yellowism are not visuallyyellow, however sometimes can be. In Yellowismthe visibility of yellow is reduced to minimum;yellow is just the intellectual matter. Every piece ofYellowism is only about yellow and nothing more,therefore all pieces of Yellowism are identicalin content — all manifestations of Yellowismhave the same sense and meaning and expressexactly the same. In the context of Yellowism,all interpretations possible in the context of art,are reduced to one, are equalized, flattened toyellow. Interpreting Yellowism as art or beingabout something other than yellow deprivesYellowism of its only purpose. Yellowism can bepresented only in yellowistic chambers. An yellowistic chamber is a closed roomthat is not an art gallery and because of its naturecannot exist or be presented in an art gallery. Anyellowistic chamber serves only to show pieces ofYellowism. Violet walls of an yellowistic chamberare the only neutral background for pieces ofYellowism. There is no evolutionof Yellowism, there is only its expansion. Art isforever developing «diverse whole». Yellowism isforever expanding «homogeneous mass».

Written and edited by Marcin Lodyga and Vladimir Umanets8 July 2010 ‒ 17 February 2012© Marcin Lodyga, Vladimir Umanets

WHAT THE HELL IS YELLOWISM?dissection of the manifesto and vandalism

WRITER: ERICA RIKER

On Sunday, October 7, 2012 a pompous bastard by the name of Vladimir Umanets waltzed into the Tate Modern, tagged one of the Mark Rothko Seagram murals, "Black on Maroon," in the name of Yellowism and made a swift exit.

As a personal advocate for new movements, philosophies and manifestos in the art world, I've attempted to work out the reasoning behind this outrage. Sadly, after hours of reading pages of text and watching more shoddy videos than one person can handle, I've come to the conclusion that this "element of contemporary visual culture," in the words of Umanets, is a convoluted -ism riddled with contradictions and rewritten rules (so much for the idea of no interpretation.) Not only does a

plethera of skantily clad models with no relation surround the work, an odd brand of theirs that constantly looms over every yellowist production (shameless bad press to launch a crappy brand that, by the way, is not "the most radical organization in contemporary visual culture," as they call it.) Let's just get into the clusterfuck and assess why it has potential and why it's trash, shall we?

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PROS Yellowism is an attempt at transitioning into a new era of visual culture. However, the description, written by its founders, "The beautiful end of postduchampian era," is off key.

Yellowism is a fresh attempt at interaction with new pieces and known pieces in a new light.

Yellowism brings a new spin to old philosophies of subjective idealism, that is to say that material things are perceptions and not realities; works placed in yellowistic chambers (non-art venues of Lodyga and Umanets' choice) hold this ideal, "Yellowism is the context in which not only a reality ceases to be a reality, but also an art ceases to be an art."

The manifesto and surface ideals seem promising and quite interesting, that is, until you delve into the work from the founders.

CONS There are contradictions. And I mean everywhere.

The fundamentals of Yellowism are quite similar to listening to a child tell the rules of a game they've just made up; the rules get more complex, greater in number and tailor to the needs of the child who invented it. This is proven in the testimony from Marcin Lodyga concerning the Rothko tagging. Lodgya states, "Yellowist, based on the definition and Manifesto of Yellowism, can sign any object or being to show that it can be transported to the new context and become an example of Yellowism." If you read the manifesto, nowhere does it say anything about signing, only the placement of objects in yellowistic chambers; prime example of rule-changing to cover one's ass.

Copious amounts of off-topic "projects" in relation to Yellowism that muddle the actual point of it: Yellowist bikini lines, a magazine entitled "Yellowist International" that will feature all of the yellowist foundations and works as well as all the backlash against the tagging (ok, this sounds reasonable) with a call for fashion designers to have their lines featured in the magazine (what the fuck are you talking about now...)

Numerous accounts (including the Manifesto itself) from Lodgya and Umanets state that yellowistic objects should not be physically yellow, allowing them to be about yellow color. However, the first slew of works from Umanets are completely, physically yellow or written on in yellow ink; I give up.

