Heavy Red
Oblivion Design
Battie Clothing
Jennifer Link Photography
Advertise In Auxiliary


auxiliary profiles : Dylan Madeley

Thursday, February 21st, 2013

Dylan Madeley

photo : Amanda Robertson-Hebert
interview : Jennifer Link

Dylan Madeley is the copy editor for Auxiliary Magazine and a frequent contributor. He conducts interviews and writes articles for Auxiliary as well as contributing his writing talents to additional copy and introductions throughout each issue. He brings several years of experience covering the Toronto dark alternative scene with toronto-goth.com and reviewing books for Morbid Outlook. He also makes a hobby of travel and concert photography. Having participated fruitfully in National Novel Writing Month for five consecutive years, he spends some of his efforts attempting to transform novelism from a hobby to a career.

What do you do at Auxiliary Magazine?
I am a copy editor and also a writer.

How did you join the magazine?
I found an Auxiliary Magazine table at the Bazaar of the Bizarre, a seasonal indoor alternative marketplace in Toronto. I gave them my business card. It actually took a couple of tries, because I recall later on being reintroduced to the editors by a mutual friend while at [FAT] Fashion Alternative Week in Toronto and having another go at joining. They were interested in my skills as an interviewer, and I had plenty of samples to give them. It all went pleasantly from there.

With a passion for travel and concert photography and a passion for writing, if you had to choose, which method do you prefer as a means of expression?
I feel much more serious as a writer and I feel more likely to communicate an intended message using words. I have a more complete skill set when it comes to writing, while at this point in my life photography is something I do mostly for fun and experience.

Do you think that the written word is just as important as an image?
I like the written word because I readily took to it as a form of expression in my youth, whereas I had a frustrating time with visual arts until I tried photography. I also place a great value on writing when it comes to keeping histories and traditions. For example, I have been challenged while researching some ancient European cultures for a novel idea because these particular cultures did not develop literacy until much later in history. What I have found instead are conflicting accounts from two different Roman writers, each of whom sought political gains from the opposite portrayals they were making. If you don’t write about your thoughts, thought processes, or values, you leave it to others to interpret how you live. They may not be as interested in how you see your world, or accuracy in general. In contrast, we not only have plenty of visual art to give us ideas about how Ancient Greece or Rome looked, and how people looked and dressed. We have surviving texts, like preserved thoughts. They help us understand the mindset and the values of the time.

auxiliary profiles : Jessica Jewell

Sunday, December 30th, 2012

photo : Chrix Lanier
interview : Jennifer Link

Jessica Jewell is a frequent contributor to Auxiliary Magazine whose writing and photography spans the editorial spectrum, from lifestyle and media to music and unique features. A multi-facteted journalist, Jessica’s past experience includes: photography, magazines, multimedia, newspapers, and online news outlets; paralleled with a professional career in marketing. When she’s not on the hunt for her next story, you can find Jessica Jewell on the road for her next adventure. She loves the desert, trail running, street photography, fresh produce, and general mayhem.

What do you do at Auxiliary Magazine?
My territory spans the editorial landscape. I write and take photos for everything from: music, lifestyle, fashion, media, and event pieces. My fortes are music and personality profiles if I had to choose, though.

How did you join the magazine?
I was referred to Auxiliary by Saryn Christina, a contributing photographer, who I had actually modeled for in the past on other outside projects after the word got out through a mutual friend and collaborator about my pursuit of my true passion: alternative media and journalism.

What skills and experience from your background do you use as a contributor for Auxiliary?
I hold a degree in Journalism and contributed to a couple other publications prior to joining the Auxiliary team. I always loved photography. I had covered events and had done a few photo essays prior to joining; despite my past as a model, my aesthetic is more photojournalistic, raw, gritty portraits and street photography are my favorite. I have a talent for meeting unique people and exploring unusual places. I approach stories in a documentarian-style. I try to come from the standpoint of letting people think out loud and sitting back for both the interviewee and reader to find the content to be candid and organic, whether the story is told by writing or photography.

What is it about writing that is most appealing to you? How did you get started?
Writing has been the only constant in my life. I can express myself vulnerably and be honest. When I get into my writers’ mindset, I’m the only person on the planet and lose myself in a nebulous, timeless space. It’s a comfort and an affliction I wouldn’t give up for anything. In terms of journalism, I love the opportunity to meet new people doing incredible things and share it with the world. I’m eclectic and so are my subjects. I’ve been scribbling since I can remember. It’s always been my go-to medium ever since I was a kid. I started out as a poet, frequenting open mics and actually used to be a songwriter for a friend’s metal band. My innate curiosity and knack for meeting people led me to journalism after sometime. I do still write my psychobabble when I get a chance.

Do you think that the written word is just as important as an image?
Hard to say, I think it’s really dependant on the subject. In terms of journalism, an image sometimes speaks on levels that transcend words. They also can leave interpretation up to the viewer. Conversely, words can illustrate whole worlds to readers and provide such intimate details.

