We are giving away a Loungefly Hello Kitty Angry Face Quilted Tote as seen in Auxiliary Magazine!

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DETAILS
The winner will be chosen at random from those who shared the Loungefly Giveaway photo on Auxiliary Magazine’s facebook page between February 23, 2012 to March 1, 2012 at 8am EST. The winner must “like” Auxiliary Magazine on facebook at time of drawing. The winner will be contacted on March 1, 2012. Giveaway is for one Loungefly Hello Kitty Angry Face Quilted Tote. The tote will be delivered by mail with postage covered by Auxiliary Magazine 1-3 weeks after drawing.

featuring designs from Unique Vintage, Blue Velvet Vintage, Pooka Queen, Sweet Romance, and more

photographer : Zach Rose
fashion stylist : Meagan Hendrickson
makeup artist : Leana Christine Artistry
hair stylist : Jason Tuttle
models : Paige Carson and Anatomy

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

With roots as a model and burlesque performer, Marlo Marquise is always expanding her creative horizons, she recently relocated to Los Angeles from New York City, starting the studio and production company House of Virtue with Billy Vahan of Antiseptic Fashion and a couture fashion line, Marquise Lapin.

interview by : Jennifer Link
photographer : Saryn Christina
fashion stylist : Marlo Marquise
makeup artist, hair stylist, and hats : Erika Diehl
wardrobe : Antiseptic Fashion
model : Marlo Marquise
location : House Of Virtue

Recently you moved to LA from New York City, now that you’ve been in LA for a bit, what differences are you noticing from life in New York City? What sparked this change of location? And have you noticed a difference in the creative energy of both cities?
Marlo Marquise : LA and NYC are very similar and very different. I live in downtown LA so it really reminds me of my east village neighborhood in Manhattan. Both areas are very young and creative. New York is very fast pace and LA is the complete opposite. That is the biggest adjustment I’ve had to get used to! I’m just a go, go, go workaholic kind of woman, so it’s very hard to be in such a lackadaisical environment now. Los Angeles seems more fine art focused, and New York City is more about the theater as far as creativity goes. Basically what made me commit to relocating was that instead of just performing and modeling, I wanted to produce large events and start designing clothing. LA has bigger and better venues, I can throw events in my loft, and downtown LA is the most efficient area for making garments and starting companies of the like. It just made sense! I was traveling back and forth for a year before deciding. I do however consider myself bicoastal, and always a New Yorker at heart!

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

Daniel Graves of Aesthetic Perfection reveals how he sins.

interview by Mike Kieffer

Daniel Graves is the founder and sole creative member of the electro-industrial band Aesthetic Perfection. This past November All Beauty Destroyed was released, the bands third album and first to be released by Metropolis Records. With this release, Graves has carved out a highly addictive album full of witty lyrics, powerful vocals, and smashing beats.

Lust – People magazine puts you on their cover, shortly thereafter young teenage girls deem you aesthetic perfection and therefore the new heartthrob. Explain your reaction and future actions.
Daniel Graves : I think I’d just be really confused and frightened. Teenage girls are insane, I’d probably have to be a hermit and never leave the house at that point.

Sloth – Three separate friends ask you to help them move for the next three weekends, do you help out or come up with excuses? If you do indeed decide to help out, what excuses would you have used?
DG : If all three were really good friends, I’d begrudgingly help them. I’d complain a lot, but I’d help. If we weren’t tight I think I wouldn’t even bother making up excuses. I imagine I’d just tell them that carrying a couch up a flight of stairs for a casual acquaintance is not how I picture a perfect weekend.

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

featuring fashions by Iron Fist, Hell Bunny, Spin Doctor, Rose Mortem, RockLove Jewelry, and more

photographer : Joey Buczek
fashion stylist : Jennifer Link
makeup artist : Jodie McGuire
hair stylist : Tasha Wagner
models : Queenie Lafeenie and Marie Christina
Queenie Lafeenie’s hair style : Carly Kostiw
extras : Eric Gacek and Tasha Wagner
photography assistant : Michael Hanlon
paintings : Hugo Rodriguez
location : Hugo Rodriguez’s Carriage House Studio

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

Just finishing up a tour for his new album, Riding a Black Unicorn down the side of an Erupting Volcano while drinking from a Chalice Filled with the Laughter of Small Children, we had the chance to talk to Voltaire about his music, his writing, his filmmaking, his geeky side, and even his love life.

photographer : Paul Collins
interview by : Gia C. Manalio-Bonaventura

Hey, Voltaire. I want to thank you for talking to us. I know that you just wrapped up your US Black Unicorn Cabaret Tour as well as a few international shows in Scotland and Whitby and have jumped into your next project, so we really appreciate your time.