BOTTOM LINE Do yourself a favor and don't scrawl on other people's work without their cooperation in the yellowist culture; if you don't want people interpreting or rework-ing your exhibitions and manifesto, don't fuck with the works of others.

Mark Rothko is sacred. Do not ever distort or deface his work. Ever. Do you hear me.

Marcin Lodyga and Vladimir Umanets need to sit down, reassess their ideology, construct something solid and then, only then, will the majority of the art community consider taking their work seriously.

Photos: Deutsche Bank Collection

Cai Guo-Qiang is a master of his craft. As one of the most important and influential international artists of our time, his

installation pieces are never anything short of brilliant, overwhelming mega-works that speak metaphorically, politically and personally. The same can be said for his solo exhibition, Head On, shown at the Deutsche Guggenheim in 2006, his first solo show in Germany, specifically in regards to his wolf pack.

The exhibition included three pieces, first was Illusion II, a video piece involving exploding rockets and fireworks packed in an empty property and timed at sunset. Second was Vortex, a gunpowder drawing that allowed the 12 different kinds of gunpowder to form an organic shape after an explosion within compression of the media. Third and last, but not least, was the pack of 99 wolves that physically seemed to swallow the entire space.

The wolves, made over a period of six months at a shop in Cai's hometown of Quanzhou, China, were crafted out of dyed sheepskin, wire and hay. The pack of 99 were set up within the museum to seem as though they were barreling toward something, at such tremendous force they lift off the ground as if to collectively spring toward a kill. That something was a constructed piece of glass, what Cai expressed as an invisible wall; the hardest wall to destroy.

Cai explained that his Head On exhibition was created with the history of Berlin in mind, as well as the destiny of Mankind. The wolves, as Cai described, "[moved] very heroically, very strongly in collision with this invisible wall." His microcosm of Mankind in keeping with structure, racing toward an "invisible wall" constantly is solidly constructed both physically and aesthetically. It has even been noted by a few sources to be the same height as the Berlin wall at the highest point of the wolf pack. This piece was most recently on display in 2010 in Singapore; I can only hope for it to return to the States so I can finally see it and die a happy woman.

HEAD ONCAI GUO-QIANG, DEUTSCHE GUGGENHEIM, BERLIN 2006

works we loveWRITER: ERICA RIKER

Cai Guo-Qiang in front of gunpowder drawing Desire for Zero Gravity, Los Angeles, 2012. Photo by Joshua White/JW Pictures.com 36

www.eringleeson.com | www.theforestfeast.com

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www.eringleeson.com | www.theforestfeast.comRecipe, photos and illustration by Erin Gleeson for The Forest Feast, a blog full of simple recipes based on seasonal ingredients.

cooking with

Stuffed BarBeerQue Bison Burgers

Chef & Writer

Alex Granozio

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withshit you’re gonna need

Sriracha Stout Barbecue Sauce• 1tbsp.oliveoil• 4clovesofgarlic(mincethefuck out of it!)• 1/2cuplowsodiumsoysauce• 2/3cupketchup• 2tbsWorcestershiresauce• 11/2tsp.sriracha(orrooster sauceifyouknowitbythat… thisshitislikeliquidspicygold)• 2tsp.smokedpaprika• 1cupChocolateStout(chocolateand chiliesarelikepeanutbutterand jelly,orbaconandanything…)• 1/3cupbrownsugar• 1tsp.onionpowder

how you wanna go about making this

1. Caramelizetheonionsandsautéthemushroomsinapanwithalittlebit ofoilsaltandpepper.Oncethey’redoneremovethemfromtheheat.2. Nextyouwanttoseasonthebisonmeattoyourliking,withthesaltpepper and garlic.3. Herecomesthefunpart.Dividethemeatinto(4)¼lb.patties.Place someonyouronionandmushroomshitinthecenteroftherawpattymaking sure there is room around the edge.4. Takeasecondpattyandplaceitontoponthefirstpattyandpressthe edges together so that it seals tightly.5. Slathertheburgerwiththebarbeercuesauceandcookburgerfor5to8 minutes...orhoweverlongyoulike.Thelongeryoucookthatshitthemore well done its gonna get.6. Once it's done, brush the son of a bitch with more sauce, put it on a bun andeatthefuckoutofit.

