Coilhouse Magazine + Blog wishes all of you an inspiring, creative, compassionate, exhilarating, loving, and giggle-filled 2012.
Coilhouse Magazine + Blog wishes all of you an inspiring, creative, compassionate, exhilarating, loving, and giggle-filled 2012.
In addition to being an immensely emotionally rewarding experience, the Coilventure was an invaluable learning experience of everything from the thorny path of publishing to the intricacies of collaboration. I’m leaving a different person than when we began, with vastly expanded horizons, vocabulary and skill-set, for which I’m grateful. And while we’re on the topic of appreciation, I want to extend a heartfelt Thank You to the entire Coilhouse family – my co-editors, our brilliant design team, our steadfast interns, our dedicated ad manager, our circulation director, our numerous, generous friends and the entire Coilhouse readership for their encouragement, insight, contributions and when need be, honest critique. Your support through this experience means more than I can express.
As for The Future, it’s open wide. I recently returned from the Amazon jungle, where I taught an art workshop and created a mural at a school. Now I’m weighing options, regrouping, and, much to my heart’s relief and gratitude, finally working on a new series of paintings dedicated to beastly flora.
So that, as they say, is that. I wish Mer and Nadya the best of luck in keeping the Coilship a-chuggin’ while I board a rocket of my own and zoom into uncharted worlds. See you all in space and/or the future!
All my love,
Nadya Lev, by SFSLIM.
I cherish this photo of Nadya. It was taken a couple of months ago, waaaaay out in the middle of Bumblefuck Nowhere, by Coilhouse’s dear friend (and Ball emcee!) Aaron “Slim” Muszalski. It’s an incredible image: mysterious and lovely and strong, melancholy and elegant and battle-worn and full of promise, all at the same time. When I look at it, it’s easy for me to imagine that Nadya is gazing resolutely forward, beyond her immediate obstacles, into a great, wide open future. She is 29 today.
Happy birthday, my dear friend and comrade! We all hope you’ll enjoy the amazing virtual mixtapes listed below. These were made by several readers and friends of Coilhouse Magazine + Blog in honor of your special day, and to express gratitude to you, because this wonderful space, this publication, and this community, would not exist without you.
Let’s keep the music playing, shall we?
Guys, thank you so much to all of you who have ordered Coilhouse Issue 06 in the past day. It has been an emotional day for us, watching this issue sail out into the world. It’s been great to watch the list of orders and recognize the names of friends and long-time readers. You guys are awesome.
A few of points of order:
1) Make sure the shipping name and address is valid and dependable and let us know immediately if it needs to be corrected.
2) Kindly keep in mind – due to high volume orders, delivery time can be 1-3 weeks (or up to 4 weeks for international) from date of purchase so there may be a delay. We normally get them out much faster, but during that first wave of sales, things can get a little backed-up. If you do not receive your order within the aforementioned time slot for your location, PLEASE contact us with your PayPal confirmation email right away. We’ll sort you out!
3) Everyone who ordered a copy of Issue 06 will shortly be receiving some electronic goodies: a beautiful video of Rachel Brice dancing (to be blogged-about shortly!), a custom origami folding pattern crafted by Robert Lang, and artistic photos from the Kathleen Hanna archive at the Fales Library. Those will come through to your inbox
tonight (tomorow morning – sorry technical difficulties!). Apologies for the delay! Starting tomorrow, all new customers will get a link to these items automatically. [EDIT, Nov 6th, 2011: We're still working out those automation kinks! Meanwhile, rest assured you will receive an emailed link to your bonus content shortly. Sorry for the delay, and thanks so much for your patience.]
[EDIT, Nov 6th, 2011: It works now! Yay! Everyone should have gotten a link to their bonus content, and new customers will get their link instantaneously from now on. Let us know if you have any issues. Thanks again for your patience!]
Well, smack our heinies as we howl, folks, because after the most agonizingly laborious year imaginable, our beloved, beleaguered Coilbaby, print magazine Issue SixSixSix, has finally been born! It is now available in our shop. Big ups to everyone who helped ensure that this remarkable Lithopedion progeny of ours could finally come to pass, so to speak.
