Balance - a document of unity and aggression in the European hardcore community
'Hardcore? Here, you say?'. Why, of course! When SinZine's brief is to showcase all shades of the alternative we could hardly overlook journalist Tom Barry and photographer Sophia Schorr-Kon's book 'Balance', which documents their journey through Europe's hardcore punk subculture and into the lives of those at its heart . During their travels the pair found strangers chosen as subjects swiftly turned Samaritan, providing food and a place to stay - something they say shows the unique sense of community and culture of sharing resources in the hardcore scene and which, in any case, is so far removed from the suspicion and selfishness of mainstream society caught between austerity and aspirational indulgence it could barely be denied a place on the pages of an alternative arts and lifestyle zine.
Sinzine goes HARDCORE... now stop bashing the keyboard in panic, it's not that, but it very well could be. You should know better that to read this at work!
Hardcore, or hardcore punk if we are being technical, is a genre of music that was spawned from the punk movement in the 1970s. Basically, it's punk with bigger balls. When music journalist and drummer for hardcore band Kartel, one Mr Tom Barry, and professional photographer Sophia Schorr-Kon (a then hardcore virgin) joined forces to create 'Balance: European Hardcore' - beautiful coffee table hardback documenting the lives of the people behind the current scene away from the music - they had only a small budget and a scrap of a plan that relied heavily on the trust of an international community, and could only imagine where the journey would take them.
For someone not previously involved in the hardcore scene, Sophia really jumped in at the deep end, going to about a year's worth of gigs in two months, and waking up on a variety of couches in several foreign lands. "The inspiration for me to take on this project was looking at a raw, very under documented sub-culture that was supporting expression", she says. "In our society, rage and anger are emotions that are rarely expressed in a positive way, but within hardcore here were men and women letting rip, connecting with a rhythm and using it to release their frustrations with the world, I was inspired by their passion and honesty".
The hardcore movement is clearly that – a movement, a group, a faction, if you will. Much more than just a bunch of people who happen to enjoy the same music, and as an 'outsider' paging through Balance, this fact was painfully obvious from the stolen moments the book managed to capture, that I could see, but what I couldn't work out was why. What's the special ingredient I seemed to be overlooking? "The main thing would be community", explains Tom, who himself has been drawn to all things hardcore since he was 16.
"The word ‘unity’ has been bandied about in the scene for years and a lot of people make fun of the whole idea because they’re so involved in hardcore that they seem to forget that being fed and housed by strangers in other countries is not a given in most music scenes. Fundamentally hardcore is a DIY movement allowing people with something to ‘get off their chest’ to form a band and play loud, honest, heavy music alongside like-minded souls. It is music by ‘the people’ for ‘the people’ and so is able to exist outside of the mainstream music industry because of its DIY model. Of course – ‘a people’s music’ means keeping ticket prices down and not trying to make a profit out of another individual. This leads on to the book’s title, Balance, as people still need to eat and pay rent so there is a continuous balancing act between day jobs and music.
The honesty that is expected from hardcore’s participants is also the reason for its aggressive sound – the shouted vocals are present because, honestly, there is a lot to be angry about. It is not stylised in the way other genres are and so, for many, packs a bigger punch when it comes to the combination of raw vocals – whether they be motivational or just plain nihilistic – and heavy music. People have different takes on the scene and I’m no spokesperson but I think most would agree roughly with what I’ve picked out."
And the book itself is tangible proof that the spirit of hardcore is a creature like no other. How many of you goth's, cybers and metalheads are about to invite a friend of a friend onto your couch so they can document your lives?
"The book would not have been possible without it", confirms Tom. "We were given a very short period of time to put the project together and had no financial backing so we had to do it hardcore style which, although harder, was the way it should’ve been if it was going to represent this music honestly!
A number of the book’s subjects housed and fed us and many came forward with information and help in order for us to meet people in other countries. We were asking a lot from people that had never met us – they needed to be honest, open, let us into their lives, and trust our motives. It helped that I was part of the scene but I was not there playing with a hardcore band – we were in people’s workplaces and homes, photographing and interviewing them and then rushing off to the airport. In unequal societies, trust is extremely low and hardcore is somewhat of a haven but is not immune from the world outside it. Plus I have a beard – remember when they made the evil version of Spock? Whip on a simple beard. I probably should have shaved it off".
For Sophia, it was the mosh pits that showed the unwritten rules of hardcore are nothing to do with having slicked-back hair and tattoos. "I was interested in the very fine line between chaos and organised chaos in the pits. There is a structure that people fall in to around getting involved in the mosh. Fists fly and spinning kicks whirl without a thought behind them, but people are rarely badly injured, I think people don’t want to hurt they just want to move through something physically and it is up to the mosh pit as a whole to be aware of itself. The one rule I respected the most was that as soon as anyone was down or looked like they may have injured themselves, people are surrounding them and helping them up instantly".
"I guess a lot of stuff is a reaction to what people don’t like about what’s offered to them in a mainstream capitalist society", muses Tom. "When you really value community, friendship, loyalty, and ‘keeping it real’ then you will defend that in your local scene, and, ultimately, the scene as a whole. Many of the people would be considered low status males by ‘the system’ – they work low-paid jobs and are uninterested in the latest commodities and aspirational bullshit. Hardcore allows them to fulfil the potential society doesn't. There are people in the book that have done full US tours, South American tours, all off their own back – no label money just merchandise and support from those country’s respective hardcore communities".