What artists out there (dead or alive) inspire you the most and why?
Diane Arbus, Charles Bukowski, and Sonic Youth. Their work has been a huge inspiration to my craft. I love visceral work that evokes instinctual reactions. No smoke and mirrors,just in your face, stomach-churning reality. I identify deeply with Arbus. Like she was, I’m immensely fascinated with people living on the fringes of society. I admire peoples’ unique tenacity and will to survive. Also like Arbus, I feel awkward and displaced from the status quo. It’s always been difficult to find a group I resonate with, and have been a drifter all my life. She photographed the people who didn’t have a voice and didn’t try to attach herself to the images. She sought to capture peoples’ raw essence. The photography wasn’t about the process or even the aesthetic, but about giving a platform to people snubbed by society, the freaks. “I work from awkwardness. By that I mean I don’t like to arrange things. If I stand in front of something, instead of arranging it, I arrange myself.” – Diane Arbus. “Most people go through life dreading they’ll have a traumatic experience. Freaks were born with their trauma. They’ve already passed their test in life. They’re aristocrats.” – Diane Arbus.

Where do you roam and frequent in Los Angeles?
As a self-proclaimed foodie, you can find me at different restaurants looking for my latest fix. My most recent addiction has been trekking out 45 minutes to Rosemead to sink my teeth into the tender skin of some unsuspecting dim sum.

What piece is a fashion staple in your closet?
Definitely my prized boots. I have a shoe problem, more specifically a boot problem. My favorite pair is a dark grey, knee high pair of military-inspired heeled boots with two rows of vintage buttons up each side the front. It’s not uncommon to see me wearing a torn-up t-shirt. I like feeling comfortable and slightly rough around the edges. I also love jackets. Lots and lots of jackets.

Do you think the fashion drives the music or the music drives the fashion?
Easy. The music. Fashion and lifestyle hinge on influences like music. The mood and aesthetic is set by the sound. Fahsionistas better thank their lucky stars for music. What do they draw so much of their inspiration from? The music, of course.

You have the power of time travel, what one live performance past or future would you attend?
So hard to choose! How about a top five (in no particular order): The Velvet Underground, Spacemen 3, Bark Psychosis, Sonic Youth, Jimi Hendrix.

What celebrity, musician, or notable person that you have met were you most star struck by?
I don’t really get start struck, honestly. It was interesting meeting Michael Hussar, Billy Corgan, and Peter Murphy though.

auxiliary profiles : Arden Leigh

Monday, November 5th, 2012

photo : Steve Prue
interview : Jennifer Link

Arden Leigh is a frequent contributor and writes an advice column for Auxiliary Magazine on relationship strategies called Ask Arden. Known for being today’s freshest voice on women’s dating and relationship strategies, she brings together her experience in neuro-linguistic programming, brand marketing, psychology, pick-up artistry, and the fetish industry, to offer great advice to Auxiliary Magazine readers. She is the founder of the Sirens Seduction Forum for Women and the author of The New Rules of Attraction, published by Sourcebooks in December 2011. When she isn’t writing or coaching, she enjoys modeling and being a part of the New York nightlife scene as a personality and performer. Arden is currently working on a solo music project and aims to release her EP, “Break Me In”, by the end of 2012. She has been publicly labeled a “predator” and she took it as a compliment.

What do you do at Auxiliary Magazine?
I write each issue’s Ask Arden column, where I answer readers’ inquiries about dating, relationships, lifestyle, fashion, and generally being awesome. I also from time to time coordinate interviews with musicians, models, and other personalities if I am kind of crushing on them and want to exploit my press credentials in order to seduce them. (Oops, did I say that out loud?)

How did you join the magazine?
Steve Prue, a close friend and very talented photographer, offered Auxiliary an exclusive photo set of me that we’d shot together, and they chose to use it to feature me as their next issue’s PinUp. After that, they approached me about submitting an editorial, which I eventually did. When a few months later they put feelers out for me to do another one, I suggested a regular advice column. I think Auxiliary covers an important alternative corner of culture, and that corner rarely gets its own romance mentors. The dating gurus who are out there for the most part are aggressively mainstream and usually don’t even fit into the same generation as the demographic of our readership. We needed a voice to advocate for that part of our lifestyle.

What skills and experience from your past do you draw on when offering relationship advice in Auxiliary?
First off, I always keep current on my reading. I dislike experts and authors whose advice seems to come from a purely anecdotal place, so I am always reading books and articles based in hard science from an anthropological standpoint about the biological reasons we behave the way we tend to in relationships and applying their arguments to the way I think about my work. That said, I also practice every word I preach, so much of my advice also comes from my being on the front lines of dating and daring to risk and try new things just to find out what’s going to work best. Something most people don’t realize about me is that I didn’t even have a boyfriend until I was twenty-two, so I was never a “natural” at romance. Everything I practice is a skill set that other people can learn and apply to their lives too.

What led you to where you are as a writer today?
I spent several years as a high-earning professional dominatrix, which ran concurrently with the time I began studying seduction (the two of which have some overlap in their applications), and I thought, how funny would it be if I wrote a book on seduction from a kitschy pop culture dominatrix standpoint and called it “Whipped: A Professional Dominatrix Shares the Secrets to Wrapping Men Around Your Little Finger”? But then as I wrote it, I realized I believed in every word I was writing, passionately so, and it got less and less kitschy and more and more sincere. By the time I inked my deal with Sourcebooks, we were moving farther away from the pro-Domme angle (which is still referenced in the book, but not remotely the main focus), and before its publication we decided on the title The New Rules of Attraction. It’s not just a dating/relationship book but also a lifestyle manifesto.

