September 2010
Saving Sarah
August Cover Story
When someone in your life has cancer, the sun shines less bright, food tastes bland and words cannot express the dread that runs through your veins. My mother’s cancerous lump was found in her breast in 1996. For five years she went in and out of surgery, radiation, chemo, hope and remission—until it returned to take her in 2001. The anxiety I felt during her treatment caused me to lose sleep, lose my breath, act out in violent outbursts, and battle panic, futility and depression. My best friend on earth was dying and I couldn’t help her.
I know what Sean Murray and his wife Sarah are going through. The hope and dedication that’s buoying the Reno couple, newlyweds after ten years together, is like a real life version of The Notebook. Sean’s Save Sarah campaign brought their plight to our attention, and we want to honor and support this special young couple by sharing Sarah’s story in her own words.
RTT: Tell our readers about the journey that cancer has led you on since your diagnosis.
Sarah: In November of 2005 I found a lump in my right breast. It felt like the yolk of a hard-boiled egg. I knew immediately that my life as I knew it was about to change completely. My entire battle seemed to flash before my eyes in just a few seconds. I heard a voice tell me that, “I was going to go through a lot of shit, but I was going to be OK.”
I went to my doctor and requested a mammogram. After a sonogram was able to detect the mass, I was scheduled for a biopsy. I was diagnosed with stage 3A Breast Cancer in January of 2006. I'd just celebrated my 26th birthday on Christmas. When I heard the doctors’ voice tell me, “You have cancer,” I literally fell to my knees crying. I was completely floored, beyond devastated.
I was immediately thrown into a tornado of information and life or death decisions. I had to choose an oncologist, a surgeon, a plastic surgeon, a radiation oncologist, and an o.b.g.y.n. oncologist, it was all very overwhelming.
After finding my medical team at UCSF, I began chemo and ovary suppression right away. They’d found another tumor in my lymph nodes under my arm. The docs wanted to see if my tumors would shrink before operating on me. All of this came along with multiple scans before and after chemo.
I had a lumpectomy in June of ’06. The surgeons didn’t get clear margins, (there was cancer in my body still). They scheduled me for a “re-excision” right away. Again, they weren’t able to remove the rest of the tumor. I was then scheduled for a right breast mastectomy. This time, literally everything was gone. I felt a strange emptiness and sense of loss. I certainly mourned for my breast. After that I went through radiation therapy to make sure there weren’t any escapees.
Then, in January of ’07 I began a clinical trial for the drug Avastin. It’s a drug that was proven to reduce the risk of recurrence in lung, and other cancers and they wanted to see if it had the same benefits with breast cancer. I’d soon find out that one of the side effects of Avastin was “poor wound healing”.
In March, my stitches opened and my tissue expander was exposed. The hole was about the size of the tip of an eraser on a pencil. I had to have what I lovingly call, an emergency boob job. They replaced my expander with a regular implant. I was taken off of Avastin for a month. After that I started back up on the clinical trial and got on with life. I was even back at work.
In July, I had a check up with my surgeon. She found that there was a tiny, (the size of a needle head), hole in the bottom of my incision--again. She convinced me to let her stitch me up there in the exam room, (big mistake). A week later I was in back in the hospital with an infection. I had to stay for 5 days. (Keep in mind that I was traveling back and forth to San Francisco every time I had to have a procedure done. UCSF has everything in one place, which was convenient, but 3-4 hours away from home.) This was only the beginning of what I refer to as, “The Summer of Surgeries.”
I was released from the hospital for my infection on July 15.
On July 19, my stitches opened again and my doctors finally decided to take me off of Avastin. When I went in to have them re-closed, they tried surgical super glue. My scar looked like a geode.
On July 23, my stitches opened again and I was admitted back at UCSF for surgery #6 to replace the implant with a smaller one to take some tension off of the scar.
On August 18, my stitches opened again. This time the hole was about the size of a dime. I could see the implant. It was so creepy. I felt so fragile. August 20, I had another surgery replacing the implant with an even smaller one.
On September 12, my stitches opened again. This was the largest hole yet, (See Photo). I drove back to UCSF to be re-admitted for yet another surgery.
On September 14, I had a Latisimus-Dorsi Flap surgery. They exchanged the implant and used part of the muscle and skin from my back to cover the implant and patch the hole in hopes that it would give my skin something familiar to heal over and around.
On October 16, my stitches opened again! I went back to UCSF for surgery #9 where they removed the implant so my body could heal without a foreign object there. I was left looking and feeling completely and utterly abused.
Shortly after that I began hyperbaric oxygen treatment to help with the healing. I lay in an oxygen chamber for 2 hours a day for about 30 days. I would watch movies or sleep, usually both. It did help and I was able to escape surgery for almost a year.
In September of 2008, I had my re-construction. I decided to remove my left breast as well. I was so over dealing with all of this cancer bullshit!
I had completely returned back to normal life. I was the manager and catering director at Bistro 7. Sean and I were looking forward to celebrating our 9-year anniversary together. Life was really good.
Then, in March of this year I found a lump on my neck. I went in to see my oncologist here in Reno, (I have one here too). By the time of my appointment, I’d found two other lumps. I was sent in to have blood work done, and scheduled for a biopsy. My tumor levels in my blood were elevated. I went in for surgery #10.
A couple days later it was confirmed. My cancer was back: Stage 4. I was so devastated. My oncologist immediately scheduled me for full body scans. There was tumor uptake found in my liver, spine, lungs, clavicle and in my brain.
I was sent to St. Mary’s to have the Cyber Knife surgery for the tumors in my brain. It’s a targeted radiation to the area where the tumor is and the surrounding tissue only receives trace amounts of radiation. After that I went in to have my ovaries and fallopian tubes removed, (surgery #12). It turned out there were tumors in my ovaries as well. The cancer I have is estrogen receptor positive, so any estrogen in my system is like fertilizer for the cancer. I began taking Femera, an aromatase inhibitor, and they started me on Zometa to keep my bones healthy.
My treatment so far has been successful. For a while there it got really scary. I was loosing weight really fast and I was scared that I wouldn’t be strong enough to fight this. But as of now, I’ve gained 10 pounds and maintained a healthy appetite. My doctors say that they don’t see any reason to schedule chemo at this time, so right now I’m in a bit of a holding pattern.
RTT: Cancer is synonymous with death and fear in this society. How has the disease affected how you look at time, and how you see yourself and the world around you?
Sarah: I definitely see my life as being much more precious. I make sure to take time every day to stop and smell the roses. Whether it is admiring the clouds in the evening, or spending quality time with my loved ones, I make sure to appreciate every moment to its fullest.