Blown up images from Balance were recently exhibited in an East London location, and the photos of heavily tattooed men and tumultuous mosh pits drew in quite a mixed crowd.
"It was a really positive reaction", says Tom,"which is what I expected because they’re incredible photographs! A couple of people were slightly freaked out by the aggression in some of the pit shots but they’ve obviously had very sheltered lives! For the hardcore crowd it was strange seeing these sights rendered so professionally and hanging in a gallery. There were a lot of smiles on normally stern faces! It was great to open this scene to photography fans that could not only appreciate the amazing work but also see something new".
"Knowing more about what it takes to put together a project of this scale has taken the fear out of doing it all over again". says Sophia on the experience. "The journey of making Balance has taught me a lot and I think the main thing is that anything is possible".
If you want to get your hands on the book, you can do so here: Amazon
Check out more of Sophia's work here: www.sophiaschorr-kon.com
And listen to Kartel here: www.myspace.com/kartellbu
Fifi Fatale: The Ultimate Femme
Burlesque belle Fifi Fatale is amongst the acts set to entertain at Club AntiChrist's 'Not New Year's Eve' party on December 30th. Appearing attired to the 'white 'n' silver / glitter 'n' glamour' dresscode for the night, she promises to peel through a silver screen-inspired routine before performing a white feather fan dance finale. SinZine engaged 'the ultimate femme' in a girly gossip that touched on legs, latex vs. silk, hen parties and tumbles following a drop of her favourite extravagant tipple.
With Adam Ant comparing her to top glamourpuss Dita Von Teese, vintage showgirl Fifi Fatale transports audiences back to the days of decadence we all wish we had shared, with a mischievous fluttering of feathers and a sashay of silk. Since 2008, her ivory skin and natural 34'' 25'' 38'' has been launching her onto stages across Europe and the UK, as well as reeling in big name clients including Universal Films, Renault Clio and London Fashion Week. Taking inspiration from the hedonistic world of the 1920s, silver screen glamour and the darker visionary style of 1940s Film Noir, Ms Fatale promises to tease and delight with her unique blend of classic burlesque.
How did your foray into all things burlesque begin, back when you were starting out?
I had been into the alternative scene for quite a while, then when at university I came across burlesque; it’s really all interlinked so I can’t remember the exact moment I found it. Basically I wanted to start performing as I used to be really shy and hated it, so shoving myself on stage was a challenge to myself to see if I could succeed or not. I’ve also always been a creative person, I’m very visual and love creating so really it’s my perfect job!
What is the creative process for coming up with a new act?
I can take quite a while to put an act together and I have no exact process for how an act comes about. But in general I’ll find or hear a piece of music and something clicks. It’ll start coming together in my mind with choreography and how I might want to style it. I can’t really explain it very well. The annoying thing is I’m very indecisive and I change my mind a lot, I stress over particular shades of colour for costumes!
Are there any current elements that you draw inspiration from, or is it all from times gone by?
The majority of my inspiration is from past eras though I do take inspiration from other performers, music and current arts but then in a way everything is recycled as it’s all been done before. You just have to put your stamp on it.
Will you be doing this until your hips can swing no more?
I think in burlesque I will probably reach an age where I will have to stop, it is striptease, I wouldn’t want to watch a granny stripping personally! But I love other forms of dance as well, I do ballet and tribal fusion bellydance so I’m sure I’ll continue to dance but not on stage.
I’m still young though so I wont have to worry about that for another 10 years or more hopefully.
How do you balance your performing life with your 9-5 life, or are they one and the same?
I haven’t had a proper 9-5 for a very long time - I do a little part-time work and I teach burlesque hen parties. I also co-run a burlesque and cabaret night in Bath (Coco Boudoir). I’m an arty person so I can’t deal with offices and normal work for too long!
You've modelled and performed both all around the UK and internationally. What has been your biggest 'rock star' moment to date?
I’ve been very lucky to perform in some glamorous places with great people and I love travelling to different countries. I especially enjoyed a VIP club opening that myself and some other performers did over in Ireland. After the show each night we would all drink Champagne and run around in the VIP rooms in the club, stay up all night until breakfast at our hotel in the morning, sleep in the day and then repeat. I also managed to fall down a whole flight of stairs one evening after too much to drink, not very glamorous!
You describe yourself as a 'lover of latex'. This is quite a contrast to the main fashion of the 1920s and 30s. What is it about latex that tickles your fancy?
Latex to me makes you feel very sensuous and slinky, a little like silk and fur but more erotic. It feels great to wear. A lot of what I like is quite contradictory but then I think it’s best to have variety otherwise you get bored.
Do you have any tips for aspiring sex kittens?
Find and develop your own style. Be confident in who you are and try and set yourself apart from the crowd.
What is the piece de resistance when it comes to your body?
My legs I think - being tall means I’m very leggy!
Your act will no doubt be adding a touch of glamour to the events of December's AC. What can party goers expect?
Seductively luxurious sexy striptease!
For more Fifi, sneak a peek at: www.fififatale.com
And scroll right down for a video!