Can we talk about the tour a bit? It was described as, “A Villainous Vaudeville of Bawdy Burlesque, Music, Mischief, and Mayhem.” The title alone is so much fun. How did the tour go?
Voltaire : It was great! I really felt like it needed to be more than a couple of bands on tour, it needed to be an event. So I brought along with me a couple of the finest bands I know in the dark cabaret genre, Hellblinki Sextet and This Way to the Egress. And we had local burlesque talent at the shows. So it was a big themed night of dark cabaret and burlesque. Lots of people came out all dressed up and all in all we had a fantastic time.

As I’m writing this, I’m listening to Riding a Black Unicorn down the side of an Erupting Volcano while drinking from a Chalice Filled with the Laughter of Small Children. Once again, I have to congratulate you on an amazing album and I again love the cabaret style. Can you tell us a bit about what went into making it?
V : I had worked with Brian Viglione of the Dresden Dolls on my previous album Hate Lives in a Small Town, so when I was ready to record this album, I asked him if he would join me again. So he played all of the drums. I asked Melora Creager of Rasputina if she’d play the cellos and she kindly joined us. So at this point I realized I had the makings of a supergroup! [laughs] When it came time for bass, I invited David J. of Bauhaus to contribute those parts. The rest of the musicians are amazing New York City-based players. It’s really a great line up!

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

With a few new endeavors on the horizon, the famous fashion design company and Sydney, Australia boutique known for their corsets and alternative couture, Gallery Serpentine, is still going strong after 15 years.

interview by : Vanity Kills & Jennifer Link
photographer : Zelko Nedic
fashion stylist : Gallery Serpentine
makeup artist : Emma Lee Court and Renee De Bono
makeup : Illamasqua
hair stylist : Ambo Ars
models : Miroslav Naskovic, Sophie J. Wilde, Susy Natal, James Heathers, Lauren Kyle, and Jeremy Ansley

It’s safe to say that upon handing yourself over to the whimsical couturiers behind Australia’s celebrated Gallery Serpentine, you’ll soon forget all about the outmoded notion of, “being dressed to the nines”. Instead, you shall be whisked right past 10 and into a world of instantly recognizable style that is off the charts. No surprise there, since this Sydney-based “Home of Australian Corsetry and Alternative Couture” prides itself on being an “Antidote to the Mundane”. After all, nothing lights up a room like a Gallery Serpentine pointed waist cincher fashioned from black aston brocade, a distinguished pinstripe kirtle skirt that drapes just right, or a high-collared undertaker inspired coat. But that’s just one small piece of a greater fantastically fashionable puzzle. If you heart’s desire lies in transforming your entire wedding entourage into a horde of airship pirates, the brand’s alternative bridal salon, can help you satiate your steamiest matrimonial appetites. And if you wish to be plucked from the banality of day-to-day life by the way of sartorially minded old-school carnival magic, where tunes and togs collide: Dark Fashion Theatre beckons with promises of delivering a tantalizing, multi-performer road show unlike that which you’ve ever seen, letting you fulfill those, “I’ve run away with a really well-dressed circus,” fantasies you’ve always harbored. At least for one night.

Writer Vanity Kills and editor Jennifer Link had the pleasure of interviewing Stephanie Calkin of Gallery Serpentine.