RTT: During my mother's treatment, I told friends that I was not prepared to witness how physically painful cancer can be. I never knew it hurt. Talk about pain management in your treatment.
Sarah: Better living through chemistry! I have some very odd pain that comes and goes. Luckily the most painful times I’ve had, I’ve been well medicated. There is of course the emotional pain that is very hard to treat with drugs. I’ve had to come to a point of acceptance. This is my life and I’m going to live it the best way I can, for as long as I can.
RTT: For people who might now be experiencing the initial stages of a cancer diagnosis, explain what kind of psychological, spiritual and emotional stamina is involved in coping with this disease. What resources have you availed yourself of to deal with your cancer?
Sarah: You have to be your own advocate. Take control and find out as much as you can about your situation and your options. You have to be strong and fight for your life. If you’re not ready to stand up for yourself, you may as well throw in the towel. There is so much support out there. You just have to be willing to do some legwork. I’ve received help from the American Cancer Society, the Susan G. Komen foundation, the Reno Cancer Foundation, Mom’s on the Run, etc. Reach out to your loved ones and to your community. The resources are there.
RTT: How huge is it to have someone like Sean in your life to go through this with you, and how has he dealt with the disease?
Sarah: I couldn’t have made it this far without him. He has been by my side every step of the way. I can’t imagine how it must feel for him. I believe he has literally saved my life with his love. We just got married a couple weeks ago. After almost 10 years together, we are still such giddy newlyweds. (I love you husband!)
RTT: Sean, describe for people what it's like to have a loved one battling cancer. What reserves of strength and faith have you had to tap to both cope and assist with their care, recovery and day-to-day life?
Sarah having cancer is not the first time I’ve had to deal with a loved one and this illness. I lost my father to bladder cancer just before Sarah was first diagnosed in 2006. Before that, I lost my mother to alcoholism in August 2001, just before 911. So it's safe to say my life has been a bit of a mess for the past 10 years.
A couple years after my mother passed away, my dad remarried and was on a course to change his path from a meat and potatoes tough guy who didn't talk much, to a more sensitive and laid back lifestyle while preparing for his retirement years. This was a welcomed change, since my father was a workaholic and had spent most of his marriage to my mother working two jobs and dealing with her ever worsening alcoholism. He was changing his diet, getting more exercise and just taking time to really start enjoying his "over the hill" years with his new wife Susanne, when he found out he had cancer.
My father's situation was like so many others that I have heard stories about. Here is this tough guy (that was a San Francisco firefighter for almost 30 years), who never went to the doctor unless it was a last resort, and before we knew it he was diagnosed with stage 4 cancer. 6 months later he had passed on. This was the hardest and most painful thing I had ever dealt with in my life.
When I found out that Sarah had breast cancer the first time, I freaked out. It had only been a few months since the passing of my father, and I was defiantly unready for another blow of this scale. My "fight or flight" instinct kicked in. All I could think about was my father and watching him suffer through chemo and eventually pass away with me and our close family members by his side. All that was going through my head was "I cannot go through this again with Sarah; she is only 26 years old. How can this be happening?"
There were times when I would be driving home from work and I thought, "What would happen if I just kept driving and never looked back?" But then my responsible side kicked in, thanks to what my father had taught me growing up. "Ok, we need to deal with this; we can beat it!" Then we started the long road of doctor’s appointments in the Bay Area, chemo, and all the rest that comes with fighting cancer.
During this time I was a wreck. I had to change the hours I was working at a local video game company as an Audio Director to part time, just to help take care of Sarah. The stress of work and Sarah's treatments proved to be too much for me, and I ended up quitting my job altogether. Supporting Sarah was my full time job now. I was feeling so many emotions at this time: helpless, angry, confused, strong, weak, love that is so intense it hurts, and tired--man was I tired--physically and mentally.
But we got through it. The cancer was gone! Our lives slowly started to get back to normal. I went back to work, but was now making a lot less money in a different field. Sarah went back to work in the restaurant industry and started to move into fine dining management.
Things were good for the most part, but a few things stayed with me that were not there before. Stress. I have always been a bit of a stress case, but now I was having borderline panic attacks. Insomnia. I have always been a night owl with my music/dj career, but now even when I’m not working, or playing a show, a 4 or 5am bedtime is not unusual. This was troubling for me.
When I found out Sarah's cancer was back and had spread, I was crushed once again. But this time was different. We were both "seasoned cancer veterans" now. The first few weeks were filled with disbelief and anger. But then we decided to turn this into a catapult for positivity in our lives. We finally decided to get married and to go on our first vacation in 8 years. I also decided to start the "Save Sarah" campaign, because the first time we went through this, we did it mostly on our own and silently. The time for silence is over. People need to know about this and even if the exposure makes one woman check herself more frequently, then we have done what we set out to do.
Music has always been a big part of both our lives, and has been a major emotional outlet for me during all these rough times. After working in the audio industry and as a nightclub dj for 17 years, I am in a good position to promote "Save Sarah" at events like our monthly "Hustle" party. Now we have a real purpose other than my need to express emotion through music. The only issue now is that I just cannot handle the stress that comes along with event promotion on my own. Many friends, event promoters, musicians, businesses, and others have started to step up and help spread the word to help save Sarah. Just a few weeks ago, a few friends skated on long boards and roller skates 72 miles around Lake Tahoe during the "Skate for the Cure" event June 28th and 29th. This was all done with Save Sarah as the main driving force behind this year's event. I was amazed by the love, dedication, and support we received.
RTT: What's the next step or stage for you in your treatment and how can people help?
Sean: We will continue to fight, and with all the love and support we have received so far, I am convinced we will get past this and spread awareness all at the same time.
Sarah: Right now my doctors are continuing to keep a very close eye on me. I just had an MRI to see how successful the cyber knife surgery was. I continue to go in for blood work every few weeks to keep an eye on my tumor markers, liver function, etc. I’ll be having scans taken every couple months to keep an eye on the size of the cancer. I still have palpable tumors all over my body, which I am keeping a very close watch on.
The best way to help is to raise awareness in young women. It’s so important to feel your boobies! And for you men out there, to feel your testicles! Early detection is key. My cancer wasn’t genetic. I can’t stress enough how important it is to be in touch with your body and your spirit. We’re all able to do it; you just have to take the time to listen.