John Drain: The Man Behind The Music
As Halloween approaches and the straightest dressers start to think up spooky costumes, Club Antichrist also has some surprises planned, for its October 28th 'Rock 'n' Roll Voodoo' party. In The Devil's Playroom the kinky can still get beaten, and The Hellfire Room remains a haven for those all in black; but it's the blues that's starting the party on the Theatre de los Muertos stage. John Drain's howlin' 'n' stompin' Delta sound may on the surface seem a strange match for AC, but don't forget its roots date to the Devil's infamous crossroads....
In the run-up to Antichrist's Halloween bash, we caught up with one of the acts of the night – one Mr John Drain, the frenetic, hypnotic blues virtuoso:
So John, tell us a bit about your musical background. How did you arrive at your “Howlin and stompin' Delta blues” sound?
' I used to love playing the harmonica as a child (in blues circles it's called the harp, most people seem quite surprised when I say I work with a harp player!). At around 18 I got into making avant-garde musical collages and recording myself hitting pots and pans or maybe my neighbours having sex and sampling and degrading the sounds on loops, things like that. I moved to work on more electronica and dance music styles, but I started to doubt my ability as a musician as I find electronic music doesn't really instil a natural sense of rhythm in you or some of the more intrinsic qualities needed to be a live performing musician. I was being creative, but few people would get the chance to hear it as it would just sit on my desk, so I moved to blues which resonated very deeply for me in its power to move and stir up a whole spectrum of emotions with very simple components. I did get into playing in some garage rock\metal bands too, but I think what I do now is a very practical way of being creative and getting it out there to hopefully be enjoyed by people.'
What's the appeal of this style of music?
'There's a lot to it, mainly because of how simple and versatile it is. It can go anywhere you want to take it and partnered with country and folk it has created or influenced nearly all music to date. Also, I think modern music (including blues) that I hear floating around has become quite repetitive and familiar, I think it would be a shame to let some of the wonderful discoveries made in blues get lost in time. I for one wanted to hear some new material that was rooted in very early recorded music so I decided to have a crack at it. I know nothing of cotton fields or dusty trails or "beating my woman 'till I'm satisfied" for that matter, but lyrics and music paint a picture of the times and locations. I know more of life in the big city and its highs and lows and I try to take inspiration from that instead.'
There are a lot of sounds going on your more energetic tracks – do you have other people included in your project, or is it just you making that whirlwind of tunes?
Yes. I work mostly with Marco Farris, an excellent harp player; Horace Cardew plays saxophone, and Anne Dario Moreno and Alex Nightingale play violin. We find it difficult to get together as most of my band mates are living in other countries but the internet plays a very big part in our recording process. I do everything else.
What themes run through your music? Who or what drives you to create your brand of 'the blues?'
I don't know really - all sorts. Some songs like 'Green Lady' are about addiction, some like 'Fix Your Stare' are a bit more like a protest song, others are usually about love, lust or solitude. I used to play as a resident in an excellent cabaret place called "Last Days of Decadence" and its title was a sentiment I have felt for a long time. It looks somewhat bleak out there in the world for a lot of people and artists should be attempting to mirror it and identify with people. I try to reach out with music and hopefully people will get the sentiments without necessarily understanding what they are about.
So, here's an over-used question, but one that often provides good insight - if you could share the stage with any performer, alive or otherwise, who would it be, and what is it about them that inspires you?
I'm lucky to be able to perform with great musicians at the moment. Although some people I work with are living around Europe, one day I'd like to get us all to play together at once then I'll be happy; apart from that, I'd share the stage with anyone as long as it's fun.
I noticed on your blog that you had a comic book in the works – that entry was from 2009, so what has happened with the comic since then?
Ah yes! Wow, that was a while ago. I like to dabble in other art forms. I used to really be into drawing and painting. Occasionally I happen to meet someone whose very good at what they do and we try to put something together, sometimes it works other times it doesn't. I guess that time it didn't.. but there's other stuff in the pipeline!
Ok, so any other exciting projects our readers should know about?
Well I've already made a duet album with my friend and artist Jo-ann Doherty - it's just a matter of recording it when we can, then trying to get her on the stage as she's a bit shy. I'm always making stuff and there's plenty of different types of music I want to try. I would really like to start making some music videos soon too.
Are you looking forward to performing at Antichrist this Halloween? What can our readers expect from a night with John Drain?
Very much so! I think there's going be some amazing costumes and all hallows eve is a great time for it! I'll probably be playing my faster, more aggressive kinda stuff and with a bit of slide guitar to fit the occasion.
Is this your usual style of audience? If our readers like what they hear (and I'm sure they will), where can the frantic, high energy sounds of John Drain usually be found?
Well not exclusively, but I have played at other places with similar themes as well as cabaret and burlesque joints. I do enjoy the enthusiasm of the wonderful people that get all dressed up and ready to party even though I'm quite shy about dressing up myself. It will be my first Halloween gig though I think!
I guess if you'd like to listen to some of my older recordings they can be heard on soundcloud.com or you can look me up on YouTube. In a week or two I start a new residency every Sunday at The Reliance on Old Street, London, so hopefully that will be good fun and reminiscent of the older times when such things were much more commonplace.
Find John on Facebook
Sanguine...and for good reason!