Prior to that I was writing plays and questionable spoken word poetry and assiduously keeping personal journals. I credit almost all my writing abilities to my compulsive journaling. I took very few actual writing classes; I was just lucky to have a gift and to be able to hone it like a muscle. Nowadays I’m working on both a memoir and a screenplay, so I continue to branch out into other genres.

Do you think that words or images are more important?
In a magazine, my eye gets drawn to images because I’m usually seeking style inspiration or looking for something beautiful and breathtaking. But the things that have had the most impact on me over the years have been words, key sentences that haunt me. Then again, I’m probably biased.

How has subculture changed over the years in your opinion? How does/has it varied from place to place?
I find the most interesting difference in our subculture to be the difference between New York and Los Angeles. In LA, looking hot means looking like you stepped out of a salon an hour ago, whereas in NYC, looking hot means looking like you had sex an hour ago. As for how it’s changed over the years, I’m not sure. People are always moving in and out of different scenes. I have always been true to my style tastes but I tend to move fluidly through different social circles.

Do you think the fashion drives the music or the music drives the fashion?
I think it used to be that the music drove the fashion, but lately I haven’t seen many new looks coming out of the music scene. We’re stuck in this awful hell where you can buy a reproduction of an 80s band T-shirt for thirty bucks, but there’s very little in music today that’s original when it comes to fashion, so the people who are just now trying to look “edgy” by wearing skulls or motocross jackets or CBGB T-shirts are catching up to us and we have no new ground to escape to. The only exception I can think of is Lady Gaga, whose crazy shoes and asymmetrical minidresses and giant 80s Bowie shoulders and shiny gladiator metal and studded leather show up ripped off in every mall storefront. And don’t get me wrong, I have nothing but love and respect for Gaga, who is a true original, a sincere artist, and someone who works her ass off for the love of what she does, but she can’t be the only voice out there. It’s been a long time since I’ve seen an alternative artist dress in a way that I didn’t feel was a copy or at least an amalgamation of other things I’d seen before. But then again, maybe I’m not looking closely enough, and I’m always open to being introduced to new inspirations.

What piece is a fashion staple in your closet?
I’m a sucker for wearing all white, especially in alternative culture since it’s so dominated by dark colors. I manage to pull off a fringe semi-goth look by looking like an Edgar Allan Poe ingenue, a shipwrecked castaway, or a Victorian apparition. So my closet is full of white lingerie, billowy white dresses from All Saints, and one white Dolce & Gabbana cocktail dress that is all Sophia Loren classic Italian curves. But my current favorite piece has to be the sheer ivory lace slip from Agent Provocateur that I wore to the Auxiliary June/July release party in LA. It’s so vulnerable yet sexy at the same time, revealing but innocent.

When you go out for a night on the town, where can you be found?
I love going out to my friends’ bands’ concerts at places like Bowery Electric, Mercury Lounge, Bowery Ballroom, Highline Ballroom, Irving Plaza, etc. When I feel like getting up to some mischief I’ll head to Three of Cups, a divey rock and roll bar in the East Village. I love taking dates to speakeasies like Please Don’t Tell or Milk & Honey because they seem so secretive. For a sexy but casual lounge I head to Vintage, which has a cocktail list with over 200 martinis and is decked out in red velvet antique furniture. And for dinner and a show, I go to Nuit Blanche at Beaumarchais on Wednesday nights for some spectacular performances and amazing food.

What is one relationship mistake that you see all too often? And what piece of advice would you give to anyone to live by?
I see people spending too much time overanalyzing tiny details and losing sight of the big picture. It’s like, one person will send a text in a hurry that is maybe phrased a little carelessly, and the other person will be all “what was that supposed to mean” or “why are you being this way”, which will set the first person on the defensive, and which can result in awkwardness or fights that can last far longer than they should. Or they’ll freak out about the person seeing their ex once in a blue moon when they themselves are spending time with them three or four nights a week. People need to chill more and respect that if someone is showing up and being good to you and you feel you’re pretty much on the right track moving forward, that’s what counts. Let the little things slide a bit and don’t create battles where they’re unnecessary. Save your lines in the sand for points that really matter to you.

The one piece of advice I would give everyone to live by is to refuse to let fear stand in the way of going after what you want. You have to think strategically, plot a course of action, and then commit to it and follow through. You must be able to clearly see which variables are under your control and which are not, and to decide how to play your controllables and then let go of your uncontrollables. Don’t be so attached to outcome that you allow fear of failure to keep you from pursuing a goal at all. Failure is really not that big of a deal. In fact, it’s a necessity. If you’re not failing from time to time, you’re not learning anything. Accept the suckiness of the occasional failure as the price you pay for the awesomeness of your successes.

auxiliary profiles : Aaron Andrews

Saturday, November 3rd, 2012

photo : Jennifer Link
interview : Mike Kieffer

Aaron Andrews is a long-time contributor for Auxiliary Magazine and an electronic music DJ. He writes music reviews and interviews artists and bands ranging from the most influential icons to shining new-comers. Currently he hosts the weekly radio show “Sequence” on Buffalo, NY’s 91.3fm WBNY. DJ Aaron Andrews has had a shared weekly at Buffalo’s beloved but closed goth/industrial club The Continental, is a frequent guest DJ at Rochester’s Club Vertex, and is the co-host of Transmission’s New Order vs. Depeche Mode parties in Buffalo.