Cancer is really expensive. My bills are outrageous right now--even with insurance. I was just getting caught-up from the first round. There is a good deal of treatment that isn’t covered. Most eastern medicinal practices are just now being acknowledged as beneficial in the treatment of diseases. I know times are tough right now, but anything you can donate, even $5 helps. I have a website set up: www.savesarah.org. On the left side of the page you can find a link to my pay pal donation box. I have a message board to keep everyone updated on how things are going. It’s a great place to leave messages of encouragement as well.
Burning Man Film Festival
@ the Knitting Factory
Thursday, August 19th from 4 -10pm
The film festival is offered in part as a fundraising effort to support the current art installation “Duel Nature” by Kate Raudenbush – currently on display on the Riverwalk in downtown Reno, Nevada. The Burning Man Reno group will also benefit from proceeds from the film festival and related sales.
Both full length, and short features will be shown, including:
“Beyond Black Rock” (2002) by Mike Wilson & Damon Brown
“Burning Man MCMXCVII” (1997) by Chuck Cirino
“Voyage in Utopia” (2007) by Laurent Le Gall
“Back to the Burn” (2005) by Sunny Minedew
“Burning Man MCMXCIV” (1994) by Chuck Cirino
“Burning Man” (1991) by Larry Harvey
“The Art of Burning Man” (2002) by Karie Henderson
Tickets to the festival are just $10 at the door for participants in costume, and $15 for individuals not in Burning Man attire.
Proceeds from the event will benefit Black Rock Arts Foundation’s current installation in downtown Reno, as well as establishing an ongoing fund to develop more locally placed art installations, from Burning Man, throughout northern Nevada.
“This Film Festival is a great way to experience the rich history and culture of Burning Man, for both loyal “Burners” and those who have never been to the event. With the Knitting Factory’s generous support, we are planning a great night of film, fun, and Burning Man culture,” said Maria Partridge, Reno project liaison for BRAF and Advisory Board member.
“We are proud to sponsor and host this film festival just before Burning Man which happens the week before Labor Day.” said Dean Hanson, The Knitting Factory (Reno) General Manager. “Burning Man’s rich history and culture offer great art to northern Nevada, and we are eager to support the Black Rock Arts Foundation’s installations here in Reno”.
FEATURE FILMS-
Beyond Black Rock, 2002 (110 mins)
By Mike Wilson & Damon Brown
This first-ever authorized documentary goes behind the scenes for an authentic peek at the inner workings of Burning Man from the inside out. Beyond Black Rock explores the philosophy that fuels this unique social revolution and the tireless organizers, artists and participants who efforts create and nurture a cultural force worldwide.
Beyond Black Rock features artists David Best, Bob "Wizzard" Marziewski, Rafael Santiago and many of great theme camps, performers, Burning Man's staff and volunteers. With high production values and fantastic music this is the perfect showpiece for your festival closer. Highly recommended has a showpiece feature.
Burning Man MCMXCVII, 1997 (82 mins)
By Chuck Cirino
Skillful edited and paired with great score to capture the excitement and chaos of Burning Man 1997. The video features a 5-minute preface of the history from early Baker Beach and Black Rock burns, narration by Larry Harvey. It also follows the colorful and controversial issues with local authorities, and circus of video cameras.
The history of Burning Man is captured, including bits of the historical "Save the Man" speech and the first glowing appearance of EL wire costumes on the playa. This film contains nudity, and is highly Recommended!
Voyage in Utopia, 2007 (83 mins)
By Laurent Le Gall
With a strong emphasis on founder Larry Harvey and temple artist David Best, this film expresses the scale and power of the Burning Man experience. Superb cinematography and editing are combined to make this is one of the most moving Burning Man videos ever produced.
“Voyage in Utopia is a remarkable piece of story telling. It does what our event is said to do : it evokes the inexpressible, it invites imagination to inhabit the unknown”.
- Larry Harvey
SHORT FILMS –
Back to the Burn, 2005 (27 mins)
By Sunny Minedew
Back to the Burn offers an overview of the integral components of Black Rock City: community services, art cars, art installations, theme camps, and the Man Base. The film explores the significance of the 2005 "Psyche" art theme and offers a close look at the Temple of Dreams.
Features David Best explaining the significance of the temples to community building. DPW Manager Tony "Coyote" Perez offers insight into the unique layout and construction of Black Rock City. Contains nudity.
Burning Man MCMXCVII, 1997 (82 mins)
By Chuck Cirino
Skillful edited and paired with great score to capture the excitement and chaos of Burning Man 1997. The video features a 5-minute preface of the history from early Baker Beach and Black Rock burns, narration by Larry Harvey. It also follows the colorful and controversial issues with local authorities, and circus of video cameras.
The history of Burning Man is captured, including bits of the historical "Save the Man" speech and the first glowing appearance of EL wire costumes on the playa. This film contains nudity, and is highly Recommended!
Burning Man MCMXCIV, 1994 (47 mins)
By Chuck Cirino
One of the first documentaries of the event, Chuck Cirino captures Burning Man when the population was a few thousand people, at a time when driving across the playa was commonplace, when The Man was within every participants reach, and when it was ultimately set afire by Crimson Rose and Will Roger.
This film is one of the few to showcase the early, lawless days of the event. In the days when it defied description in the media.
Burning Man, 1991 (29 mins)
By Larry Harvey
A short film directed and produced by Larry Harvey, this film shares Harvey's view of the interplay symbols of the masculine and feminine, mortality and the "spiritual process," and significance of using fire as a representation of the creative spirit. Interviewer Judith Iam interviews festival participants of the 1991 burn, exploring the significance of "The Man" in their lives.
Included in this feature is coverage of an actual effigy burn on Baker Beach and serene sunrise views in Black Rock City. Capturing the communal effort involved in raising the man and the celebratory origins of burn night, the film hints at the spark which turned Burning Man into a phenomenon.
The Art of Burning Man, 2002 (9 mins)
By Karie Henderson
A time capsule featuring notable art installations, including interviews with the artists who take on the impossible task of creating these memorable efforts which help define the eye-opening environment that is Burning Man.
The Art Of Burning Man features early art exposes of Craig Duff, Dan Das Mann, Daniel Rozenberg, Jeremy Lutes, John Behrens, Maurizio Benazzo and Michael Christian.
March 2010
Our community's most gifted visual artist will completely recreate The Chocolate Bar with the exquisite accents and detail he's become known for in his creative work. Join us Friday, March 5, 2010 7pm, for an amazing evening of fantasy, in celebration of the opening of Tim Burton's Alice in Wonderland at the Summit Mall's Cinemark Cinemas. The Chocolate Bar will host "Franz's Tea Party." Come as your favorite Alice character and receive discounts on drink specials. See you there!