On the day Sanguine release new single 'For Love', SinZine speaks to Tarin Kerrey and Nick Magee - vocalist and guitarist with the heavy yet eclectic South West quartet - about DIY videos, VIP festival loos and the very bright future which seems now to be facing these exponents of dark, moody and inventive metal.
On paper, Sanguine comes close to looking like just another rehashed metal formula: high energy, finger-bleeding guitar riffs - check. Potential for a decent 2am slur-a-long - check. Smouldering frontwoman whose screams can make a grown man's balls quiver – double check. But grab a pair of headphones and shove on their new single For Love (yep, it's one of those tracks; it's the nuances that matter).Those sounds are the sound of Sanguine hijacking the Metal Maiden bandwagon, and then burning it to the mutherfuckin' ground.
With the likes of Joey Jordison (Slipknot), Metal Hammer and Kerrang! singing their praises, the metal foursome recently found themselves enjoying the best comforts that Bloodstock festival has to offer – the VIP toilets. And it's through their own blood, sweat and tears (and help from some willing friends) that the band can now leave the days of pissing in festival squalor firmly behind. Their major festival début on the New Blood stage went down swimmingly. 'It was brilliant, really great atmosphere' says leading lady Tarin Kerrey 'and we had some really good follow-up, a lot of people said they saw us at Bloodstock, which was fantastic'. ' It was strange to be there on stage when we're normally in the crowd' says guitarist/vocalist Nick Magee, 'or, I mean we've played floor standing gigs where we're on the floor bouncing around with the audience, then you get to a festival stage when you are looking over people's heads and go “Oh my god!” '
Their first EP, Live, Consume, Drive, was what started the ball rolling, and its DIY nature (the band put everything together independently) made it just that little bit more impressive, but even with the current evolution in music production processes, it still involved some hard graft. 'You basically have to learn a lot of skills or befriend people who have those skills.' says Tarin on their labour of love. ' You'll be staying up til 3am to learn something that someone else can do at the touch of a button. Luckily we've grown up with some fantastic friends and met some fantastic people along the way, like our first engineer who was just a friend of ours, and you know, literally fresh out of college, and he had such a good sound and he understood what we were trying to do. I think that's the main thing when taking on DIY – find people who understand your project.'
It was the title track of said EP that started their relationship with video director Carl Shanahan (responsible for Mudvayne's Dull Boy video, Rachel Stamp's Creep, and work with The Dresden Dolls and Amanda Palmer), who has gone on to direct the accompanying (and suitably disturbing ) visuals for new single For Love, featuring a family Christmas that takes an uncomfortable twist. 'The video concept was based on a dream that Carl had,' says Nick. ' It was a different approach to our first video (Live, Consume, Drive) where we were totally in the driving seat, but it's also really interesting to see someone else's interpretation of the song. And we were all still very involved. There were moments in the editing suite when we would be trying to select which shots to use, and we'd get to a shot and all go 'that one' at the same moment. Carl very much gets what we are trying to do, and I hope we get to work with him more in the future.'
The Lynchian concept of Sanguine's latest video offering mirrors the style of their sound – one that is hard to pin down and neatly define. For Love and Anger Song appear back-to-back on their first single, and both tracks sound like Sanguine, but for completely different reasons. Tarin's Jekyl and Hyde vocals flit between fierce roars and refined melodies, and an eclectic range of musical influences (ranging from Faith No More to Massive Attack) are woven into each track. 'We didn't want to make an album with 13 of the same tracks with the same sound', says frontwoman Tarin, 'That works for some bands, but not us. We get bored – we seriously have the attention span of a gnat!' So far this bodes well for their first full length album, set for release next year.
Given that the band have shot to success with little time to adjust to their new found popularity, one has to wonder how this has affected the band dynamics. 'Give us a little while, we'll come back to you on that one' Tarin answers honestly. But the amount they all laugh in unison throughout the interview is evidence that they are still having fun with Sanguine, and they sound excited for the future...which my spidey senses tell me they should be.
Visit: www.sanguineband.com
Catch Sanguine live here:
Friday 14th October - Monto Water Rats, LONDON
Monday 17th October - The Cavern, EXETER
(supporting Evile)
Friday 28th October - Walkabout, NEWQUAY
(performing at Dolly Rockers’ ‘Miss Alternative Cornwall 2011’)
YouTube: 'Live Consume Drive'
Exotic, Extreme & Extraordinary : Lydia Darling
If you’ve seen Lydia Darling pricking herself with play-piercing needles at Club AntiChrist, or performing as a human harp strung with flesh hooks and rope in the visceral yet oddly elegant ‘Skinphony’, then you’ve seen only one string of the many to her bow. DJ, burlesque dancer and circus skills doyenne, boasting an especial affinity for fire, this acclaimed alt. performer has got promoters clamouring to put her on the stage even without putting herself through the pain of those arresting body-art acts. So SinZine went to ask what drives her to extremes…
Lydia Darling is a London-based performer currently delighting audiences with a smorgasbord of adrenaline-fuelled antics. Winner of Miss Twin Peaks Contest 2010 and an accomplished DJ (often found spinning the decks at Torture Garden), aerial performer, fire breather and practitioner of general circus sideshow freakery (note: this list is a mere scratch on the surface), the self-proclaimed 'louche blonde rock and roll siren of fiery doom' took a break out of her hectic schedule - including an aerial performance at Club AntiChrist's recent 'Night of the Vampires' to chat to us about life on the stage, and off it...