Join the black and white and red parade as we march through an angular Constructivist/Futurist/Expressionist landscape where originality and oddity rule. There are interviews with the ultra well-known and loved, and with the scrumptiously subterranean. There are (literally) sharp and edgy fashion editorials; there’s a never-before-published Bauhuas-era play; there are origami revelations. You’ll view tons of exclusive, made-just-for-the-magazine content contributed by all manner of wondrous human beings. At 113 pages, Issue 06 is substantially longer, bigger and thicker (hurr!) than any previous incarnation of the print mag. Let’s take another look at that die-cut cover, designed by our brilliant art star, Coilhouse Creative Director Courtney Riot:
The design of this issue was heavily influenced by Constructivism, Bauhaus, and De Stijl. We carefully researched the work of Piet Zwart, Jan Tschichold, and El Lissitzky in order to give Issue 06 its distinct look. We were especially inspired, in places, by Merz Magazine, published between 1923 and 1932 in Germany.
With Issue 06 being our biggest to date, it was a good time to bring aboard a talented new designer to help out. Please welcome Coilhouse Art Director Paulina Macfarland! Paulina is a designer, artist, LGBTQ activist, and a magazine publisher in her own right. She and Courtney divided up the articles evenly, working closely together to produce our most complex issue yet.
You can already find “Oblique Stratosphere” in select stores across North America, where it’s selling for $12.99 on the rack. (We’ll post a comprehensive list of locations ASAP.) And as of this afternoon, while supplies last, you can buy it directly through our store. (We especially encourage our international readers to purchase in this way; even with the shipping cost, that’s still cheaper than those crazy overseas store mark-ups.) Just remember, our online stock is relatively small and issues always sell out, so don’t delay. Once again, we’re keeping the $15 price tag on all copies sold online. As with our previous issue, those who order #06 through the web store will get additional bang for their extra bucks – download codes to archival riot grrrl materials from Kathleen Hanna’s personal collection, an exclusive Coilhouse-presented/Purebred-produced music video featuring the world-renowned belly dancer, Rachel Brice, and one-of-a-kind DIY schematics by origami artist Robert Lang. When you order through the site, access to these additional goods will be delivered to your PayPal email addy within 24 hours of ordering. Additionally, while supplies last, our readers will have option to buy into the following deluxe package:
Coilhouse Issue 06 + Molly Crabapple’s Commemorative Coilhouse Birthday Serigraph: $75
It was our 4th birthday last August, and we were in the midst of a fundraising frenzy when our dear friend Molly Crabapple offered up this scintillating serigraph to aid our efforts. It was designed to dovetail aesthetically with our Black & White & Red All Over Ball, the theme of which, in turn, was directly inspired by the palette of Issue 06. We currently have 20 of these incredible collector’s items left in stock. They compliment Issue 06 perfectly. Molly Crabapple’s Commemorative Coilhouse Birthday Serigraph is 19″ x 25″, printed in matte red and semi-gloss black ink onto smooth 100+ paper stock from the deliciously-designed French Paper, with a thick border of white paper to frame the print. It’s a super high quality product with a tiny edition size, and we’re now offering it together with Issue 06 at an astoundingly low price. For those of you who can afford to, and are moved to, here is a wonderful opportunity to support our labor of love a wee bit extra, and receive a loving memento in return.
For so many of us, this has been a long, tough year… and it ain’t over ’til the Klaus Nomi sings. Thanks so much for bearing with us, comrades. Thank you for continuing to support this passionate, playful love letter to alternative culture. Thanks for taking part with us in sustaining what has become a global community of deeply creative and kindhearted kindred spirits. We hope you like Issue 06, that it was worth the wait, and that our next offering won’t be nearly so long in the making.
We salute you.
INFORM illustration by Zoetica Ebb
As with previous issues, Coilhouse 06 is divided into three sections: INFORM, INSPIRE and INFECT. For each section, Zoetica created original art inspired by the main themes of this issue. The graceful INFORM illustration features a sharp female robot who may very well be a cousin of Maria from Metropolis.
