Posts Tagged ‘Chief Magazine’

Issue 17: Murdertronics

Thursday, July 23rd, 2009

Murdertronics has been playing Chief shows/parties for as long as we can remember. Whenever we have a dirty, loud-as-fuck, ass-shakin, bass heavy, sex in the corner of the dance floor, dance party with the likes of Mr. Andersonic and DJ Dirtyfinger, you can be sure that Murdertronics is also on the bill. Mr. Zipco even went as far as to pay for their hotel room at SXSW last year because they had promised to play our Chief SXSW Showcase. and they were almost brave/stupid enough to follow through on their word… (Editor’s Note: You  fucking PUSSIES with your expensive equipment that cant get destroyed…) Mind you, the Chief Records Showcase was where we BLEW UP THAT FUCKING CAR! (see the photo above! Cover image all day, Seelie!)

Anyhow, these guys are scummy and brilliant and they’ll get your lil sister pregnant. Them’s the facts, jack.

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Ok, so, for transcription purposes. Who are you and what are your names?

My name is John we’re Murdertronics.

Chris: And what do you do John?

I play a drum machine and use a computer. Music for Booty-shaking, pussy poppin, all that shit… That’s what I do.

Chris, Murdertronics. I play using a drum machine synthesizer and run samples.

So for those who don’t know out there, how’d you guys get together and how’d you get your name.

J: We got the name the beginning of last summer. We just got pretty much drunk all the time and we found a concept we liked while working together actually at this place Potato Café. We realized that making booty bass and Baltimore club was a pretty easy yet effective thing to do, and we threw our dirty bass lines on it, and that’s how we formed our group, Murdertronics. The name deriving from Murdertron, Chris’s alter ego of sorts.

C: Cuz we weren’t creative enough to come up with another name.

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Issue 17: The Viennagram

Thursday, July 23rd, 2009

The Viennagram is an ever evolving, astrology-obsessed group of young men hailing from Providence, RI. Their live shows include idol worship, devil worship, lots of fake blood and their own personal troop of Burlesque dancers who call themselves “The Danger Danger Birds.” I caught up with them after their show at the Knitting Factory to find out what the fuck the deal really is with this group of enigmatic circus freaks.

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Chief Magazine: Hey Folks. Tell us who you are.

Danger Dan: Hi I’m dangerdan of the viennagram and

Pietrasiek: this is Mr. ziptrasiek

Joe baby: Joe baby

Abe: Abraham honest Abe

So what the fuck is a vienngram anyway?

Dangerdan: it’s kind of like the Ennagram, which is the 9-pointed personality except it’s got a V in front, just like the band. We’ve got a V in front, that’s the A-V.

Tell me the dirtiest joke you know.

JB: What’s the worst thing about eating bald pussy?

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Issue 17: Tyvek

Tuesday, July 14th, 2009

Detroit’s Tyvek wants the DuPont Corporation to know that it will not compromise its name—ex-MySpace—in order to defend the honor of a synthetic house-wrap.  Tyvek will not cease and desist. It will continue to bleed ears, in basements, in the abandoned shells of half-constructed houses that pepper the Motor City like a rash, a plague, a blight upon ye market speculators. It will tour. It will spread. It will scour your city for D.I.Y. parties and  7” singles, leaving a beer-soaked wake of lo-fi garage rock and miscellaneous awesome. But first, a few pints of Black Rabbit Ale to get us started…

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Chief Magazine: Just tell me your names, for the record.

Kevin Boyer: Kevin Boyer…

Matthew Ziolkowski: Matthew Ziolkowski…

That’s a Motor City name.

Matt: Yeah, really Polish.

So you guys are from Detroit?

Matt: I’m from about an hour out, a town called Jackson. But I’ve been living there for the past eight years.

Kevin: Yeah, I’m from Detroit. I was born and raised in Detroit.

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Issue 17: Arthur Nersesian

Tuesday, July 14th, 2009

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From couch-surfing the Lower East Side to lamenting the construction of The Cross Bronx Expressway, Arthur Nersesian, author of The Fuck-Up, is about as New York as they come. His novels offer astute observations of his city and the people in it. Drawing on his own personal experiences, memories and fantasies, Arthur continues to create seriously compelling and often dark fiction.

His most recent project, “The Five Books of Moses,” is a fantastical interpretation of the history of New York City with Robert Moses as one of the story’s central figures. In the first book, The Swing Voter of Staten Island, we learn that New York City has fallen victim to a crippling terrorist attack and is no longer habitable to its citizens. New Yorkers are subsequently relocated and confined to a small-scale replica of their home city built in the middle of the Nevada desert on government property. The second book, The Sacrificial Circumcision of the Bronx, works backwards to explain what prompted such a devastating nuclear attack on New York. Arthur is currently working on the third book of the series.

I got the chance to have lunch with Arthur in a fitting location: the Lower East Side. Here’s what we talked about.

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Chief Magazine: So you were born in New York, right?

Arthur Nersesian: Born and raised in New York, yeah.