Your varied skill-set has made you a very busy woman nowadays – how did you build your career up to it's current international, jet-setting status?
Well it definitely hasn’t happened overnight – like most performers I’ve had to do my time on the circuit and work my way up – but if you love it, you stick at it and continue to hone your craft, making each show a little more slick than the last one, always aiming to be as good as you can be. Even once you’ve been at it for ages, there’s no real moment where everything clicks and you’ve suddenly ‘made it’ – even after doing an incredibly glamorous and spectacular gig that leaves you feeling like a million bucks, there’s still every chance the next month could be a slow one for reasons beyond your control. I’ve learned not to rest on my laurels!
Was there ever a conscious decision on your part to go down the more extreme route with performing – a light bulb moment perhaps - or was it just a case of natural progression?
For me, a lot of what I love about performing is that it gives you the chance to explore yourself and discovering what it is that makes you special, what you have to offer your audience. I guess some people know straight away but for me it’s been a progression and it’s not always as straightforward as it seems. At first I was attracted to the glitz and glamour of being a showgirl, but these days it’s often the more visceral things I get a kick out of. The path I took started out with dance and over time has learned further and further towards a fusion of circus and body-art. There’s a definite cross-over I think – especially when you start looking at the limitations of the body and what it’s possible to achieve through training and pushing yourself. It’s a marvellous thing and this is my way of celebrating my physicality. The performances I do where I utilise flesh-hooks and needles might seem to be very extreme ways of expressing myself, but I like to think there’s a certain beauty in it too. Using the human body as a site and source of artistic expression is a theme that I think runs through pretty much all of my work.
For me, work is something I separate from my personal life, something I switch off from as soon as 5:30pm rolls around. With working unconventional hours and often away from home, is there a clear divide between your life as a performer and your off-stage life, or are they one and the same?
If I were sensible I’d have a much clearer divide, but I find it impossible to completely separate anything I have a passion for with ‘everyday’ life. It always finds a way to seep in! And yes working in circus and cabaret means that ‘everyday’ life is a bit of an abstract concept anyway, what with the late nights, festivals and travel. I also get insomnia, and many of my best ideas come to me while I’m lying in bed trying to get to sleep…I sometimes wish I had an off-switch but it’s also nice to have a part of your brain that’s always thinking about the next act, ready for inspiration to flare up, wherever and whenever that might be. It is nice to do something completely unrelated to performance once in a while – but I love what I do, it’s not just a job, so I don’t mind too much that it invades the time I spend off-stage as well as on!
Caleb G Jason Read Andy Coote
Your newest show involves hammering a 5 inch nail into your nose, stubbing out a cigar on your tongue and jumping on broken glass – what is it about these fairly risky activities that makes you think, 'Yes, I'd like to try that!'
Haha, well like I say, I’ve always been attracted to circus in all its forms – and the element of risk is admittedly a crucial component in that fascination. I decided to introduce freak show into my repertoire after seeing some old footage from a 1950s travelling circus. I figured that anything that has the power to provoke such a reaction in your audience is definitely worth exploring. I love watching people’s faces while I’m performing these stunts that are a bit stomach-churning! People hide behind their hands, watching from between their fingers; I’ve even had someone throw up once.
Also, the role of the sideshow freak is one traditionally associated with masculinity – being strong, having mastery over your physical form, resistant to pain, etc. It’s about as far away as you can get from the demure, pretty role of the female performer. And I like to challenge that. So although it’s not exactly high art, it still examines the relationship between gender, beauty, strength and the grotesque in a very immediate way; a lot of the time when I walk on stage people don’t know what to expect, and then when I start doing these stunts they’re doubly horrified because well, ‘you’re a girl!’ I like to get people to think about why that’s hard for them to get their heads around.
How hard is it to master things like fire-eating and hammering nails into your nose? How do you get started, and is it as dangerous as it sounds?
Ah, that’d be telling! I’ve heard other sideshow performers get really cross when anyone even hints at the secrets of the art, so I’m going to remain tight-lipped on this. What I will say is that there is no fakery – of course, there are techniques and training on how not to seriously injure yourself but all the components of my shows are stunts rather than tricks. I once overheard a guy dismissing my fire performance as fake, by attributing the spectacle to the use of ‘cold fire’. I can’t say I wasn’t tempted to demonstrate his mistake to him with a carefully-placed fire breathe…
Richard Jell
Is there anything you draw the line at in your performance, anything that makes you go 'oh hell no!' ?
To be honest it’s not so much a case of shying away from things as playing to my strengths. I’ve seen some really extreme acts, even by my standards, and I’ve appreciated them for what they are, because the performer’s personality really comes across and they bring own style to the act. People like cabaret artist Matt Fraser, artist Franko B, and fetish performer Mouse all have very different means of expression that I couldn’t touch. Matt is deliberately menacing and disturbing, Franko B has a level of dedication that’s beyond anything I have the fortitude for, and Mouse is hilariously OTT and in your-face but they all have one thing in common – they’re doing something that is very specific to themselves. That’s what makes a good performer I think – projecting a part of your personality into the piece. If I have an idea for a performance that requires me to learn a new skill or push myself, I’ll do it – but only if it’s appropriate to what I’m trying to express. I don’t just want to start throwing in things for shock value – other than for the freak show stuff of course!