Jennifer Link : Gallery Serpentine has had multiple designers and guest designers throughout its 15 years, can you give us a mini history lesson, who were some of the highlights and who is still working with Gallery Serpentine today?
Stephanie Calkin : Annette Magus, my sister, was the sole designer when her first label, Magus, morphed into Gallery Serpentine in the early years after she came back from Camden in London where she had a great following. She developed the corsetry during this period when you couldn’t buy a corset in Australia. She continues to contribute her signature romantic neo-Victorian styles and also what I’d categorize as “practical goth” or “corporate goth” daywear. For me I was making “deadtech” creations utilizing circuitboard screen prints and wiring diagrams with used computer parts and often pictures of Einstein. It was great to have this recognized with a color spread in a local Sydney gay publication and getting the cover of another local paper and having the winner of the Miss Geek competition in the USA wearing one of my deadtech corsets.

Once GS started growing and we were employing some creatives who in the main came out of the theater costume background an acceleration of dramatic designs came through. Basically nearly everyone who has ever worked here has ended up contributing designs whether it is the production team or the retail team. We used to have very intense staff design meetings every few months and design sheets were rampant pieces of paperwork wherever you went upstairs in our old shop in a Victorian terrace.

Shannon Mullane is still with us after about eight years, she originally started as a work experience student and is now Production Manager and has designed some great new styles for us.

Other guest designers are USA steampunk legend, Evelyn Kriete and Sydney’s own Robert from Red Rabbit & Ensign who really helped us kickstart our GS Gentlemen ranges. Our new Dapper Bastard ranges are being spurred along by a Victorian style strong man and scientist, Abbadon/James Heathers.

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

Daniel Myer and Dejan Samardzic are back with a new Haujobb album, New World March, eight years after their last full length. Not focusing on club hits, but still aiming to return to the popularity they’ve had in the past, New World March is distinctly Haujobb. With this brand new material, Myer and Samardzic prove they still have it.

interview by Aaron Andrews

In 1993 Daniel Myer, Dejan Samardzic, and Björn Jünemann founded Haujobb releasing two industrial albums before Jünemann’s departure. The duo of Myer and Samardzic have continued on since and ushered Haujobb through a musical evolution away from their initial sound and explored the realm of electronic music trying sounds including drum & bass, IDM, ambient, techno, trance, and electronica. In 2003 they issued their last full album of new material, Vertical Theory, and became slowly quiet until 2009 when they remixed their reissued Homes & Gardens single with the promise of more on the way. This year Myer took a break from his other recent projects (Architect and Covenant) to focus on reuniting with Dejan as Haujobb on their all new full length release, New World March. We got the chance to interview the creative team of Daniel and Dejan to ask about Haujobb, working together and the brand new album.

It’s been eight years since Vertical Theory came out and for the most part Haujobb has been quiet. Why such a long hiatus?
Daniel Myer : It’s very simple actually. I moved away from Bielefeld and it was kind of tough, working apart. We were still working on music together but it took forever to get things done. When Dejan also moved to Leipzig the whole thing became new dynamics. We focused on the album, started to focus.

Was there any difficulty in working on this album so that the Haujobb sound was identifiable and current?
DM : No. We knew what we wanted and like I said before, we were focused on the sound.
Dejan Samardzic : Current? We don’t care about such things.

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

While The Human Centipede (First Sequence) might not have lived up to the hype, The Angriest Critic looks at take two which delivers more shock and gore, to see if it does.

by Adam Rosina

Though Tom Six’s The Human Centipede (First Sequence) was supposed to be last year’s instant shock classic, it was a film that ultimately could not live up to the hype. It failed to deliver on the gore front, giving scant illumination to the particulars of its central medical procedure (sewing three humans together, mouth to anus) or its revolting implications (perpetual analingus and consuming shit for sustenance). Furthermore, if the film were to be saved by technical flair, Six dashed that possibility with his bland, albeit competent, direction. The only place the film did succeed was it’s comedic moments, made possible by lead Dieter Laser’s (great fucking name) drooling, scenery chewing riff on Nazi “Angel of Death” Dr. Mengele. But in the end, it wasn’t up front enough with the gory goods for horror fans, and too outlandishly weird and perverse for pretty much anyone else, and as such was only regarded as a mere cinematic curiosity. When asked about the film’s flaws, Six referred to it as a mere dry run to see if people would accept the human centipede concept, and promised that it’s follow up would take audiences to depths of depravity and on-screen bloodletting previously unseen. Little more than a year later, Six delivers on this promise with Human Centipede II (Full Sequence), which indeed takes the concept of bad taste to shocking new lows.

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

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