Feburary 2010 ~ The Roots and George Clinton
January 2010 Cover ~ Suburban Celebrity
Back in 2001, when I lived on Melrose and Fuller in LA, there was a club on East Melrose called 42. The owner had a deep love and appreciation for French burlesque style cabaret and traditional fan dance. 42 was amazing. Over time word of mouth grew and folks started packing the tiny venue to see live stage shows featuring the sensual pulchritude of some of LA's most talented burlesque performers. Later that year, the Pussy Cat Dolls started doing weekly shows at The Roxy on the strip. I hung out at The Rainbow after our Viper Room, Key Club or 
Roxy shows with Sean Healy Presents, so I saw a lot of the scene grow on the strip. The Dolls weren't very famous at the time, but the popularity of 42 helped give LA an appetite for this art form. Soon, celebrity guest dancers started to appear with the dolls doing hella sexy, campy grinding sets. One night I saw Hef roll up and get out of his limo with three lovelies in tow to attend a Pussy Cat Dolls performance and I knew that they were onto something huge.
Amber Lee is Reno's hottest, hard rockin'Go-Go hard body. Well-known in the club scene for her high energy work at 210 North & Xtreme @ GSR, Lee is doing for Reno Go-Go what the Pussy Cat Dolls founder Robin Antin did for burlesque in LA. Lee's new company, Suburban Celebrity, is poised to make a splash in 2010. Lee's developing the first Go-Go casino show that will showcase elements of Burlesque, Hooping, and Hard Rock Freestyle dance, opening doors for an entire wave of improvisational dance professionals to get in and get noticed in the industry.
December Cover ~ Bizarre Guitar & Guns
Photos by Jamie KinghamA man’s values can be revealed by his creed. But his character is forged by what he overcomes, and is proven by his deeds. One would be hard pressed to find a closer, more solid, loving relationship of mutual respect and admiration than the one shared by Bizarre Guitar & Guns owner Greg Golden and his son Grant. My dad is my best friend, idol and mentor, says Grant. It’s rare to see both the respect and generosity of their camaraderie. These guys love each other’s company. Friends and family members say they have an almost telepathic connection; finishing other’s sentences and knowing how each other relate in a situation. Both men exhibit a fierce competitiveness and penchant for peak achievement. The pair possesses a passion for baseball. Grant was a two-time all American shortstop, which also happened to throw a 95 mph fastball. Greg is a National Certified Umpire, who was a standout in the Over 40 Triple-A league in Fairfield, California. The senior Golden, whose first sport was boxing, also passed this interest on to Grant, a heavyweight boxing prospect and martial arts expert with twenty years of fight training. Both Goldens are well-known for finishing any trouble that comes their way.
Photos by Jamie KinghamA 4th generation Northern Nevadan--Golden Valley bears his family name--the elder Golden, the son of a tough-as-nails carpenter/ boxer who ran up an astounding 153-0 record as an amateur, got his first guitar when he was seven, and he was hooked. “On my 7th birthday, I got a used ’57 deluxe tweet amp and a ’56 two-tone Fender Strat with a maple neck. I could play a C & D chord right off the bat,” recalls Golden. “I played that guitar until I was 14. My parents sold it back to the rancher neighbor next door for the $100 they originally paid for it. Twenty years later, my parents bought the guitar back from that same rancher for $500. I sold it to the Rolling Stones in 2000 for a small fortune,” remembers Golden with a smile. 
Photos by Jamie Kingham
After graduating from UNR with a degree in accounting, Golden would fairly master the art of buying and reselling guitars, after opening his first small shop, a 400 sq ft storefront in Sun Valley, in 1972. What made him become a collector? “It’s kind of like loving the best of the best,” states Golden. The guitars of the 50’s and 60’s are like the Stradivarius.” His son Grant observes, “Every thing my dad does, he does 120%.” The majority of Golden’s business is derived from outside the region. From his single Reno store location, Golden has been able to build a national reputation for quality, selection, service and excellence. Golden’s list of celebrity clients reads like a who’s who of modern music. “I’ve sold guitars to Randy Travis, Ric Neilson of Cheap Trick, Ritchie Blackmore of Deep Purple, Eddie Van Halen, Jimmy Page, Billy Gibbons of ZZ Top, Merle Haggard (’50, ’51 Telecasters),” notes Golden. Santana, who favors ’52 Les Pauls and ’57 Stratocasters, has purchased over fifty guitars from Golden. Collectors come from as far away as Europe and Japan, to choose from the largest selection of rare and vintage guitars in the world. Bizarre Guitar’s high security vault is home to the most expensive guitar on earth: a mint condition 1959 Les Paul Standard with 100% stock flame top and unsoldered electronics.
Golden credits music for being a transformative force in his life. On December 22, he will celebrate his 50th year playing the guitar. “I come from musical family, states Golden. My uncle played a mean sax. My mother’s father was also a sax and trumpet player. My great uncle was the world famous Chester Barnett, professionally known as Bobo the Clown, who played many instruments, including the sax and trumpet. My mom was an incredible singer; my sister sings and plays guitar,” Golden notes.
With Grant now fully integrated into the day-to-day operations of the business, life is good for Golden, who recently married his beautiful soul mate Shanda. The notorious workaholic finds time to balance family and the books. Could anything be better? “My mother has one wish: for me to play guitar in a band,” says Golden. Modesty won’t allow Golden to gush about his own chops, but industry veterans consider Golden to be one of the most accomplished guitarists in the world. Golden has jammed with Cheap Trick, Billy Gibbons, Edgar Winter Group, and the Gibson All Star Band, among many others. As a touring musician in a major label act, Golden opened for Foghat. An informal jam session in his downstairs band room, offered a glimpse of the fire that Golden has for his instrument. Longtime associate and musical collaborator Mike Japp, a world renown singer-songwriter who’s penned hits for Brian Adams, Kiss and Aretha Franklin among others, says of Golden, “Greg is a very talented musician. His guitar playing is superb…He stands right up there with the best of them.”
When it comes to hitting the high notes, the Goldens are making beautiful music.
Oliver X
Artwork and Photo by Dianna SionNovember Cover ~ Ashlee Stone
All About Ashlee
When I met Ashlee Stone, I had no idea who she was. Sure, I knew she was a young drag queen who threw parties--and that I rarely got along with drag queens. In fact, the first time I met her, I was pretty intoxicated and decided to just be honest when she shimmed up to the bar next to me to get a cocktail. With my heavily lidded eyes I turned and said, “Oh My God, you’re Ashlee Stone.” She stink eyed me and then I said, “I hate Ashlee Stone.” Without batting a lash and with a big smile she said, “I love it, let’s go talk about why you hate me?” And that’s where our friendship started to bloom.