With a plethora of talent and experience, what element of your shows is your personal favourite, the piece de resistance?
That’s a really difficult question to answer because each of my shows has one element or another that I have a certain fondness for, and I enjoy performing all of them. I guess I feel most at home on stage when I’m performing with fire – it’s such an elemental force, and to have control over it and be able to play with it feels almost like taming a dangerous animal. I’ve learned to respect it though – I’ve had a few close calls and one particularly lurid scar to remind me not to get too comfy! I also find a lot of satisfaction in performing body-art shows, either collaborating with a group like Skinphony or Patient Zero or as a solo piece. It can be really draining but that’s just because the experience is so intense, and I think that visually these pieces can be quite beautiful too.
Do you find you are getting booked for the more exotic elements of your shows, or is the demand more for your safer routines?
Actually it really depends a lot on the type of event – my freak show seems to be really popular, but I think that’s partially because there aren’t too many women doing it at the moment – Vivid Angel, Missy Macabre and the Zircus Grotesken are the only others that I can think of off the top of my head. Our approaches are all a bit different though and I love their styles, so there’s no rivalry there! Audiences always love aerial acts but they’re difficult to house – I was going to be doing my aerial hoop act ‘Addiction’ at this month’s AntiChrist but unfortunately there was a problem with the rigging, so I presented a new body-art piece instead. AC have always been really supportive of my performance and open-minded about what I want to present, whether it’s more burlesque, circus or experimental art pieces like the one I performed on Friday.
Brano Stefanik
And if you just can't get enough of Lydia, go to www.lydiadarling.com
And view a Skinphony video here: www.youtube.com/watch?v=hJOHOaGdxrY
_______
Main picture credit: Painting by Ben Newman
Soapbox - Gingerism
Bashing the boys and bashing off to the girls - sometimes redheads have it rough says Holly, who steps into SinZine's Angry Area to let off steam about the fiery redhead stereotype. And if you're troubled by a burning topic and ready to rant, our Soapbox is yours to take to! Simply tell the world where it's going wrong in no more than 500 words and send to
This e-mail address is being protected from spambots. You need JavaScript enabled to view it
Ginge, ginger, carrot top, ginger pubes, firecrotch, ginger whinger, and for extra marks in creativity -ranga* . These are words we have heard before, either on the TV, in the office or in the company of friends, but most of us can't recall what exactly was said. Unless, of course, you are ginger. Then you can remember every time that you heard those words, starting in junior school and stalking you into adulthood.
They are derogatory, a reference to your fiery hair, pale skin and freckles that crown you prized freak. As a woman, these words will pigeon-hole you as an angry, crazy bitch who loves to fuck. Grinning men will ask you 'do the curtains match the drapes?' and then people around you will snigger as if something witty was said. As a man, these words will be shouted when drunken geezers feel like a fight, or when colleagues say things like ' just been to see the new Harry Potter film, but it's pretty unrealistic, I mean, a ginger kid with two friends...?', and laugh within earshot.
Gingerism is the last 'acceptable' prejudice – and let's be honest, prejudice is really what it is. Although most people only taunt redheads half-heartedly, it's sometimes hard to feel half-heartedly, when people are singling you out for your appearance (as I'm sure some of you lovely readers can appreciate).
According to my dear friend Wikipedia, Montague Summers, in his translation of the Malleus Maleficarum (part of 1486's 'Witch Burning For Dummies' range) notes that red hair was thought to be the sign of a witch, a werewolf or a vampire during the Middle Ages. Thus, redheads were burnt at the stake. Hundreds of years later, in 2007, the Sunday Times reported that a few folk in Newcastle haven't evolved much since then, as 'A family of six have fled two homes after enduring a vicious hate campaign, apparently prompted by the colour of their hair.' Forced to flee for being ginger? Really? Really. And here we thought ginger-bashing was just a bit of harmless fun...
* Urban Dictionary entry (www.urbandictionary.com): Ranga
Derived from Orangutan or from the Latin “Orange Utan” meaning red pubic hair, commonly known as Fanta pants. This creature is well known for its fiery temper and pale skin; hence its ability to spend long periods of time in the sun is limited. The female of the species is renowned for being good in bed, combining its natural aggression with its lack of appreciation for its looks.
Example:
My mate won’t fuck rangas; he said he would rather put his nuts in a rabbit trap.
My misses is a ranga but don’t call her that she will rip your fucking head off and shit down your throat.
Tabitha Taboo and the art of Purrrlesque
Clad in kitten ears, corset and cheeky lingerie, aspiring Burly Q belle Tabitha Taboo shook 'n' shimmied her way to the 'Best New Striptease' award at London Burlesque Week back in April. She's soon to put the 'newcomer' title behind her, says SinZine scribe Holly - who pounced at the opportunity to corner Tabitha on her story, her views of tease today and her prize winning routine, before the big time beckons her away.
I had seen Tabitha whilst in the throes of her pouncing, prancing, purring performance at Shepherds Bush Hall during London Burlesque Week (LBW) earlier this year. Her outfit then included kitten ears, a black corset, suspender belt and pair of rather revealing pants, all peeking out from behind two feathery fans, but now that I was meeting her (presumably) fully clothed, would the West End’s faceless sea of after-work drinkers swallow her up? Would I have one of those god-awful moments of bumbling, awkward mistaken identity before I finally tracked the real Tabitha down? In short: no. The petite 25 year old Mancunian stuck out like a sore thumb from the tides of drab, and her infectious smile (one that she accuses of dashing her attempts at ‘sultry’) cured any pre-interview fretting on the spot.