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Issue 17: Zebra Katz

Saturday, July 11th, 2009

Zebra Katz is the creation of, arguably, the hardest working man in nightlife, Ojay Morgan.    Watching him dance, grab the mic, hype the crowd all while sipping on champagne, while the girls (and boys) swoon around him is quite a site.  You can catch him at Happy Endings hosting Poppin’ Bottles, Getting Pregnant and at his new weekly party, BASEMENT.  Or you can check out the School of Go Go or peep a House of La Dosha performance, or… fuck… WE SAID THE KID WORKS HARD!

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Chief Magazine: Hi.

Zebra Katz: Hey. [hug and kiss each other]

So um, why don’t you introduce yourself to everyone?

Hello world, my name is Zebra Katz. It’s Z-E-B-R-A K-A-T-Z, half Jewish, half Black.

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Issue 17: ‘This Tastes Like Stoges and Blowjobs,’ Chief Makes Sparks

Saturday, July 11th, 2009

In our contemporary times, we desire things that have duality. From this desire came a need for a new way to get drunk; a way that would get you tanked, but somehow allow you to propel yourself throughout the night; from show to bar to bar to rooftop without a making a majestic swan dive into a pile of clothes to pass out. The powers that be heeded that call from on high and gave us an answer in an aluminum can. Sparks; it’s the swill of a generation.

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From a marketing perspective, Sparks is quite brilliant. Take two things that many of us love, malt liquor and energy drinks, and bring them together in a marriage so perfectly orchestrated that it sired two more varieties. Complete with the parlance of a toxic avenger tongue, it was a medium, a message, hell a damn lifestyle for some. But just like Crystal Pepsi, the ubiquitous ‘they’ took it away.

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Issue 17: We Met! 102 Chinese People

Thursday, July 9th, 2009

Last week Liz Castro and I started working at Chief Magazine! On our first day, Ed Zipco (The Editor-In-Chief) gave us his $4500 camera and sent us to Chinatown to meet 102 Chinese people and take pictures with them! All 102 of them!

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That’s a lot of Asians in one place, at one time, but we did it. (You should feel a sense of contact accomplishment from what a great job we did.) Most of them were friendly, except pretty much every single one of the old ones. They didn’t understand any English, but what they did understand was that something funny was going on, that we DID NOT work for New York Magazine (like we had been lying about all day) and that we were playing around with soul-stealing technology. But whatever, we got the shot!

Sometimes we resorted to throwing our arms over people without introduction, and hoped they wouldn’t get violent. This wound up inspiring more love than hate; a man questioned my price (to marry his son in law) and the oldest guy in the world tried to lick me. All in all, it was a good time. And I mean come on! We met 102 Chinese people!

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Issue 17: Future Islands

Wednesday, July 8th, 2009

Future Islands are from Baltimore, and they sound like a más sexy Glenn Danzig grunting love songs over the boss music from your best friend’s favorite Nintendo game—and we ain’t talkin’ Wii. If you don’t think that’s a ringing endorsement, you probably haven’t heard what your average Wham Citizen can do with an 8-bit processor. They can make you dance; they can make you make out. If you’re lucky, you can dance and make out at the same time, horizontally, in public, while Future Islands plays as part of Dan Deacon’s Ensemble. William and Geritt are the rhythm section of Future Islands, and we caught up with them the night the Ensemble debuted at the Brooklyn Masonic Temple. We “crashed” the post-show-after-birthday-party (a bunch of tired people looking for leftover cake while trying to figure out places to sleep for the night) flashing our fancy recorder and almost-as-fancy souvenir press badges, but were promptly outclassed by do-rags and stories about would-be killer bears. Jinx!

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Gerrit: Fancy recorder.

Chief Magazine: I know, right? So, for transcription purposes just say your name and what you play.

Gerrit: My name is Gerrit and I play keys in Future Islands.

William: I’m William and I play bass. It’s my birthday…

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Issue 17: Punks del Barrio

Monday, July 6th, 2009

Last year William Dunleavy quit his job in NYC and took a bus to Mexico City with no idea what he was getting into. When he arrived, he made friends with a gang of street punks and skinheads who sell an anarchist newspaper in the center of the city. They allowed him into a world of third generation Latino punk, militant ska politics and ironic nazism.

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Issue 17: SXSW

Monday, July 6th, 2009

We went to SXSW and Chief photog, Venus Jasmin Soto took pictures. Luckily she didn’t have the camera on us the WHOLE time.
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Issue 17: Women

Monday, July 6th, 2009

Women stitched together their self-titled debut from late night jam sessions and drunken four-track recordings, then took that record and conquered CMJ last fall. Sure, it helps that their album got picked up by Jagjaguwar, and that they sound like a love-fest/knife fight between the Velvet Underground and the Zombies. It also helps that they ooze Canadian boy charm like a nasty hand wound oozes blood (which is exactly what guitarist Pat Flegel’s finger did during Women’s set the night we talked). They’d tour Europe for the cheese and beer alone, and their primary artistic concerns seem rooted in finding new and strange ways to record music—inebriated, in the dark, under the stairs, in warehouses, upside-down… you name it. These are my kind of Women.

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Chief Magazine: So I’m going to point this little glowing thing at you and you say your name and what you play in the band.