Serves2

Bison Burger

• 1lb.Groundbisonmeat• 1Whiteonion,fistsized orwhatever(juliennethe fuckoutofthatbadboy)• 6Buttonmushrooms(orbaby portabella, oyster, crimini, oryouknowanymushroomyou like)sliced• Salt,pepper,andgarlic powder to taste.• Acoupletoastedciabatarolls

1. Inamediumsaucepotheatuptheoilandtoastupthatgarlic…butdon’t burnit,becauseburntmayverywellbeaflavor…butit’sareallyfucking awful one.2. Onceit’sniceandtoasty,addeverythingelseandstir.3. Cookitdownuntilit'sniceandthick.Thisshouldtake15minutesorso.

Sriracha Stout Barbecue Sauce

Bison Burger

Happy Movember everybody! This month I’ve got the manliest burger I could think of for you all. This recipe comes in 2 parts so try and follow along. I know right?! It’s difficult.

8 7 6 5 4 3

2 1

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RED HOT LIKE

•Fresh dough•Skillet steaks (3pk)•1 yellow onion•Sliced baby bellas•Shredded Mozzerella•Philadelphia Cooking Creme (Savory Garlic)•Olive Oil•Worchestershire Sauce•Steak Sauce•Garlic Powder•Seasoning Salt•Montreal Steak seasoning•Pizza stone or pan

Preheat oven to 375°

In med pan, sauté onion and mushroom in a splash of olive oil with Worchestershire sauce, steak sauce and a few tablespoons of garlic powder and seasoning salt. Set aside.

Season skillet steaks with Montreal Steak seasoning and sear in large pan about 30 seconds on each side. Leave some red in the center. Set aside.

Spray your stone/pan with cooking spray, flour your dough and knead it to the size you want.

Mix about 1/4 cup of the cooking creme with a couple tablespoons of steak sauce and a splash or two of Worchestershire sauce.

Slice steaks into 1 x 1/2" slices

Spread creme on dough for a base, add some mozz, add steak slices, top with sauteéd onion and mushroom, add more mozz.

Bake about 30 min.

STEAK, MOZZ & SAUTÉD MUSHROOM AND ONION

WRITER: ERICA RIKER

2oz Gin5tsp olive brine

splash of dry vermouth3 olives

extra d irty marti n i

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WRITER: ERICA RIKER

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Movember, the month formerly known as November,

is when brave and selfless men around the world grow a moustache, with the support of the women in their lives, to raise awareness and funds for men's health – specifically prostate and testicular cancer.

Movember was established in 2003 by a few friends over a beer in a pub just outside Melbourne, Australia. The goal was simple – to create a campaign promoting the growth of the moustache among likeminded people and having fun along the way. It is about real men, talking about real issues and changing the face of men's health, one moustache at a time. Movember now spans the globe, with campaigns in 21 countries in 2012.

Photo by: Thomas Eakins, 1891

• 1 in 9 men will be diagnosed with prostate cancer in the UK – one man is diagnosed every 15 minutes

• A man will die from prostate cancer every hour - more than 10,000 men will die of the disease this year in the UK

• African Caribbean men are three times more likely to develop prostate cancer

• You are 2.5 times more likely to develop prostate cancer if your father or brother has had it

• Occurrences of prostate cancer in men are comparable to the rates of breast cancer in women

• 2,209 men in the UK were diagnosed with testicular cancer in 2009

• 47% of testicular cancer cases occur in men under 35 years and over 90% occur in men under 55 years

DISCUSS MEN’S HEALTH AND ENCOURAGE THE MEN AROUND YOU TO KNOW THEIR HEALTH AND BE AWARE OF EARLY WARNING SIGNS.

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In 2011, over 854,288 Mo Bros and Mo Sistas raised over £79.3 million globally; with over £22 million of that coming from the UK. Funds raised in the UK are directed to programmes run by Movember and our men’s health partners Prostate Cancer UK and The Institute of Cancer Research.