Just back from Torquay's burlesque night 'Kinky and Quirky', where her second act 'Gluttony' (part of a Seven Saucy Sins series -it got messy, with lashings of cream), enjoyed its debut it quickly becomes apparent that Tabitha is on a fast track to burlesque success. Having only performed her first solo act last December, said act has already seen her snag this year's LBW Best New Striptease award, as well as get her selected for one of just six places that were up for grabs at El Molino Burlesque Barcelona 1st International Festival's amateur contest. Next on the cards is a slot at Zurich Burlesque Festival, but this time as a guest performer.
With the 'newcomer' title almost firmly behind her, the journey into burlesque has been one she started almost by chance.
'I did various dance lessons as a child, but I'm by no means a professionally trained dancer. When I moved to London I did three years of performing arts at college and came out with a triple distinction - and then did nothing with it. I moved in with my boyfriend, got a mortgage and decided I'd rather make some money. I said that I wasn't going to give up performing, I was just going to put it on the shelf for now, but all my friends kept saying that I would never go back to it. One day I realised they might be right – so on New Year's Eve two years ago I made a resolution to start performing again in one way or another. I think if it's in you, it's in you, and you just don't feel right unless you are doing some form of performance or something creative.'
' I thought that dance would be a good option as it was flexible with work, so that January I looked around for dance lessons. I had no idea what I wanted to do, but one day I saw the burlesque class at Pineapple studios. It's just a drop-in on a Wednesday run by Lady Cheek of 'The Cheek of It' burlesque school, and I thought why not. For my 21st birthday a few years back I had a burlesque themed party, just for aesthetic value - I didn't actually know a hell of a lot about Burlesque then, apart from the obvious that everyone knows, Dita Von Teese and so on - so I had an interest in it already, and thought 'let me see what it's about'. So I took one dance lesson, and as cheesy as it sounds, that was it, I knew this was what I had to do. After a few lessons at Pineapple I found out about The Cheek of It burlesque courses (www.thecheekofit-burlesque.com), so I did the beginners course and got a better understanding of burlesque, and then after my first performance at Madam Jojo's I was even more hooked, so I took the advanced course and did my first solo only in Dec just gone, so it's all happened so quickly.'
With the basics out of the way, we moved on to a subject slightly more taboo (if you will), and one that could not really be avoided (we were after all, here to discuss public displays of feminine sexuality) - the argument that burlesque is a step backwards for feminism, celebrating a society and ideology that women have fought hard to move away from in the past.
'I know why some people could see burlesque as objectification of women and so on, and I think that yes, at one time it was, women did it as a way to make money, whereas nowadays it's purely entertainment, it's not necessity, and it's very much about the performance. It's not just taking your clothes off, it's not like going to a lap dancing club and paying women to see them get their kit off, it's not the same thing and I think it's a common misconception – yes, Burlesque is striptease, but it's not as simple as just taking your clothes off for men. Actually, if you go to a burlesque show you will find loads of women in the audience. In Torquay at the weekend there even appeared to be families -not quite children of course – but husbands and wives, and groups of girls on a night out, it's just such a nice audience, there is nothing sleazy about it at all. It's really not overly sexual, I mean the most you will see on a burlesque stage is no more than you would see on a beach in the South of France -in fact I've seen more on a beach, let me tell you!'
Burlesque has enjoyed a steady rise in popularity over the last few years, and Tabitha herself is a newcomer, but are the influx of self proclaimed 'performers' and increased popularity in fact diluting it's glory?
'It has its pros and cons. It's good that it's become a bit more of a trend because people are starting to understand it more and are not so intimidated by it. You know, you say 'burlesque' and people sort of go 'ooh, dirty'. It's also great to be able to go out in London and see a burlesque show any night of the week, but at the same time it can have an effect, like every Tom, Dick and Harry just goes along and does it, but I think that this is just a phase, and hopefully the true performers that are only in it for the love of the art will stick around and stand the test of time, whereas anyone who is just in it for now, you know, that will go away. I think it has become a big craze at the moment, but I feel like all phases it will pass, and then it will be back to the serious performers. It's difficult as well, because with burlesque there is such a wide spectrum of what it can involve, from cabaret to circus performers – people put all sorts of styles into it. It's not just black and white, or burlesque and not burlesque. My idea of burlesque might not be the same as some else's.'
Now that we had been chatting for a while, I had hoped to wheedle out some juicy tales of 'ground-swallow-me-now' on stage disasters, but clearly the gal is a pro, as there was only one story to tell!
'This weekend before I got to Torquay I had to change trains and as I was running for my train I actually fell down a whole flight of stairs and bruised my leg quite badly, so I was terrified I wasn't going to be able to perform but thankfully the bruising didn't come up quickly, but I did have to change the routine slightly to avoid putting pressure on my knee. I've been pretty lucky so far, nothing major.'
It seems the past few months have been nothing but (hard earned) success for this delicious dame- so, where to next for Miss Tabitha Taboo? Would you believe, it could be the idiot box!