In the year that’s followed, I’ve been privileged to be involved in Ashlee’s private life as a friend, fellow dreamer and confidant. Most people don’t know that Ashlee’s rather shy with new people and only has a small circle of trusted close friends. Most of these friends are fiercely loyal to and for her. She also loves her little white dog, Bella.
Photo by Dianna SionArtwork and Photo by Dianna SionWhen you take off the makeup and glamour, you have a good looking guy who--if you didn’t meet while he was in drag--you really would have no idea he is Ashlee Stone. Stone was born John Gustave Ritter IV or “Goose” twenty-one years ago to a farming family from Yerington, Nevada. Most people assume he is a trust fund baby. I asked him about how he can live such a lavish lifestyle without a 9-5 job, and he told me that from the time he can remember, he worked the family farm and went to school. Instead of being paid, his parents chose to put the money into a trust, which is then doled out to him when he needs it. He also has an IQ of 157 and graduated at 15 with a 4.0 GPA. So, if he did want a mainstream job he could certainly have one. Instead, he’s following his dreams of being one of Reno’s reigning personalities by throwing fundraisers, modeling, starting a magazine, hosting fabulous parties and producing an internet show--with the intention of branching out nationally in the near future.
When I asked a few of his friends one final word to describe him/her I was given: astounding, generous, unique, talented, and of course, flawless. And if you know Ashlee/Goose as I do, then you know these words are true.
If you’d like to learn more about Ashlee Stone and any of her upcoming events, please visit her at www.ashleestone.com. For party info, text “Vanity” to 25827.
Jenny PezDeSpencer
Artwork and Photo by Dianna SionCover Art by Diana Sion
When I was asked by Oliver X to build an ad for Ashlee Stone, I had no idea I would soon be styling for Ashlee’s new look. I immediately found myself wallowing through piles of clothes, shoes, accessories and wigs. She was looking for a new image. Something a little more up-to-date, and wanted the unveiling of the new persona to coincide with her annual birthday celebration, where it would be “out with the old and in with the new”. A re-birthing.
I loved the idea, and found it to be one of the most fun experiences ever. When I asked Ashlee what exactly she was looking for she replied, “Whatever you think Dianna. I’ll do whatever you say.” So, I looked at the opportunity as a challenge. I began looking through some of the hottest new trends in fashion; collecting catalogues, considering colors that would look best on her. Unlike her current statement hairstyle with a big bold blonde wig, and pink outfits galore, I thought that she would look wonderful with a more subdued look: darker hair, more of a neutral palette in her wardrobe, etc. So we went to town with our new attitude “fast-forward;” picking out the perfect articles of clothing for her upcoming photo shoot with me. The night of the shoot, we tried a few different outfits that all looked great on her. (Ashlee is a talented, professional make-up artist, but allowed me the honor to try something new with the way she was wearing her eyes.)
Artwork and Photo by Dianna SionWe used more browns and neutral colors; worked on more of a natural look. It all looked great on her. (It’s pretty hard to go wrong when your model is already gorgeous--without a touch of makeup on). I felt honored to get to work with her on her new image and enjoyed every second working with her. She is an absolute love!
Oct. 24 was her re-birthing party at The Red Martini. Everyone was so excited to see what Ashlee’s new look would be lke. So, the coffin was wheeled out onto the stage around midnight, with Ashlee inside. I was on stage with the coffin and had my cue as to when the door should open and Ashlee, in all of her new beauty, would come out and dazzle the entire audience. She was a vision in her short black feather wig and a very sophisticated evening gown. Everyone loves Ashlee. She is beautiful and kind, and there is no wonder why the Reno community voted her the “Best Celebrity Drag Icon.” This has certainly been one of the most fun projects I have worked on and I made a good friend at the same time. To get to experience fashion, fun and friendship while working is definitely a “fast-forward” experience!
Dianna Sion ~ Artist
October Cover by Matthew Goodsell
Since 2003 my work has been st
eadily evolving away from my early self taught experience in professional fantasy illustration towards a much more personal, more visceral, subject and style.
“Satirical,” “acerbic,” “dark,” words I often hear used to describe my paintings. I prefer simply to think of them as more real, more honest than my previous, purely fictional work. I haven’t completely abandoned my love of fictional elements, however, and I still use fantasy as a filter to comment on the very real, too often very painful feelings I see and experience in my daily life.
Beginning in about 2005 the paintings began to grow increasingly more self reflective, self debasing, and angry. A phase, fortunately, I have been able to grow beyond in the last few years and the latest works, as well as those still running around in my head, although no less powerful in their attempted commentary, are more balanced with messages of hope and perceived beauty than the darkness that drove many of the earlier paintings.
Almost all of the paintings start as woodless graphite pencil drawings on either cold press illustration board or watercolor paper. After the detailed portraiture is worked up in pencil I then finish the drawing phase with a light sketch of supporting elements before scanning the drawing into digital form. The work then continues, now painting digitally, at this stage I am often not completely certain of the detailed composition of the finished piece and the power of digital media greatly helps in this regard. Digital paints allow me much more freedom to experiment than I would dare with “real” paint on a fragile piece of board or paper. The composition is finalized digitally, experiments honed, and the painting completed. A painting takes anywhere between two weeks and a month to complete, depending on the complexity of the subject, and of course, the graciousness of my muse.
The wings ……. Well……. Would you accept, ‘they just started showing up.’
I am at a bit of a loss to pinpoint a specific event, or period, in which I began including them so frequently in my portraits. When I look at a model I often see wings. The closest metaphor I can fit is people as ravens, which of course, became the nucleus of the series. Creatures both beautiful and vulgar, terrifying and absurd, impossibly difficult to understand, and shockingly familiar at once, ravens, or is it human beings .....
I sincerely hope you discover as much in viewing the paintings as I do in creating them.
Best,
Matthew Goodsell
Matthew Goodsell’s path to art has been a circuitous one. Educated in the sciences, biology and molecular genetics to be exact, he went on to a naval officers commission immediately following his university graduation, and following four years of service to his country, has worked for various tech companies in the IT industry. Not exactly the expected path for an artist’s education and experience to be sure.
Although his path to art has been unconventional, its impact on his life has been considerable none the less. Whenever possible, then and now, his time is spent diligently working, obsessively improving his craft, striving to find the perfect vision in art and bring it to fruition.