Mo Bros and Mo Sistas can register to participate now at www.movember.com

I.

A noiseless, patient spiderspun its home in the corner of my bedroom window. My dog's curious nose threatens the spider'swhole world and I think of a man

I fell in love with and how we settled the matter with a handshake. My dog looks outto watch a blackbird flee a nest of trees, a bullet

aiming for the sky's yellow heart.It is a quiet war, like the one that rustles within,a gift passed on to me throughthe miracle of birth and upbringing.

When I didn't know better, I imagined my aging father's protruding bellyhad a baby in it. I know nowit's the way testosterone sinks in a man.

It's not the only part that falls. I called my granddaughter my “little nurse” while she kept me companyduring my recovery.

I exchanged the ties I used to wear as an excuse to get my wife to touch mewith a patient gown. The time for trying was over;we flirted all our lives

and after the kissing stoppedwe still told each other everything: I wanted to get marriedat least once and find my fatherand fight him, just to try it.

For now, he exists as a stranger doesin the background of a photograph takenby a stranger: there is a mom, a dad, their children,a dog, and everyone else.

I buy the same breed every twelve years or so,an Irish Setter I keep naming Brandy, as ifan interchangeable goldfish. Like a mother I hide the truth of death from my childish mind.

This Brandy doesn't jump, the one beforedidn't beg at the dinner table,and I loved the one that hid from thunderstorms.That one is buried

next to the cat in the backyard.We didn't plant any, but a clumpof tulips grows above herin spite of early summers.

The colors are always the same:dull red, yellow, and whitestolen from the snow. But she was as blackas her dilated pupils;

the flowers must have come from somewhere else.

II.

How soon unaccountable I became tired and sick,Till rising and gliding out I wander’d off by myself,In the mystical moist night-air, and from time to time,Look’d up in perfect silence at the stars.

Wood shifts under his pale feet to greet him.He should not wake only to remember his body

no longer a limber body,the boyish frame

condensed back topacked milky powder -

a white dwarfforever cooling

toward invisibility.Not old enough

to be unseen completely,a dull glow remains

to encourage his feet to swingfrom the bed to the floor,

a gesture honoring the deal made with waking up.

Walt Whitman

WRITER: CARLEY PARSONS

dead authorsAFTER WALT WHITMAN - AN INSPIRATION

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THE RANTINGS OF EEK’S ANGRY FATHERWRITER: ERIC RIKER

ANGER RATING:

Zombies and Junkies and Bums, oh my.

What can I say besides, “Who the hell are these people?" Look, I understand that people all over the country are having issues just getting by and making ends meet, we can all agree on that right? What I don’t understand is how people just let themselves get to a point of no return, just to walk the streets like zombies stuck in a maze of concrete buildings, benches and bridges. These people that I see doing all this walking are really running; running the same path to nowhere everyday. On my way to work I see the exact same people walking, (sort of) it’s more like gravity has a hold of them and they are struggling to move each step. You can almost set your watch by them, just like the deer going through my yard at the same time everyday, these street zombies are doing the same thing, except the deer don’t push grocery carts around or wear 10 layers of clothes. The one thing that I did notice about these zombies is that they don’t bother anyone; they just struggle to walk their dead end path and stare into the void in front of them. What a shame; who are they?

Now we move on to the junkies; shaking, scratching their faces nonstop walking in small circles talking to no one but themselves. I say this because they are gathered in a 5 block area in the city that I drive through each day that is known for heavy drug abuse. These people will walk up to you and bother you until you are at a point of wanting to punch them in the face just so you can get away, but you know better than to touch them for fear of catching some filthy disease. All they want is your money, not your time or to talk about the weather, it is straight forward, “ Let me get some change man, I need to get some shit.” Let me throw this in here, this area rarely has normal people walking down the street, most people drive because the whole city knows it is not safe. If you’re walking and you’re approached, you lose either way you look at it, because if you decide to give them some money, you are opening yourself up to being robbed of ALL your money plus the possibility of being left on the ground bleeding with a stab wound. If you don’t give them money, prepare for the same thing to happen. So you see, you lose either way. What a waste of space and life; who are they?