‘Next for me, if all goes to plan, is Zurich Burlesque festival, and I've been approached by the assistant producer of Got to Dance on Sky 1. She wants me to audition to be on the show. I'm kind of in two minds as it's really commercial and I normally don't watch that kind of programme, and I'm not sure how well Burlesque will fit in, but on the other hand, people around me have said I've got nothing to lose by doing it and you never know, there's a first time for everything and burlesque might have a chance this time. I guess if I do go ahead, it will be just to get a little bit more exposure, and hopefully get a few contacts out of it.'
And with that the dicta-phone was off, the ginger ale finished soon after, and Tabitha swished out the door.
Find Tabitha online here: www.tabithataboo.com
Or here: www.facebook.com/TabithaTaboo
YouTube: Tabitha performs at Madame Jo Jo's
'Warning: severe squelchy-knickers-time ahead!' - The art of Matteo Alfonsi
Allow me to introduce to you the latest gem in our search for fantastic filthery: one Mr Matteo Alfonsi, artist and creator of bookshelf bounty Digital Bondage 1.0, flyer artist for Club Rub and occasional exhibitor for London's biggest alt. fetish fun brigade, Club Antichrist.
Alfonsi's digital art has also got him membership to the Sexy Art Gallery, which is currently peddling it's wares from the third floor of the Erotic Museum in Amsterdam's Red Light District and also from it's website that, in it's own words, 'focuses on representing both emerging and recognized artists and priding itself on exposing cutting-edge sexy art'.
Born in Rome and currently living in Paris, Matteo's visual treasures have appeared in various international exhibitions, including selection for 2009's The Dirty Show in Detroit (if you're reaching for Google – it's one of the biggest erotic art exhibitions in the world), and not surprisingly, because his enticing world of pin-ups, latex, tattoos and titties (and oh my, the titties!) makes for some seriously sexy viewing.
SinZine caught up with the man himself to discuss going digital, thoughts on fetish, and the artists we should be watching...
So, Matteo, how did your art develop to where it is now?
I haven't had any special training, I've just had a passion about creating since I was a child and I've always done it... but I studied architecture at university and that provided me with all the tools I needed for what I am doing now. I started with ink on paper - since I didn't have any training in the techniques of painting, ink felt more natural to me. But it was limiting, and a limit I wanted to overcome, so with the support of some friends, I finally approached the canvas - honestly without great results. The real improvement came when I moved on to digital media during my studies. They opened me up to new possibilities and soon I started experimenting with them within my artworks.
Your current work often involves a kinky twist...
Honestly I find the fetish aesthetic very inspiring, it enables several interpretations. It can involve concepts like violence, submission, lust, but it's also very creative, and I find it deeply connected to digital media in the way it adopts plastic clothes and artificial prosthesis etc. It's a concept I always wanted to develop further...
Ok, so all the ball gags, bondage and boobs - does it often provoke a reaction of shock?
No, I've never had any problems about it, and it's a pity actually... I'm probably not transgressive enough... I'll have to work on it...
All your artwork is really exciting, but do you have a favourite piece?
I get easily bored with my stuff but I'd say my most recent artworks are, at the moment, the ones I like the most. I'm talking about the Martyrs series, a project that is going to be displayed in a collective exhibition from the 11th - 20th November, at the Elevator Gallery in London. Martyrdom involves some sadistic ideas that fit very well within a fetish aesthetic, so I loved it as a concept immediately. I'm also really enjoying the weird details that I keep discovering from the lives of the Saints, as these can be revisited in an interesting new way. Over all it permits me a very symbolic approach which is very inspiring.
You've been a part of both solo and joint exhibitions in quite a few countries now - how do you hook them up? And any tips for first time exhibitors?
Sometimes I approach the organisers, sometimes they contact me. There isn't any standard process really - the only tip I could give is to avoid galleries that ask you for too much money! Unfortunately there is always something that goes wrong at the very last minute when you are setting up an exhibition; you arrive and you discover that it is forbidden to dig nails into the walls or the light is not sufficient. I also had one picture stolen from a recent exhibition (which was in quite a posh place in Rome), but it's all part of the game.
Your series “The Triumph of the Will” was inspired by Leni Riefenstahl's film. What else inspires you to create?
Filmography is probably the main field I take inspiration from. But I also like getting some concepts from history, fairytales and especially from the people I meet, portraits are definitely my favourite subject.
So any new artists tickling your bal... er, fancy, at the moment?
Ray Caesar, Nathalie Shaw and Saturno Butto are some of my favourites. I deeply love their imagination and the fetish elements they populate their artworks with; especially Butto, his very traditional technique make him a kind of fetish Caravaggio, and that's just amazing! I recently discovered the work of Espira and I was stunned by his symbolism. I'm also loving the illustrations of Serge Birault and I'd really like to steal some of his skills...
So, we think Matteo's work is Sin-ply fantastic, but we know that you, dear readers, are hardly the sort that bend over and take opinion, so have a snoop around matteoalfonsi.blogspot.com, and if you are in London town, pencil in a date between 11th - 20th November to visit the Elevator Gallery, where you can see Matteo's artwork in the flesh.
And if you like what you see (and maybe want to get a better look...in private, ahem), DigitalBondage 1.0 is available for £30 from www.lulu.com