He has worked in almost all traditional mediums, and has years of traditional experience that has paid significant dividends in his current work combining traditional mediums with the latest technological tools. His first love, graphite pencil, has been a mainstay of his recent work, and combined with the powerful digital tools of today he has adapted quickly, and well, to the new world of digital art.
His current work consists of about half traditional media and half digital, typically both in the same piece of artwork. He still loves and works frequently with woodless graphite pencil but paints almost exclusively digitally. In addition to drawing and painting he has also begun to work in 3D artwork and animation, and is currently working on pre-production for an animated film.
Photo by Marilee Caruso
September Cover Girl Lauren Luck
“It’s not really about trying to be different, it's about being yourself.”
Photo by Scott Lomil Lauren Luck is a versatile, super smart young model who’s a joy to work with in every respect. Her intelligence is conveyed in each composition she rocks and her experience allows her to draw out the best from her lucky photographers. And yes, her curves are amazing too!
Collaborative Work
Since I’ve been in Reno, I’ve had the pleasure to work with Joy Wong Photography, Alex Lemus Photography, Kodamax Photography, JD Delacruz and High Class White Trash Photography, Reno Erotico Diablo and Jamie the Social Chemist, Sickly Sweet Designs, the Red District Fashion Show, Reagan Riot and the Atomic Ave. Clothing Line, Swest Photography, Thumpin' Magazine, Striper Josh and the Millers Chop Shop, Alchemy Motorsports, Chelsea Belflower Photography, David Sanchez Photography, Metal Jeff Photography and Bad Apple Concepts.
Photo by Marilee CarusoVersatility
I do Pin-up, Retro, Tattoo, Fetish, Glamour, and High Fashion modeling. I’m also a hair stylist, makeup artist, painter, writer, photographer, clothing stylist and I design and craft my own accessories line.
Education & Goals
Paul Mitchell the Reno Academy. My graduation date is Nov, 14th, 2009. After school, I’ll move back to the Bay Area to start an apprenticeship at a top salon. I’ll continue my modeling, editorial, makeup and hair work--and create some art on the side.
Photo by Marilee CarusoInspirations
Todd Schorr, Henry Rollins, George A. Romero, Sylvia Plath, Hussar, Dita Von Tesse, Bukowski, Gil Elvgreen, Alfred Hitchcock and my kick ass boyfriend James. All of these people inspire me for different reasons, and all are geniuses in their own right.
Tattoos
I've always wanted tattoos and waited till the age of 18 to get them. My entire left arm was done by Matt Howse at Spider Murphy's in San Rafel, CA. Some of the pieces are in remembrance of my grandpa who was Navy Seal in WWII. I frequently attend tattoo conventions, where I've done most of my tattoo work for magazines. I'm truly in love with tattoo culture and I can't wait to get more work done on my body.
Oliver X
Photo by Scott Lomil About the Cover
Our September cover was shot in photographer Marilee Caruso’s photography studio in Vacaville, California between Sacramento and San Francisco. The costuming is burlesque inspired with handmade details by the lovely Lauren Luck, who also did the makeup and hair. The set and sepia tone coloring also gives it that old western saloon feel. Thanks Merilee for allowing us to reprint this amazing shot. Check out Merilee’s work on Myspace, Model Mayhem or on her web site at http://www.marileecarusophoto.com/
Photo by Marilee CarusoPhotographer Scott Lomil talks about working with Lauren on the shoot.
The enthusiasm and openness to try new things was really the driving force behind this shoot.
For me, one of the high points was when I handed Lauren Luck a 30-inch razor-sharp katana blade and asked her to get creative with it. I must say I was impressed. The sword is heavy and a bit intimidating, but she wielded it like some kind of sexy pin-up samurai geisha.
Overall, it was a ton of fun and exactly the reason I got into photography. I want to give a special thanks to my lovely assistant Marla and to Oliver X. Your creative insights helped make this shoot a success.
Scott Lomill
August Cover
Photograph by Ivy Antonowitsch
The Quotable Phillip Brown
“I grew up in a pack of Republicans. I’m the first to say, ‘Cut down a tree and make me some paper’...And yes, I wear fur.”
Local icon Phillip Brown’s love affair with himself is oddly refreshing, if for no other reason than that he’s so damned excited about all things Phillip Brown. Brown’s masculine beauty is enhanced by a boyish wonderment and electric energy that’s intoxicating. This persona has helped make him a top artist’s model and an in-demand host for events like the 2nd Annual Fashion for Philanthropy, 28th Annual AIDS Memorial and the 3rd Annual Strip for Charity. In 2007, he was named Best Bartender in the Reno News & Review’s Best of issue.
When you meet Brown, you’re immediately struck by his rapier wit, vocal rasp, and hyper banter. “I’ve always worked in the straight community—and thrived. I’m notorious in the gay community. People are surprised that I’m so opinionated.” The self-promoting dynamo is full of contradictions, yet not conflicted. He drags up phenomenally, but did not build his name in high heels and a dress. “Some people’s first impression of me was of this tiny gay man in booty shorts leaping over the bar at The 5 Star and bouncing a belligerent drunk out of the joint on his ass,” he reflects.
Vain. Coy. Flippant and foul fifty percent of the time, Brown is a work-in-progress--whether the cameras are rolling or not. “Honey, the cameras are always rolling,” he corrects. I recently witnessed what was undoubtedly a clutch of straight party-goers’first truly gay moment: a close encounter with Phillip Brown. Their hell-fire journey from innocence to pure shock was hilarious. I didn’t even know there were gay Tasmanian Devils.
I spoke to Phillip Brown about his favorite topic, and of course, it was raw and uncut. Hey, careful with that thing!
Me, me, me, me!
I always say that vanity is my favorite sin. I try to be sincere about everything I do—even if it’s loud, vulgar and hurtful. My mouth has made more enemies in polite culture than I care to count. But hey, a stupid idea is a stupid idea. I don’t pull punches. That’s not how I play. I won over most bullies in school by being part of the joke, rather than the brunt of it. Smiling is one of the greatest feelings in the world. People love to laugh. I try to give that to people.
I’m with the brand
I hated my name when I was growing up. But eventually it kinda stuck. As I developed more attitude I was like, ‘Shut up, I’m Phillip Brown!’ I think it’s funny that my name has become one of the foundations of my career. Modeling was never one of my ambitions. I mean look at me, I’m short. I’m lucky to have had my picture taken by the top photographers in town like Alex Lemus, Franz Szony, Dawn Lewis, Dana Nollsch and Ivy Antonowitz. My image has become my brand.