Then we have the bums. They stand in one place for hours holding a sign that no one can read, expecting you to give them money. I have actually seen someone in a van drop a few of these guys off on different corners. They stand there as if being punished and told not to move. Who are they and why are they always there?

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AN INTERVIEW

WITH AN ARTIST AND CRAFTSMAN:

KEVINMONAHAN

WRITER AND PHOTOGRAPHER: MICHAEL ROHR

Kevin Monahan is a man who works with his hands. I'd go into more detail, but I think that pretty much sums it up. He and I have been good friends ever since we discovered commonality in bothering our 7th grade math teacher about ten years ago, and during our friendship I've known him to be one crafty son of a bitch. This exposé documents Kevin's process from beginning to end, from buying materials near his studio in Needham, MA to hanging a finished piece. In between, there was a lot of fire, a lot of risky photography, and a thoughtful, but often hilarious interview. Please enjoy.

Who are you?I am a man who… I don’t want to say simple man or complex, but, he thinks a lot, and doesn’t usually speak in third person about himself, so that’s kinda weird. But, he likes to build and ideas just kind of pop into his head and he doesn’t really have a choice about it. He only has a choice of what to do about them.

When did you start working with your hands? I would always help my dad working around the house, you know, fixing stuff. I would always have a hammer ever since I was an infant. My parents gave me a green hammer, a little toy, that I still have. Yeah, I would say pretty much since I was a baby.

Can you describe your creative process to some degree?Well, the first part of it, and I think I referenced it a little earlier, is that I just get ideas. My mind is just a racecar. It just keeps going, and I honestly don’t always have control over it. I can’t shut it off, but I can make it go faster, and I can kind of guide it. But if I just let it go, it’s gonna go. So, it starts with an idea that may be really ridiculous, but then I try to form it into something that might actually be halfway possible, and then I try it. It’s just trial and error.

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Where do you prefer to get your materials from?I prefer to get them from scrap areas. You just see things there in a different way that you wouldn’t normally see at a store when they’re all organized in a row. There are just a lot more interesting shapes. Not to say I don’t buy things from the store. I do all the time, but I much prefer to walk around a scrap yard.

What do you like to do when you’re not doing this?I like to drive, go to restaurants, get a cup of hot chocolate, maybe something small to eat, watch tv, listen to music, hit pads (Krav Maga).

You’re on death row. What’s your final meal?That is so tough because I just love so many different kinds of food SO much. I would probably just have a lot of little things, because I’m being killed, so I’d want to be as much of a pain in the ass as I could. So I’d have a lot of little things. Kind of a combination of everything I like. Steak, pancakes, french toast, hash browns, ice cream, pecan pie, which would be really annoying ‘cause they’d have to bake that. That would take them a long time/give me a few extra minutes. It would be everything, and I might not even finish it all, but fuck it, I’m gonna die, so it doesn’t matter.

What’s your drink?Ah, I’m gonna look like such a bitch. I’m a welder, but I like, I think it’s by Smirnoff, a malt beverage that’s lemonade with blueberries. And I drink it “pinky in” by the way.

Final remarks?Remember the name.

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KEVIN MONAHAN, "RIBBON ART, V.1," 2012

S K I N N E DDIO LAU ANAFELLE LIU KEN NGAN

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Fjogur Piano.. ' 'winner of sigur ros' Valtari Mystery Film Experiment, set to " "

OFF THEIR NEW ALBUM VALTARI, liu, lau and ngan created an incredible short film, what liu describes as, " a restless self-sculpturing of one's body. it is a glimpse of the corporeal unconscious, forever trapped in lacan's double sided mirror." the film is an incredible testament to the human form, inside and out, AND AN AESTHETIC GEM.