What do you do at Auxiliary Magazine?
I contribute music reviews and music interviews.

How did you join the magazine?
I was invited to participate starting with issue number one. I guess the staff liked me and what I do because I’m still here.

What moment in your life turned you into a music junkie?
I grew up in small town Western New York and we were close enough to Canada that I spent those years watching and listening to TV and radio from across the lake. In high school that window outward become more than a curiosity and has influenced so much about who I am musically today. Every weekend I would listen to Toronto’s CFNY radio for the live to air club nights and “The Ongoing History of New Music” with Alan Cross. The club nights featured music and artists I never would have heard of otherwise (that club goers were nuts for) and Alan Cross provided an academic context to know and understand what I was hearing. Music became more than something to listen to, it became an understanding and true love. I realized alternative music had history and a web of context and collaborators, it’s genuine and living.

You have the power of time travel, what one live performance past or future would you attend?
Ministry’s 1989 Rollerball tour. When I finally had my chance to see Ministry they were nowhere near as cool as they were then.

What music related things do you do outside of Auxiliary?
When I get drunk at bars music seems to be the only thing I can talk about… but I also happen to be a DJ. I host a weekly spotlight on electronic music called “Sequence” on 91.3fm WBNY Buffalo where I play music from various genres and try to turn people onto new things. I’m also a club DJ and have played around Upstate New York and in Toronto.

Do you think the fashion drives the music or the music drives the fashion?
I think they’re two forms of expression that start in their own places and reflect culture, society, and personal experiences. As they age and grow they somehow become entwined in an unbelievable way, so both. I think that there are looks that happen first and sounds that happen first.

What band is your all-time favorite? Guilty pleasure? Most hated?
Depending on the day and my mood, I find New Order, Skinny Puppy or Underworld often come to mind as my favorites. They all have incredible catalogs of music and long careers. My guilty pleasure? Talk radio, I love it. I find the break from music kind of relieving.

When you are at the clubs, what does it take to get you on the dance floor?
Something that just kicks me in the gut. I need to feel music in my soul, especially when I’m dancing. Some songs just have it, you know? It helps when something isn’t completely worn out for me.

auxiliary profiles : Paul Morin

Thursday, November 1st, 2012

photo : Jennifer Link
interview : Mike Kieffer

Paul Morin is a music contributor who has been with Auxiliary Magazine from the start. He writes music reviews, in-depth features on topics ranging from the state and development of musical genres to the aspects and trends of the music industry and music culture, and interviews and features on artists and bands. He has an extensive and varying background in music: playing guitar and bass in various bands since he was fifteen; having formal training in a variety of instruments, music theory, and vocals; having managed both corporate and independent music stores; and having worked as a field marketing representative for TVT Records. Currently he plays bass for the indie band The Mordaunt Sisters.

What do you do at Auxiliary Magazine?
I write music reviews/articles and occasionally interview musicians.

How did you join the magazine?
I honestly don’t remember who approached me about the idea (I was friends with all of the editors of the magazine), but I’ve been around since the start. I have a degree in writing and a passion for music, so it made sense to me to put those together and see what I could make of it. I believe my function at Auxiliary is to introduce people to music they probably wouldn’t normally look at; to convince the indie kid that there is a lot of great goth and electronic stuff out there and conversely to convince the hard-core goth or raver that there are some interesting things going on in the indie community, for example. I’m an old-school goth-punk at heart (Elder Goth or “Grampire” as I’ve heard behind my back), but I still follow current trends in music, and cross over into various scenes regardless of whether my clad-in-black wardrobe is accepted or appropriate. Life is too short for me to just settle for one style of music; some people get by with a little bit of understanding… I want more.

What moment in your life turned you into a music junkie?
My mother was a classically trained pianist. When I was a baby, she would put me on top of the piano and play to me. I think she played a lot of Beethoven, or at least that’s how imagine it, and having no concrete memories of that time, I can make up whatever fiction I want. I did find the sheet music to “Moonlight Sonata” in her piano bench, which lends some evidence to my claim. There is something Clockwork Orange/Pavlovian about that, and I always wonder how much those moments colored the rest of my life (both in terms of the type of music I appreciate and what I appreciate in life in general). I was programmed young and never looked back. Music has always been a huge part of my life.

You have the power of time travel, what one live performance past or future would you attend?
I would have liked to have been around the Southern California punk scene in the late 70s. Or Manchester when The Hacienda was in full swing.

What music related things do you do outside of Auxiliary?
I’ve played guitar and bass in various bands since I was fifteen and have formal training on both instruments as well as piano, trombone, music theory, and vocals. I also managed music stores for ten years (both corporate and independent stores) and worked as a field marketing representative for TVT Records. Currently I play bass for a Buffalo indie band called The Mordaunt Sisters.