On the Outer Edges of Sense
A leather-clad prophet of the apocalypse, a cosmopolitan polymath, and an experimental music veteran whose infamous shriek has been compared by friend and colleague Nick Cave to “the sound of strangled cats and dying children,” Blixa Bargeld is being heard across two continents this fall, as his Berlin-based industrial band Einstürzende Neubauten celebrates their thirtieth anniversary as a band with a tour. Back in the 80s, E.N. used to set the stage on fire (literally), drill holes in walls and floors of the venues they played in, and maneuver burning oil and shopping carts to create a musical frame for their ferocious urban rituals. These days, complex structures built of metal barrels and jet turbines become sophisticated musical instruments rather than machines of doom. Earlier this year, Bargeld graciously granted Coilhouse correspondent Olga Drenda an in-depth interview. The article is illustrated with several stunning original drawings by Paul Komoda.
Eva Nyiri / Clayton James Cubitt / Flaviana Matata
Inspired by “ancient samurai armor and today’s shiny Transformer-type robots,” Eva Nyiri crafted the Transformers collection with a primary goal: rethinking the traditional woman’s jacket. Brooklyn, Budapest, and the Shinyanga region of Tanzania collide in this collaboration between Nyiri, photographer Clayton James Cubitt, model Flaviana Matata, and makeup artist Katie Wedlund.
Naughty Squares, Musuem Maps, and Commie Propaganda ; A Looming Pedagogical Portrait
1920s Soviet artist El Lissitzky has been with Coilhouse since the very beginning. Samples from his famous self-portrait, The Constructor, serve as the page background for this site. The art movement that Lissitzky was involved in, Constructivism, greatly influenced every aspect of this issue. In this article, artist/performer Lucas Lanthier presents an informative biography, imagining a fanciful exhibit to illustrate the scope of Lissitzky’s work, and treating readers to lessons learned from the life and work of the artist in a cheeky propaganda slogan format.
Don’t You Stop, We Won’t Stop
Kathleen Hanna of Bikini Kill is considered one of the founders of the riot grrrl movement. She recently donated her archive (early ‘zines, hand-written lyrics, guitar tabs, contact sheets, and artwork) to the Fales archive in New York. Coilhouse was granted unprecedented access to Hanna’s archive, various facets of which are presented in this article in a frenetic collage format. Kathleen sat down with journalist Christina Kelly - best known for her acclaimed editorial role at Sassy, the legendary ‘90s teen magazine – to discuss music, feminism, and personal history.
He Came From Outer Space to Save the Human Race
A tenderhearted open intergalactic letter penned to and about the iconic, eccentric, and tragically short-lived singer Klaus Nomi. Written by Meredith Yayanos and featuring the puppet-like pattern collage art of Hormazd Narielwalla, with auxiliary graphic design by Julia LePetit.
INFORM illustration by Zoetica Ebb
Zo’s robust INSPIRE illustration takes a cue from Soviet propaganda art, features a goggled revolutionary, cheerfully wielding a giant hammer.
Fashion Editorial by Helen White, Amelia Arsenic, Zoog
Piet Mondrian, Wassily Kandinsky, El Lissitzky: three artists who shaped the art world of the 1920s and ’30s. With a style that exalted geometry and venerated structure, they were at the forefront of the Constructivist, Suprematist, De Stijl, and Bauhaus movements. In this tribute editorial, Australian photographer Helen White worked with industrial music duo Angelspit’s Amelia Arsenic and ZooG to create a microcosm bursting with exuberant primary colors and bold shapes. What began as a one-off promotional shoot for Angelspit developed into a narrative wherein fearless latex and origami super-heroines defend their paper universe, ready to take on any challenge that comes into view.