Projects
I’m all about my clothing line right now. I’m super excited about that. The line is very fun and sexy. Once everything is sorted out, my tv show will be amazing. I want to be the gay Oprah. So many people know me from my voice because I’m loud and obnoxious. My podcast segments on Your Gay Reno with Angela Brooks were well received, so I think I’ll rock television.
Style
It’s cliché but style really does come from within. Reno is a melting pot; just don’t get any on you. I used to be like, ‘Oh your from Lemon Valley...Your mama let you put that on?’ But style is changing in Reno. The art scene (and we finally have one) has helped change things here—definitely. A nice fitting white t-shirt and jeans is simple and cool.
Photograph by Ivy AntonowitschThe first time I ever wore my “I Hate Phillip Brown” t-shirt was at an Eddie Reynoso party. I’ve been fortunate that the local scene-makers like Meredith Tanzer, Jenny O and Tonya Marini have embraced me. Whereas some of the ‘others’ have not.
Dish
What do I hate about the scene? The wannabe snots. They’re not even very good at it. So many of the cliquish gays here have an attitude like they’re somebody; they end up stepping on toes and pissing people off. If they want to learn how to be fierce they need to travel more.
Fag Hags
I don’t have one of my own (frowns). My opinion of fag hags is that everyone needs someone to stroke their ego. I was once a dirty breeder, so if my fag hag was hot, I’d be like, ‘Thinkin’ about it.’
Check out BINGO! With Phillip Brown @ the new Tree House Lounge 555 East Fourth Street on Sundays benefiting the GSA--or as Phillip Brown calls them the "Baby Gays."
Oliver X
BURNING MAN
Please send us your pictures, poems and stories you would like to share about Burning Man and we will post them for you on our web site.
Send submitions to mizchvus@sbcglobal.net
Welcome Home......
Mawkish love poem to Burning Man.
By Jerry Snyder
Heart of the Playa
Hearts of fire
Hearts of lust
Hearts of heat
Hearts of dust
Glittering ephemeral brigadoon
Magically dissolving as quickly as it is constructed
Ramshackle refugee camp for the
Metaphysically dispossessed
Unreal city, paved with desire
Shrugging memory from its shoulders
Hearts of passion
Hearts of pain
Hearts of flash and
Hearts of flame
Streets of infinite improvisation
The widening gyre exploded,
In this anarchic symphony
There are no worst but only best
Sunset scorches the sky
Chased by fossil flames
Every atom prepares for conflagration.
Hearts of anguish
Hearts of zeal
Hearts of peril
Hearts of steel
Spirits of flesh gathered
A pulsing mass of light and rhythm
And love, beating love
Then a collective gasp as the crystal desert night
Explodes, gunpowder burning oxides and flame
Sear from eyeballs to root chakras
Every soul perfectly cleansed
Of Banal Sin
If only for that moment
Hearts of fire
Hearts of lust
Hearts of heat
Hearts of dust
Burning Man Primer by Richard Aloysius Sheehy
I mounted my fat-tired bike and peddled in the direction of the showgirl--but stayed off the dirt road. It had been pummeled into a fine light tan dusty powder that made steering difficult. Besides, listening to the fragile soil crack beneath the wheels and leaving a crumbled line behind was a pleasant indulgence. I passed the showgirl. She wore a gold sequined thong and high feathered plume. However, glancing overmy shoulder, I confirmed her gender as male: his package was extraordinary in size thru the thin fabric. I assumed he was participating in a drag show or something. Then I noticed other people in groups of three or four were dressed oddly as well. For all the funny clothes, I thought maybe a masquerade ball was on the agenda. But as I got closer to the central camp, I began to suspect ‘weird’ wascoatederigur.
Suspicious, I realized everyone had colorful and flowing or tight and artificial garb-- inappropriate for desert survival. Some were goofy, some sexy. Some people had nothing on at all. One man, striding quickly in just a pair of sneakers, appeared to have a series of fine golden rings that pierced the length of his, um, well...urethra. I wondered, “With all those holes, how does he...?” When I nearly ran my bike into the burnt frame of some kind of wrecked torpedo shaped vehicle. I stopped and examined a streak of blackened earth under and behind it. It was still smoking and at least as long as a car, but for the crumpled front end. It looked like a crash landed rocket ship left to burn...days ago.
Despite being directly behind the dark fabric covered central camp, no one seemed concerned, and I guiltily left the wreck without notifying the authorities. I turned right toward a wide opening and saw a large group of maybe thirty or forty white robed individuals with lanterns hanging from a yolk over their shoulders. They walked slowly and silently north. I followed, passing a large pile of antlers stacked high in the shape of a dead tree. It moaned from an apparently hidden speaker system and was on wheels. To my right was another big tree, this one in copper surrounded by an octagonal redwood decking. For leaves, it bore small licking flames. The copper tree also dripped water, under which some naked people appeared to be showering. Going further, I passed the slow lantern procession, looked up and saw, way off in the distance, a tall wooden stick figure on a stack of hay bales. I instantly recognized The Burning Man and sped off to introduce myself.
People in fanciful garb were crisscrossing the open desert as I peddled up to the statue. Some on bikes gussied up like their riders, and some in weird little vehicles reminiscent of alien space craft. Eventually, I came to a solitary fire extinguisher sitting unattended at the end of a long thick rope, perhaps three inches in diameter, which lay out from The Man base. I looked up and rode closer. It seemed immense. His face had an odd shape, the skin of which reminded me of paper Japanese walls. His arms were extended like he was a schoolmaster letting school kids out to recess. I saw people climbing up the huge bales and hanging out on a platform at the feet of the structure.
I dropped my bike into the dirt and approached The Man. There were people all around, some were dancing to some drums, others sitting or standing around. There was a feeling of electricity and people seemed excited. I wanted to get up the structure right away and be a part of it all, but the bales were big, requiring both arms and legs to mount the façade. In nervous reverence, I climbed--helpful hands along the way--finally reaching the platform.
The Man stood bolted to a plywood floor, attended by a uniformed bearded man inredlipstick and a khaki pleated skirt. I recognized him as a Ranger. Several other people were sitting there enjoying the view. I greeted the Ranger, but was too awestruck to speak. I saw the enormityof the encampment, affectionately called Black Rock City, defined by the Lamplighter’s work. There were huge objects scattered around the desert before me, artwork too large and too unusual for this far away place. People were everywhere – randomly wandering like ants. Off in the distance, I could see a ship made of upright pianos floating on the dry sea of clay. A three story lacy structure, unfinished, was being erected to the north. Immediately below me were a group of people playing that old game Twister – only naked.Some folks were mischievously slipping out of hidden compartments in the hay. I stood directly beneath The Man, spread my arms wide and grabbed his legs. I noticed tightly wound bolts of wax-soaked burlap were coiled throughout the structure. “Wow, I thought, “This is the coolest thing I have ever done.”