Do you think the fashion drives the music or the music drives the fashion?
As much as I want to be able to say fashion is not important in music and that all that really matters is the music itself, it’s not true. The minute you step out on a stage or into a studio for a photoshoot, you are offering yourself up as an object of art, and people are going to react to that in conjunction with the music you are playing. A lot of musicians try to shy away from this argument by not doing anything, but even that sends a bold statement; that I’m not going to pretend I am such-and-such or so-and-so. The least fashionably conscious members of society still wake up and make fashion decisions every day; am I going to wear the red flannel or the blue flannel today? Or, as a girlfriend once joked to me as I was standing in front of the closet, “which black T-shirt am I going to wear today?” Whether the decisions are conscious or subconscious, done with a lot of intention or very little, it’s still projecting an image to everyone out there the minute you show those decisions to other people. Ultimately, I think the music is the most important factor, and I don’t really care what someone looks like. I may think, “well, he dresses like a tool,” but if the music is good, I’m really not going to care what he looks like. And on the flip side, someone may look great on stage, but if he or she can’t play their instrument, I’m not going to buy the album.

What band is your all-time favorite?
Depends on the day or the mood, but I’m probably most obsessive about collecting Joy Division and Factory Records junk.

Guilty pleasure?
70s soft rock. I blame my father for this one. My parents divorced at a relatively young age, and my father was a swinging single, white-collar, suburban male in the 70s, so I have a lot of early memories of driving around in my dad’s Camero listening to AM-radio junk on 8-track. Like my mother did earlier in my life, my father was also subconsciously programming me. I hear “Dreamweaver” by Gary Wright or some godawful Yacht-rock song, and it’s like hypnosis; I’m dragged back against my will to a time and a place. My brain knows it’s bad music; I process that this stuff was made for the lowest common denominator of human-kind, and yet, I can’t help it. My feet start tapping along, and I’m smiling.

Most hated?
Jimmy Buffett. “Margaritaville” in particular makes me want to break anything I have to in order to make the pain between my ears stop.

When you are at the clubs, what does it take to get you on the dance floor?
Love, music, wine, and revolution.

auxiliary profiles : Hangedman

Monday, July 2nd, 2012

photo : Adrian Onsen
interview : Mike Kieffer

Hangedman is a music contributor for Auxiliary Magazine and a DJ, broadcaster, and subculture pundit who has done the college radio circuit in Ontario, Canada, since the awesome eighties. Currently he is the host of the weekly live global broadcast “Machina” every Wednesday evening on eve-radio.com which features a variety of scene commentary, guests, and music focused on the underground. In his hometown, Toronto, he is partner of Subterra, Toronto’s bi-monthly IDM and dark electro night.

What do you do at Auxiliary Magazine?
Music is the word. I write reviews of new albums and the odd interview with artists I admire. I’ve got a broad spectrum of musical tastes and experience so I thought I would serve the community by lending my voice.

How did you join the magazine?
I’ve always been involved with music news and marketing via broadcasting with college radio. It was Edwin Somnambulist of ISN Radio who turned me on to Auxiliary Magazine for the first time and for holiday gifts I picked up a couple of printed copies for presents from Plastik Wrap in Toronto. Via these fine people, their friends linked to my friends and next thing you know we’re throwing an Auxiliary promo party here in Toronto. I designed the poster for that first event, (I think it was back in June 2010), I met Jennifer and all the awesome people responsible for the magazine so when the call went out looking for talent, I felt my broadcast, marketing, and music knowledge would fit, so I applied.

What moment in your life turned you into a music junkie?
My musical identity was formed when I was about 14. As a kid, coming from a musical family I was exposed to a lot of music but did not really identify with any of it and sort of just went along with what everyone else was listening to which was pretty boring pop stuff from the 80s (dating myself). Then a friend of mine made me a mixed cassette tape of all kinds of postpunk electronic and goth stuff, things like Sousixe and the Banshees, Cocteau Twins, Bauhaus, and that kind of stuff. It was pretty mixed up really but I think the real moment on that tape was when I heard “Deadlines” by Skinny Puppy. Everything changed in that moment much to my parent’s frustration.


editorial : digital dilemma by Sam Rosenthal

Thursday, January 12th, 2012

As an early proponent of MP3s and music download, Sam Rosenthal, the man behind goth/folk/neofolk label Projekt Records and founder/songwriter of the legendary goth formation, Black Tape For A Blue Girl reflects on issues that not only concern musicians, but concern every creative.

by Sam Rosenthal

Ah, so what is to be done about this new Digital Dilemma? I’ve run Projekt Records (www.projekt.com) since the early 80s, we have 266 releases out. This is an immediate disclaimer to address one of the memes hurled my way. It goes, “You have to get with the times. Making money off recorded music is yesterday’s business. That’s over. Find a different way to monetize your music.” You know, I understand change; I’ve seen a lot of change over the last 28 years. A lot! In order to stay in business, I keep up.