Reinventing the Wheel
Comics creator Paul Pope reinvented the Batman mythos with a fierce cyberpunk critique of dystopian society in Batman: Year 100, and his speculative fiction epic, 100%, quickly became known as a modern masterwork. He has collaborated with the fashion brands Diesel and DKNY. His sporadically released sci-fi adventure story, THB, first published in 1995, continues to evolve and to astound. The 2007 PulpHope retrospective monograph covers every aspect of his work so far; intriguing women, strange machines, enigmatic castaways, and sprawling metropolitan vistas merge into a mystifying art colossus. Late last year, Pope hung out in a NYC bar with writer Ales Kot and a bottle of wine to discuss, among other things, art, music, empathy, and dreams.
Time Is On Her Side
Although she’s one of the most accomplished and well-traveled performers in her field, Rachel Brice describes herself simply: “I belly dance. I collect old junk. I am in love.” Aficionados have nicknamed her The Snake Charmer. World-renowned for her innovations in a dance form called Tribal Fusion, Brice has indeed mastered serpentine arm work, along with gravity-defying backbends and astounding abdominal muscle control – all markers of the indomitable substance beneath her fine-tuned aesthetic. Last year, on a rainy green evening in Portland, Oregon, Brice welcomed Meredith Yayanos into her home for a warm and candid conversation about belly dance, joy, and self-acceptance. Our cohorts Jason Mitchell and Stacey Ransom of Purebred Productions shot incredible Coilhouse exclusive photographs and video for this feature, building an entire set around the aesthetics of Issue Six for Brice to inhabit. Here’s a sneak peek of the music video (available in full as a digital download to everyone who buys through the web store).
A Time of Such Exquisite Plumage
Jared Joslin’s paintings are gilded portals to the sensual past. Exploring his work, we encounter thriving pockets of nocturnal Weimar nightlife, Dust Bowl era carnivals, and glittering pre-code Hollywood nightclubs. Joslin has said that what fuels his vision is “the feeling that you don’t necessarily fit within your own time. You’re drawn to the past in ways you can’t quite understand, but feel the pull of it and want to take on [its] dreams.” His creations truly do seem timeless, and they are dreamy indeed, but his fascinating answers to Mer’s queries about his artistic process convey a sharp and lucid intelligence.
Enjoy Living In Brazil
Few luminaries of cinema have as many pages dedicated to their process as Terry Gilliam. No doubt, there are directors with thicker tomes, but most, if not all, have the distinct advantage of being dead. Mr. Gilliam’s abiding vigor is a handicap for which he can hardly be faulted! As it stands, the life’s work of Monty Python’s sole American member remains a fascinating point of interest, owing both to his unique filmmaking process, and to his quixotic endurance in the face of seemingly insurmountable obstacles. A few months back, Nadya Lev caught up with the affable expat to discuss film, how hard it is to break up with the United States, and the primal thrill of building tall, unwieldy structures of whimsy… and then watching them burn.
INFECT illustration by Zoetica Ebb
Zoetica’s starkly elegant INFECT illustration features a witchy German Expressionist siren of the silver screen.
Richard Elfman & the Mystic Knights of the Oingo Boingo
Brave Adventures in The Forbidden Zone
In cahoots with a gang of fellow creative abnormals – most conspicuously his little brother Danny – director Richard Elfman and the Mystic Knights of the Oingo Boingo presented demented, biting satire from the Hollyweird footlights from 1972 through the early eighties. Their gleeful shtick took cues from (and liberties with) Max Fleischer cartoons, German Expressionism, the Three Stooges, Cab Calloway, Frank Zappa, Spike Jones, various flapper and vaudeville legends, and the like. Presenting Gong Show-winning performances that combined old-timey traditions with more sharply modern slapstick, they were equal opportunity destroyers of taboo. Even from an outréphile’s standpoint, in subterranean sects where just about anything went, their antics dropped a lot of jaws. And that was before they made their “WHAT IS THAT I DON’T EVEN” opus, The Forbidden Zone. This feature is about that movie, and the (Elf)man(s) who made it happen. Written by Meredith Yayanos.