WRITER: ERICA RIKER

'

One of my greatest pet-peeves is when Hollywood gets its sticky, money-hungry fingers on my favorite foreign films and feels the need to give them a big-budget makeover. I am especially irked when a remake is in the works for a film that was released less than a decade ago. I have witnessed this happen to Swedish vampire thriller Let the Right One In (2008) and Spanish zombie horror REC (2007). Their remakes (Let Me In (2010) and Quarantine (2008), respectively) were not particularly bad, but completely unnecessary and both failed to hold a candle to their originals. These are just two examples of exceptional films that were turned into mediocre, counterfeit blockbusters. The saddest part is that most people who watch the Americanized versions are unaware that they are remakes of unforgettable, one-of-a-kind films.

I have tolerated this nonsense time and time again (mainly

because I have no control over it), but after hearing about Spike Lee's current project - a remake of Park Chan-Wook's Oldboy (2003) - I am motivated (by rage) to try my darndest to promote the original and trash-talk the remake. Though Spike Lee's rendition has not yet been released (and shoving my adoration for rumored cast member Elizabeth Olsen aside), I can say with certainty that the remake will flop; maybe not at the box office, but when held up in comparison to the perfectly crafted original. Oldboy is a tour-de-force of a particular genre that is untouchable to American filmmakers (this insult brought to you by a White American girl who lives in - drum roll, please - Hollywood, California). There are plenty of wonderfully talented American filmmakers out there, but when it comes to stories driven by merciless revenge, there is no competing with East Asian cinema.

Oldboy is a brilliantly told tale of vengeance that unravels in such a way that captivates the viewer from the very beginning and never releases its grip. It ultimately bursts into an ending with a lingering impact that is almost impossible to shake after the credits roll. Main character, Oh Dae-Su (played by Choi Min-Sik) is a husband and a father of a young daughter. On his daughter's birthday, for unknown reasons, he is kidnapped and imprisoned in a small cell with a television as his only connection to the outside world. Fifteen years pass of Oh Dae-Su fighting to keep his sanity intact, until one day he learns through a news report that his wife has been killed. Soon after, with no explanation, he is released and given five days to uncover why he was held hostage and what happened to his family while he was gone. This film is guaranteed to thrill you, entice you, and just when you think it can't possibly get any better, stun the hell out of you.

Park Chan-Wook believes vengeance is "the most dramatic subject in the world". I agree wholeheartedly and I triple-dog-dare Spike Lee to portray vengeance as flawlessly and fearlessly as Park. I'll end with this: if you have any sense, watch the original Oldboy. I can't stop you from seeing Spike Lee's version when it is released, but I can find you and punish you if you enjoy it too much. As for me, I will be seeing the new one for the same reason I saw Avatar : it is much easier to insult a movie once you've actually seen it. I have learned that resistance gets me nowhere and my criticisms go ignored when not backed with full knowledge. All I can do is hope that this remake torture will cease after Oldboy.

Honestly, Hollywood, is nothing sacred to you?

OldboyPARK CHAN-WOOK

WRITER: MELANIE SMITH

films we love

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THE MASTER

As human beings we reach an understanding of the need for an almost insatiable search for purpose.

Not all of us look very far, or some even not at all, but we've all seen it, either in ourselves or in most other people who need it. Paul Thomas Anderson has created a piece of work that I personally expected to be a controversial look into cult life, but in fact is a look into the human condition at its very core; a search for purpose within not only the troubled followers of "the master" but within the master himself.

Some look to a god, some look to ideas

and try to rationalize using methods they believe are most accurate, tested and factual, even scientific. The Master is centered on an exploration of a mix of both these things, a combination of trial and error in lieu of an unexpected human understanding between the master (Phillip Seymour Hoffman) and Freddie Quell (Joaquin Phoenix), a WWII sailor recently discharged after the war in 1950.

There is a translucence covering their entire relationship, it almost seems ephemeral, and I'm not entirely sure if it's because of the incredible 65mm shot cinematography,

or if it's the hope mingling with emptiness inside both characters. One, the leader of a tremendously faithful ideology backed by a handful of degrees and successful milestones, with a big, growing family and a seemingly large bank account. The other, an alcoholic (and by this I'm including paint thinner) PTSD-suffering sailor with no family, other than a mother in a psych ward, and no promising steady work or stable future. He suffers a reluctance to give into the woman he wants and carries the burden of a sexual preoccupation in almost every setting; a misguided desire for love.