However, what those CEOs and “fans” who live by this meme are really saying is, “I want to listen to your music, but I don’t want to pay for it. I am going to pass the responsibility for compensation down the road to some other customer. You need to find some new way to make a living off THAT person’s enjoyment of your art. Oh, but keep making music, because I want it for free.” We’ve got a problem here. FREE has become the price point that many people want to pay for music. However, free is not a price point that works for creative endeavors. There are costs to making art. Equipment. Studio time. Paying musicians… And what about the hours we spend creating? Time taken away from “a real job” earning a real income. My rent still needs to be paid, my utilities, my son’s sneakers. For some reason, some people think that artists (and musicians in particular) should work for free. Where’s the logic to this? Well, there is no logic. This is a justification for wanting something for themselves, without considering the results of their action. Do you think people can create your favorite TV show for free? Your favorite movie? Your favorite Thai meal? Will the supermarket give you a box of cereal when you are hungry but don’t have the money to pay? Sure, we’d all kinda love a free meal or movie, but we are realistic that one can’t just walk off with the things you want… and yet… with music people feel it’s different.

read the full editorial in the December/January 2011/2012 Issue

auxiliary profiles : Vanity Kills

Wednesday, February 23rd, 2011

photo : Zach Rose
interview : Zach Rose

Auxiliary Magazine’s regular contributor, the infamous Vanity Kills, is one that matches sharp wit and insight with a varied background in fashion, cosmetics, and music to bring readers content that is not only informative, but also highly entertaining.  Vanity Kills has plenty of experience writing on topics she enjoys and embodies, currently she has an online column on Lip Service’s webzine entitled, Lethal Style.  Contributing beauty articles and a multitude of in depth interviews with designers from around the world to each issue, she brings a unique and fun persona to Auxiliary Magazine.

What do you do at Auxiliary Magazine?

Instruct and inform the masses in all manners related to the fine art of warpaint application, interview people that don’t suck, and formerly provided comic relief with some 100% fictional ridiculous goth drama. Also I allegedly partied with the copy editor in at least five different states.

As an independent writer working with multiple companies including Lip Service and Auxiliary, what is it about writing that is most appealing to you? How did you get started?

As frustrating as it is at times, it’s the air I breathe. As much as writing the perfect paragraph which conveys my thoughts on Hello Kitty corsets in the exact matter I want it to keeps me up at night, I cannot picture ever NOT doing it. Being physically rewarded for my efforts with money and merchandise is nice, since I put a lot of effort into the written word, but it’s never been my motivation. The greatest reward is the immense sense of accomplishment derived from bringing to completion a finished piece that I would have loved to stumble upon, in either a book or a blog, and find myself. When I feel like I’ve written something equally informative and pleasurable to read.

I’ve always loved fashion magazines. As long as I can remember, I’ve read every woman’s magazine I could get my hands on and mentally devoured all the vignettes that accompanied the fashion spreads. My brain absorbed them like a sponge. It didn’t matter if the outfits themselves were hideous or exquisite. You can’t mount a painting on the wall without a frame. Words are that frame. In time, I found myself ‘styling’ things in my head. Constantly thinking of what shoes would go with what skirt and what earrings would complement the ensemble as a whole. Fleshing out these thoughts into full fledged fashion and beauty articles was just a natural extension of all that internal style obsessed dialogue.


auxiliary profiles : Mike Kieffer

Monday, February 7th, 2011

photo : Luke Copping
hair : Erin Moser
makeup : Leane Steck
interview : Jennifer Link

Mike Kieffer is the head music editor for Auxiliary Magazine.  Mike oversees the music content for each issue and is constantly seeking out new, fresh, and quality music.  He also writes music reviews, interviews, and the occasional blog on Auxiliary’s website.  With a background as a DJ and event promoter and organizer, under the names Darago and netwerk23 respectively, Mike has a good experience base to draw on and also works to promote and market Auxiliary.

What do you do at Auxiliary Magazine?

I handle everything music related, from gathering promotional materials, coordinating reviews, arranging interviews, etc. Also I help with the brainstorming for the rest of the features and sometimes I rip apart photo editorials only to be put in my place by the other editors who think the work is brilliant.

What skills and experience from your background as a promoter, event organizer, and DJ do you use as a music editor for Auxiliary?

Being a techno and EBM event organizer/promoter and a DJ has taught me many lessons about what music is great and what music the masses love. I try to balance popular with original in the magazine.

You have the chance to play a DJ set at any event/venue, where and what do you play?

Where is irrelevant as long as there are over a million people chanting my name. Since the DJ set would be a 24 hour marathon set I am sure I would get to play everything, I would start out with minimal techno sliding into electo-industrial then into industrial hardcore to hardcore techno to booty house then tech-house to tech trance to minimal tech, and I would end the night with an obnoxious song that will make all the people regret that they stayed to the end. Mostly because I will want to go home and if everyone leaves then I can.


auxiliary profiles : Jennifer Link

Monday, November 1st, 2010

photo : Luke Copping
hair : Erin Moser
makeup : Leane Steck
interview : Zach Rose and Meagan Hendrickson

Jennifer Link is the founding member of Auxiliary Magazine and one of the driving forces behind it. With a background in fashion and fine art photography, Jennifer has held various positions such as art director, photographer with several prominent alternative designers as clients, and lately, entrepreneur. Jennifer is the editor in chief of Auxiliary but also contributes to the magazine as a photographer and occasionally a writer.

What do you do at Auxiliary Magazine?

I am the Editor in Chief and Publisher.  I also contribute as a photographer and writer having shot some of Auxiliary’s fashion and beauty editorials and having written a few articles and interviews.

How did Auxiliary get started and how has the magazine evolved since its inception?