The Paper Mache Mystic of German Expressionism
We are honored to publish this feature on the intriguing Expressionist artist and Bauhaus theater personage, Lothar Schreyer, written by the incomparable Mel Gordon– a writer, a professor, a lector, a New York Actor’s Studio alumni, a historian, and author of the books Voluptuous Panic: The Erotic World of Weimar Berlin, The Seven Addictions and Five Professions of Anita Berber, The Grand Guignol, and Hanussen: Hitler’s Jewish Clairvoyant, among others. Unflinching and thorough, with a dizzying knowledge of theatre, art, Jewish history, and the sex trade, Gordon has made it his life’s quest to expose (and scratch) all manner of underbellies. Much like his biographer, Schreyer was a professor and professional troublemaker possessed of feverish vision and intelligence. The feature includes a short, never-before-published play of Schreyer’s, translated into English by Gordon.
56 Entrants at the 2009 World Beard & Mustache Championship
In the spring of 2009, photographer Dave Mead traveled to Anchorage, Alaska to attend the annual World Beard & Mustache Championship. “Only taking time for one bathroom break and a slice of pizza,” Mead spent eleven straight hours shooting thousands of pictures of men sporting some of the world’s most elegant, creative and elaborate facial hair. These unique and wonderfully expressive men captured by Mead’s lense are magnificent indeed.
Print to Fit: Robert Lang’s Origami
Hex Twist Resch Bump Tessellation
Rather than closing the issue with paper dolls, we’ve decided to close it in the spirit of Issue 06′s angular, architectural style: with a custom origami folding pattern created for Coilhouse by one of the most renowned origami artists of our time, Robert Lang. Robert Lang’s work sits at the intersection of mathematics, origami, and science. A former NASA engineer and physicist with over forty patents, Lang can transform an uncut sheet of paper into an impossibly complex three-dimensional shape: a scorpion, a pond turtle, a rock climber, a Black Forest cuckoo clock. In lieu of paper dolls, and closely in keeping with Coilhouse Issue 06’s angular, geometric theme, Robert Lang has specially crafted a piece known in the genre of abstract origami as a tessellation: a repeating set of folded pleats and twists.
O HAI COILHAUSERZ. Lots of lovely folks tuggin’ on the line this morning, wondering “WHUR IZZIT?”
Eeeeee! Almost ready. We’re still sussing out some last min. backline details, but Issue Six will be on sale IMMINENTLY. Check back in an hour or two. Sooooo close!
We are excited to announce that Coilhouse Issue 06 is dropping tomorrow.
Much like the recent Coilhouse ball in NYC, this issue is black, white and red all over. From Klaus Nomi to Rachel Brice to Blixa Bargeld, from Kathleen Hanna to Terry Gilliam to Paul Pope, Issue 06 is 113 pages of lovingly-produced articles, art, photography and design with a Constructivist/Expressionist/Futurist theme. We’ve worked long and hard on this issue, and we’re excited to announce that it will, at last, be going on sale tomorrow on this site. It’s also currently available in stores.
All will be revealed tomorrow. For now, a sneak peek at the articles, and our main message about the release of this issue:
It’s a momentous week for Coilhouse Magazine and Blog. Please be sure to check in often, as we’ll be making a lot of important announcements over the next few days. The first of which iiiis…
THE NEW PRINT ISSUE. It’s so close. Eeeee! Better late than never, right? We couldn’t have pushed through and gotten it completed, paid for and printed without the tremendous support our readers, contributors and friends have given us. Once again, huge gratitude to every single person who has helped out.
Today, we want to extend a special thank you to two volunteer videographers who captured footage of our big fundraising birthday party in New York City last August: Keith Jenson and Abigail Amalton. Keith and Abi have shot and produced not one, but two gorgeous video mementos of the event. Here they are:
“On August 21, 2011 Coilhouse left the cozy comforts of their west coast catacombs to throw an epic fundraiser at the Red Lotus Room in Brooklyn, New York for the release of Issue 6 (of their oh-so-beautiful print magazine) and to celebrate their fourth birthday! Over 300 people turned up to the Gemini & Scorpio-presented event for a dancey, glittery, silk/fire/trapeze/music-infused evening full of wonder and awe and love.”