WRITER: ERICA RIKER

"WE ARE NOT HELPLESS ‒ AND WE ARE ON A JOURNEY THAT RISKS THE DARK." -THE MASTER

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Photo: Paul Thomas Anderson’s The Master 2012

They appear to be different people, but when you reach in you find two lost souls searching for a purpose. The master has made his entire work based on something he personally can believe to serve as a solid definition of existence, and as he tries to help Freddie Quell he ultimately tries to help himself.

I can't stress enough the quality of character portrayal we get to see from Hoffman and Phoenix. In one breath we watch Hoffman's dreadfully optimistic demeanor melt into an outburst of rage, breaking under stress over an innocent criticism. In the next breath we watch Phoenix, slouching along and

mumbling out of one side of his mouth (the product of a jaw slugged one too many times in a whiskey-induced fight) in a belligerent, drunken fit doing his best to focus on his one task at hand: securing the ideals of the master. Two of my favorite actors doing some of their absolute best work yet, all in the name of expressing the human condition, in all of its warped, stressed out and falsely enlightened glory.

Aside from Paul Thomas Anderson crafting this exquisite picture, a very loud applause must be given to Mihai Malaimare Jr. for cinematography and Jonny Greenwood

(Radiohead) for an incredible score and soundtrack. Malaimare states about 85% of the film was shot in 65mm, the large format giving the authentic and detailed photography this picture deserves. The music not only compliments this shooting style, but it is an honest reflection of the depths of faith and searching sought after by the human soul. It is a carefully crafted work that feels as though it plucks at your nerves while it caresses your back, something that could bring a person to tears in or out of its theatrical context.

Outstanding, through and through. Go see it.

#INSTAJAWSOME OF THE BEST HAND-PICKED SHOTS FROM OUR FOLLOWERS & THOSE WE FOLLOW @JAWMAGAZINE

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@CHRISCONNOLY

"Manhattan, no power."

@TYPHILLY

@JACKGREER

@MARIAFRANCISKA

@GYPSYONE

@PATAGONIA

@CROUCHMAN

PHOTOGRAPHY & WARDROBE: CHARLES SAIDELILLUSTRATOR: CHRISTINE COVER 'ANOTHER HALF-EATEN SANDWICH'

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EDDIE BAUER CLASSIC FIT-$59.95

VINTAGE DON CHARLES SPORTS JACKET

HAEKING MCGILL LEATHER BOOTS-$89

GAP KHAKIS-$59.95

TIMEX WRISTWATCH

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EDDIE BAUER CLASSIC FIT-$59.95GAP KHAKIS-$59.95

TIMEX WRISTWATCH

WOLVERINE STEEL TOES-$110

EDDIE BAUER CLASSIC FIT-$59.95

EDDIE BAUER HERITAGE MOUNTAIN PARKA-$129

GAP KHAKIS-$59.95

Photo: GQ at MERCEDES BENZ FASHION WEEK

collections we loveN. HOOLYWOOD F/W 2012

Daisuke Obana, always working with a clean slate and no restraints, has

brought something wonderful, once again, to the runway. This 2012-2013 F/W season has brought back some long-awaited (in my opinion) pieces of classic menswear, all inspired by none other than Ernest Hemingway.

Obana has focused more specifically on Hemingway's time in Cuba as a fisherman, from the 1930's to 1960's, as inspiration for this collection. Hemingway's time spent in the Red Cross gave his dress roots in a classic military style that carried over into his other work.

N. Hoolywood has taken Hemingway's style, these gritty yet polished pieces from a time of "The Old Man And The Sea," and given them contemporary, functional staples. They have been reworked and mixed with unexpected pieces that turn fisherman function into a stylish ode.

THE KAPITAN, NEW YORK FASHION WEEK

PHOTO: Robin Marchant/Getty Images North AmericaDaisuke Obana backstage

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WRITER: ERICA RIKER

WWW.JAWMAGAZINE.COM

JAW Magazine Issue N°2: Men

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