Well the idea and desire to start a magazine came to me while I was living in New York City.  I was looking for outlets for alternative fashion editorials as a photographer, and found there weren’t many and there were hardly any that fit exactly what I wanted to do.  I also noticed many people around me where complaining about the state of the goth/industrial/alternative/whathaveyou scene while at the same time there were so many great designer, musicians, photographers, and creatives out there, struggling.  So I decided I wanted to start a magazine for alternative fashion, music, and lifestyle that would highlight all the great artists out there and provide an outlet.  I took this idea back to Buffalo with me, as I had a few close friends there that I wanted to work with and I would need way less money to work and live in Buffalo while building up the magazine.  The core group of editors, Luke, Meagan, and Mike formed and we put together the first issue with the help of some friends and contacts we had in nearby cities, Toronto and NYC.  The magazine has evolved so much since that first issue.  Each issue is better than the last, in my opinion, and with each issue I think we tune and tweak the magazine closer to what we envision it to be.  We’ve brought on many different contributors and expanded our core team.  We’ve developed the magazine in so many different ways since then, I can’t even start to get into it!

As a photographer yourself, your more recent published work has been geared more towards fashion, your start was with fine art photography, how did this change come about?

I went to school for a Bachelor of Fine Arts.  I had thought I wanted to focus on video, but after taking a photo class realized I was more interested in my photo work than my video work.  My last year of college my work was highly focused on fashion and how one uses personal style, so after college it seemed an obvious transition into editorial fashion work. I do want to put together a new series of ‘fine art’ photos at some point, but they would most defiantly feature alternative fashion/style in them.  At this point I know that’s the main subject for my photography, whether it’s fine art or professional fashion work would be mostly determined by the output, a gallery or a magazine.  I’ve had the idea for a while for a series that would be shot in a way very similar to shooting editorial fashion but the final display would be large format prints.  I love viewing large format photography, so that will probably be what eventually draws me back to making a new art series.


auxiliary profiles : Luke Copping

Thursday, September 2nd, 2010

photo : Jennifer Link
hair : Erin Moser
makeup : Leane Steck
interview : Zach Rose

As an original member of Auxiliary Magazine, Luke Copping’s background in photography, marketing, and popular culture helps Auxiliary achieve the success that it enjoys. Luke’s unique approach to beauty, style, and character photography lends an aesthetic of quirk and dynamism that is entirely his own. An internationally recognized photographer, Luke’s style continues to evolve and his contributions to Auxiliary continue to lend content that is both exciting in nature and provocative in its styling.

What do you do at Auxiliary Magazine?

What don’t I do? As the Associate Editor I work on all aspects of the magazine. On top of writing and photographing several articles each issue, I work on design, marketing, editing, and advertising issues, I also work in article and shoot production, and I work closely with the rest of the editorial staff on the direction of each issue. I also manage a lot of the blog content. I’m sort of the jack of all trades, I go where the work needs to be done and tend to fill a lot of different spots on the magazine’s roster, as well as providing content as needed to fill holes in our issue layouts.

As an individual utilizing several different roles with Auxiliary, which do you find to be the most rewarding and why?

Its all good, and all an outlet for what I do. Whether I’m creating imagery or writing for the magazine, or launching a new marketing idea or plan. I think too many artists have a poor concept of business. I like to pride myself on having the skills to do both. You can’t run a successful venture like this without being both creative and business savvy. That’s why I enjoy working with the team here so much, they take it as seriously as I do, and truly want this venture to succeed.

How does Auxiliary Magazine influence local fashion markets? Non-local?

I’m not concerned with us influencing markets as a whole. I think that Auxiliary, at least in terms of my perception, is much more about pushing people to create their own styles, rather than being mere slaves to the fashions we show. I dread us ever becoming a magazine like Gothic Beauty, one which I feel simply regurgitates the latest pseudo alternative trends and uniforms that you see influence the club scene. I think our readers are more intelligent than that, have a wider range of interests and don’t need to be told what to wear, merely shown what is out there so they can make up their own minds. I try to introduce elements of fashion and style from a variety of backgrounds that other magazines either tend to deride or ignore simply because these aesthetics and ideas do not fit into what I feel are the small and narrowly defined categories that it seems these magazines adhere to. High fashion runway shows, vintage and thrift, DIY, street fashion, and elements of the South American, Eastern European, and Asian fashion scenes are all present throughout our editorials and blog entries. I think the most important element in developing an alternative fashion magazine is to absolutely NOT play to the stereotypes. These are bad trends and poorly thought out fashion ideas that propagate within the mob mentality of several alternative countercultures. I have no time for elitist tribes that espouse individuality while only allowing social creativity within a limited scope. We owe our readers more than that.


auxiliary profiles : Meagan Hendrickson

Thursday, July 15th, 2010

photo : Luke Copping
hair : Erin Moser
makeup : Leane Steck
interview : Jennifer Link and Zach Rose

What do you do at Auxiliary Magazine?

I am the fashion editor and one of the fashion stylists.

What overall vision do you aim to uphold when working as a fashion stylist and fashion editor for Auxiliary?

I like keep an attainable style in mind with regards to Auxiliary Magazine. I like to ask the question, ‘Would someone actually wear this and is it something that inspires?’ I like to style the magazine’s fashion as edgy, yet still being relatable in everyday life.

As a women with varied talents and skills, what past experiences do you draw on for your work with Auxiliary?