Keith and Abi are sweethearts with quite the squee-inducing origin story! At the Ball, they told Mer that Coilhouse actually played a substantial role in bringing them together; when they first met, Keith noticed some of Abi’s Coilhouse schwag, and they bonded over their mutual appreciation for the site and the mag. (SWOOOON.)
Thank you so much for coming out and documenting that wonderful night, you beauties.
Keith & Abi at the Ball. Photo by Steve Prue.
Please welcome guest blogger Eden Gallanter! Eden is a painter and writer. She also works on sustainable urban planning and restoration ecology in landscape architecture. In addition to these talents, Eden is an accomplished tango dancer. In this article, Eden tells tales of subatomic physics and Mannerist painting – and what they have to do with tango, a fascinating dance form not yet covered on Coilhouse. Enjoy! - Ed.
Article and illustration by Eden Gallanter
Argentine Tango is the most difficult of all partner dances. Intimidating, overwhelming, and endlessly complex, one may reasonably wonder at the continued prominence of social Tango dancing. After all, beginners can expect to spend many months in practice before venturing out to a Tango dance (called a Milonga), and even then, most dancers must endure a few years, at least, of rampant unpopularity. Even those who are skilled in other partner dances, such as Swing, Salsa, or Waltz, usually find themselves disconcertingly back at beginner level when learning the Argentine Tango. Everything you hated about your middle school dance instruction (whether this involved a finishing school-style class in ballroom dancing or just a traumatic experience at a school dance) is amplified, all of your insecurities lining up to greet you if you decide to learn Tango, the most demanding of all social dances.
Then what are people coming back for? The truth is, it’s the very qualities that make Tango so difficult that also make it so rewarding. Tango isn’t hard because of all the moves you must learn, it is hard because it relies on the partner connection more than any other dance. If you’re dancing a Viennese Waltz and your partner doesn’t know what he or she is doing, you can at least dance the correct steps anyway and hope that your partner catches on– but if you’re dancing a Tango, this is next to impossible. You can’t move a single step if your partner can’t feel where you are, or where you’re going. Leaders have somewhat more control over this connection than followers do, but the lesson is the same: without a physical understanding of the position and direction of your partner, there is no dance. In Tango’s closed position, the two of you are leaned against one another, the centers of your chests aligned. You are sharing a single gravitational axis, and, for better or for worse, you move as one. This is precisely what makes this dance both terrifyingly difficult and, at the same time, perilously, wonderfully, heart-stoppingly intimate.
Bautiful tango video to post from a festival in Montreal set to Cat Power’s weird, moody cover of “(I Can’t Get No) Satisfaction.”
This heavy emphasis on partner connection doesn’t mean there aren’t plenty of moves to learn in Tango. There is an amazing array of styles, steps, and decorations to learn, though all depend strongly on the partner connection in order to work. The boleo contra (“throw against,” in Spanish) is made with a bent knee while the whole body rotates, drawing a graceful circle in the air with the toe. The boleo contra results from an abrupt change of direction between you and your partner, releasing the energy of opposite motion; done quickly, it feels like the beating of wings, each partner using the other’s momentum to execute a series of brief kicks.
The partner connection is not the only relationship that matters on the dance floor, though it is of the most vital importance. The best instructors in Buenos Aires teach that there are in fact no less than five “partners” in a single dance: the partner, the floor, the other couples, the music, and yourself. Tango dancers (called tangueros) must constantly pay attention to all of these. For instance, if a follower does not move to the tempo of the music, the leader will not be able to stay on beat either, and a vital framework for the communication of one another’s movements is lost. Negotiating relationships with all five “partners” is essential to the dance, even though all do not require equal attention (and, in fact, for the follower there are only four partners, as it is the leader’s job alone to manage their spatial relationship to the other dancing couples). If tangueros look overly serious when dancing, it is only because their attention is engaged fully in the demands of the dance.