Richard Aloysius Sheehy
Last month, tickets to the progressive culture and art festival known as Burning Man went on sale, and you can bet that my mother was right there waiting for them with cash in hand. This will mark the fourth year she has made the trek to the playa to live for a week with the most basic supplies, and the sweaty, alkaline covered masses. Nearly everyone I encounter on a day-to-day basis is a Burner. In my adult life, Burning Man may be the single most important factor in the growth of my relationship with my mother--and I have never even been to the event.
Like the festival itself, my mother is almost beyond description. At a time when it was impossible to get in, she dropped out of UC Berkley to work in Donner and live on Tahoe’s nude beaches. She is a rabble-rouser, a child of the 60’s and 70’s who bucks authority, protests, writes letters and raised me to be proud, and defiant of injustices I find in the world around me. When you compare us, I am downright plain. I went straight through college after high school, married my high school sweetheart, and hope to work in government.
This dichotomy--the free spirited mother and the conservative child--often set us in opposition, limiting my ability to connect with her. When she first told me that she was going to be attending Burning Man, I was quietly ashamed to tell my friends. I knew nothing of the true nature of the Burn, or of the community. It was just another thing about my mother I thought I would never understand. That will never be the case again.
Burner Bikes
The spirit of Nevada boiled over with excitement and anticipation for this year’s Burning Man Festival, the annual celebration of expression in the Black Rock Desert. (By the time readers see this article, the event will be well 
Photo by Hayley Baultunderway.) Recently, while at the Nevada Museum of Art, I had the pleasure of meeting several of the warm, open-minded individuals known as “Burners.” When asked why she attends the festival, Cari Lockett-- or “Divalicious” as she’s known on the Playa--described Burning Man as “cultural evolution in progress.”
As colorfully dressed as their owners, several bikes made a stand-out appearance, including the fuzzy “Twiddle 3”, decorated by veteran burner Will Dearing or “Zypher.” The Reno Bike Project offered free valet services to patrons who arrived by bicycle. Lane Buossa or “Bikelane” explained that the goal of this non-profit group is to “get everyone on their bicycles” and to serve as a “community bike shop”.
Debra Berry describes Burning Man as “freedom from the default world.” I couldn’t imagine a nicer crowd to escape with.
Hayley Bault
July Cover Story
Artist Chor Boogie
“This is Jazz. This is Hip-Hop. This is movement.”
All art is local. The web has made that assertion incontrovertible. It’s not the exposition of color or form that makes this so, but the revealing of the artist’s soul. I conceptualized Reno Tahoe Tonight Magazine to provide a trampoline for incredible artists in all mediums. This piece on Chor Boogie represents a fulfillment of a total commitment to expose and celebrate great artists from around the world.
I met Chor Boogie on Facebook after my girl Shelly Brown said, “You’ve got to see this!” There after, I found myself stuffing rhythmic odes, free verse and haiku into the comment boxes below his work like a groupie. I felt like Columbus.
This fool is deep! Technicolor ghetto cubism; rolling prismatic waves of texture, depth and shape pressing on the edges of two-dimensional confinement. There was weight and gravity in the perfect roundness of his circles. Sheen. Luster. Light. Fluid expression in the rendering of an eye peering through an abstract dreamscape collage on a skid row concrete masonry unit wall. His appendages leap off the composition like a pressed on Mr. Potato Head game piece. Untutored technicality in his clinically straight lines executed in free hand with a spray can—upside down. This could lead to dancing.
I had to reach out.
Message: “Dude I wanna tap your brain about the urgency of street art as an expression of the outsider artist’s gallery within.” Oliver X
Message: "Let’s do it. Come down to the Bay, I’ll put you up for a few days and we’ll knock it out.” Chor Boogie
Disco!
Me and videographer Anthony Moore smashed down to the Bay (missing most of the Nada Dada Motel exhibit in the process) and posted up in the Hotel Des Arts, right outside of China Town on Bush Street in Frisco. The entire hotel was adorned in Chor’s work; it’s an evolving gallery of energy, light and color. The artist’s signature avatars (sure to be collectibles someday) were posted on tiny wood block canvasses above eye level in the second floor foyer. The center five-story ventway enclosure featured a collection of Chor Boogie murals that were stunning. Clouds, puzzle pieced abstracts and avante explosions of color raised three stories up what could only be seen through risk of eviction.
After a soul food breakfast of chicken and waffles, we met with Chor to film him at work doing a mural with fine artist Jet Martinez in preparation for the grand opening ofOakland’s Old Crow Tattoo Shop.
Self-taught, Chor picked up a spray can around age nine and was hooked. He’s since painted the 2008 Olympic Mural in Beijing. He was one of two graffiti artists commissioned to paint the first street mural in Dubai. He’s shown in Brazil and is honored down under. Chor’s collaborative peers are legends of the game: Phase2, Vulcan, Pose2, Apex and Mear One. But only a handful of visual artists on the planet are in his league. Fewer still have his vision, character and realness.
Influences
Michelangelo, Da Vinci, Dali.
Uniqueness
“Confidence and originality are the keys to what I do. I started out doing a lot of realistic portraiture, and Vulcan was like, ‘Why don’t you take that to the next level?’ And I did. I just took it there. Now when you see my work you say, ‘That’s a Chor Boogie piece.’”
Color & Movement
“Colors have healing attributes, if you believe in that sort of thing. It’s therapy to the viewer. It’s music to me. That’s where the boogie comes in. Through improvisation I express movement. It’s in the shapes and forms rendered on the spot. Nothing is planned, outlined, or sketched. The execution of this comes from my focus. I just go for it.”
Technique
Chor’s miniature Boogie Birds, adorably round Chiclets, are the smallest paintings ever executed with a spray can. His now signature upside down spray technique has been mythologized, but is really quite simple. “The upside down technique releases the pressure to a fine point, like an airbrush. The resulting detail I get is a matter of practice doing it over and over. Like Shaolin movements. I work with the form in layers--gradients of layers—to create depth.”
Chor Boogie will be on an East Coast Tour with Pose2 and Albus Cavus July 16-August 16. Catch him for the opening of Beauty & the Beast, in collaboration with Cope 2 at Mid City Arts inLos Angeles September 26th. Find Chor on Facebook: Chor Boogie or on http://www.chorboogie.com/