I have been going to clubs, raves (the 90s!), and art events since the age of 13. I’ve made a lot of bad fashion choices and have the photos to prove it! I like to keep those memories around to see my personal progress of style and influences. I think of it as a ‘look book’ into my own taste and fashion choices that I have today. These style lessons have helped me to see a large range in fashion styling that I infuse into Auxiliary’s voice about fashion, personal taste, and styling. I like to believe that you have to take risks sometimes to see an outcome that may be greater than what you expected.

What are your creative influences?

What doesn’t influence me?! [laughs] I watch a lot of Victorian Era mini dramas, watch a lot of music videos, and I love fashion magazines. I get very inspired by all forms of photography and now that I’ve started painting again, I feel more excited about color! I enjoy the spooky ookiness of the goth aesthetic yet, infuse it the with by-gone eras of the 40s and 50s.


auxiliary profiles : Molly Hoeltke

Sunday, May 23rd, 2010

Molly Hoeltke  - fashion stylist

photo : Luke Copping
interview : Zach Rose

What do you do at Auxiliary Magazine?

I am a fashion stylist, working mainly in editorial.

What are some of the challenges facing a fashion consultant/stylist such as yourself?

The challenges of being a stylist are having to plan on never having enough of anything: time, people, clothes, whatever it may be. You absolutely have to be prepared to improvise, and always over prepare because once you are on set you have what you have. By the same token, improvising can be the best part. Some of the coolest stuff happens when things don’t go according to plan. You have to trust in your vision, just like any other art form.

Do you think style reflects one’s inner individuality? Or is it merely a means of following a trend?

I believe personal style is a reflection of the individual by its very nature. Not everyone is entirely confident in who he or she is or who he or she wishes to be, or in the expression of that. Therefore, some like to play it very safe outwardly and don’t like to be as creative as others in their dress. I think that fashion has become a part of society where, if you choose to participate, it will embrace you. For some, following trends is a way to feel like a part of the accessible cultural evolution in fashion, which can be easily made personal as well. Whatever it is you need to do or feel to participate in the expression of yourself, fashion offers it. Whether it is your own creativity or a reflection of another influence, it is a personal choice as to how deeply you would like to immerse yourself in it. Fashion is a decision about the kind of person you want to show the world, whether that comes from within or without is up to the individual.

Describe a bit of your background and how it has led you to where you are today?

I have a background in marketing and creative media production that I was specifically applying to the music industry for quite some time in both Atlanta, and New York City. I took a turn toward fashion as a result of my dissatisfaction with several corporate American structures that I kept running into. I specifically fell into working with a vintage designer showroom during my time living in Williamsburg. This was a turning point in my life.

I find it important to live with sensitivity in understanding where people are coming from and what they are trying to express. I find this mentality important to styling, as it is all about creating a vision for everyone involved, expressing an effective story, and being able to step outside of yourself and personal opinions to do so. My favorite part of creating visual solutions is telling a story or concept through the participation in collective creative endeavors. When you get a group of highly intelligent and creative people together creating a mind-full concept visually, it is highly rewarding

What is your opinion on the state of subculture and more specifically, how does Auxiliary cater to the demands of the alternative?

I think that subculture is a beautiful thing. It allows people to pull from one or many areas in order to find inspirations based on small groups of people brought together by similar mentalities and taste in music, art, and lifestyle decisions. I do not believe that any one subculture is completely pure and free of influence any more, in that we have become so infused with image and media references that everyone seems to be drawing from each others subcultures. Sub or counter cultures that may still truly exist purely are those that have still yet to make it into the mainstream influence. Auxiliary is important to the fashion scene in that it offers the opportunity of creating alternative high-fashion inspirations that are also accessible. When we commercialize these subcultures the mainstream becomes comfortable with them, and therefore are aware of how to apply them to day-to-day life.

What does creativity mean to you and why is it important?

Creativity is an ability to think and feel openly. You either have it or you don’t, but that’s a choice we make every day. We choose in every moment how we are looking at, interacting with, and giving back to the world around us.

auxiliary profiles : Zach Rose

Monday, May 10th, 2010

photo and interview : Luke Copping

Zach Rose is one of the newest additions to the Auxiliary Magazine team. Zach is the lead copy editor for Auxiliary and balances that out by providing photographic and written content to the magazine. Zach is an emerging photographer who is starting to make waves both with his photography as well as his writing.

What do you do at Auxiliary Magazine?

Zach Rose : I do umbriel finite, I do writing, but I primarily do copy editing, copy editing, and more copy editing. I’m one of the last people that looks over writer submissions and checks them for your mistakes, your grammar, and any other weird stuff you may do (yes you).

Do you think that the written word is just as important as an image?

ZR : Both are equally as important and usually outlive the producer. Some people get killed for what they say, or write (or blog these days). While an image can speak a thousand words a word can have a thousand-fold impact with the result dependant on the context of the situation (such as political).

What is your opinion on the state of fetish fashion and how it is intertwining with mainstream fashion?

ZR : I think there has always been some level of fetish in mainstream fashion. But fetish is an ambiguous term in my opinion and can apply to anything that flaunts the body in a unique and provocative way. To me fetish wear is not so much about how good it looks as how quickly it can be removed.