Michael: Michael [Wallace]. Drums.

Matt: I’m Matt [Flegel], and I play bass guitar.

Pat: Pat , and I play guitar.

Chris: I’m Chris, and I play guitar. And we all sing.

Yeah, I know. It’s amazing. I actually saw you guys at CMJ twice, and…

Matt: Which ones?

I saw you at Cake Shop, and then at the Knitting Factory.

Pat: Oh yeah!

Really dug the Knitting Factory show. Cake Shop was a total cluster fuck.

Matt: Yeah.

I actually wanted to talk to you about the live show, as opposed to the album. I’ve been listening to the album a lot lately, and from what I remember, it’s a very different sound from what you guys get live. Like downstairs when you guys were playing that sample during sound check, it just made me think how there’s so many little pieces on the album…

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Issue 17: ZZK

Thursday, July 2nd, 2009

In Zona Sur, Argentina, outside the capital city Buenos Aires, resides one of the men responsible for helping the new wave of cumbia spread like wildfire, through vinyl and the internet, beyond the Americas and into soundsystems from LA to London.

Pedro Canale, better known as Chancha Vía Circuito, has become one of the best-known artists to emerge from the thriving Buenos Aires music scene, centered around the Zizek nightclub. His elegant, well-crafted and bass-friendly compositions have found their way onto pounding cumbia mixtapes worldwide, including two of the most influential to date: Diplo/Mad Decent’s “Soy Cumbia” mix, and Vampiros Dee Jay’s “La Sonidera Colombiana” (his track “Damas Gratis Dub” opens both mixes).

Pedro is friendly and unassuming, apparently unfazed by the critical success of his album “Rodante,” and he continues to lead a seemingly quiet lifestyle a fair train ride outside of Buenos Aires city.

I spoke with him from my home in Japan, where he enjoys underground fame among the surprising number of Japanese cumbieros.

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Chief Magazine: When did you start writing your own music, and what kinds of music have you made?

Pedro Canale: I started when I was 12. I used to make songs on the acoustic guitar (the guitarra criolla) and since then I’ve passed through various different styles: rock, reggae, heavy, electronic, to name a few.

I read that when you were young you used to play percussion in the murgas. How did that influence your musical development?

When I was a kid I played the bass drum in a folkloric group at school, but I never played in a murga, maybe that was a mistake somewhere. But recently I got involved with the murgas, 4 years ago, when I was invited to join the jury for the Buenos Aires carnival.

In any case, it has had an important role for me because the percussion characteristic of the murgas—the bass with the cymbal—opened my ears to a palate of timbre I wasn’t familiar with.

What is the rhythm of the murgas like?

Well, as far as the Argentinean murgas it’s pretty simple: 4/4 with the bass drum on whole notes.

The little I have seen of murgas on YouTube has been incredible. How would you explain murga to people unfamiliar with it?

It’s not easy to explain, but to summarize you could say it’s an artistic expression of social protest that began with the slaves brought on ships from Africa, and it acquired different styles and characteristic touches in different countries… It’s an art that combines music, dance, song and fantasy. And yes, I agree with you, they’re incredible.

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Issue 17: Cerebral Ballzy

Wednesday, July 1st, 2009

Dude. Seriously. It’s like if The Teenage Mutant Ninja Turtles and those early morning cartoons we used to watch had a baby, and meanwhile, the craziest Beavis and Butthead episodes and the best Seinfeld had a baby, and then by some miracle those babies met, and fucked— then this would be the shit they’d birth. Listen to it. Three chords , incomprehensible words, played fast. Fuck, just listen to it.

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Jason: My name is Jason Banny and I play guitar in Cerebral Ballzy.

Honor: My name is Honor.

Mason: My name is Mason

[Laughter]

Mel: Mel, I play bass–

Honor: Pugs, his name’s Pugs.

Chief Magazine: How long have you been a band?

Honor: Uh, seven months…

Mel: Six, seven months.

Jason: Started in September of last year.

And you’re already the self proclaimed “Worst Band of All Time?”

Jason: Yeah man, I don’t know… It’s a big compliment

Honor: We’ve progressively gotten worse. It’s great.

Jason: We work really hard to write the worst music we can every time. It’s– Fuck, it’s a lot of work.

Honor: I mean, as much slurring and puking and possible. Make’s the best slash worst.

Mason: It comes naturally to me.

Honor: It comes natural.

Is the goal to get better or worse?

Honor: Get better at getting worse.

Mel: Exactly.

That’s deep.

[Laughter]

So, you’re often compared to the Bad Brains because you’re all black, but, who are your influences?

Mason: We’re not all black though…

Mel: Well Mason’s pretty black

Jason: I am Black.

Well, are the Bad Brains an influence for you or–

Jason: Obviously, we all… I mean… I got… I stole Mel’s Bad Brains pin right now, but… We love Bad Brains. They’re…

Honor: They’re dope.

Jason: … awesome band. I mean, it wasn’t like we listened to the Bad Brains and then said, “Hey, we could do something like that.”

Honor: I think the racial thing is the biggest Bad Brains comparison maker. You can’t control it. It is what it is, but I would say we sound too much like the Bad Brains.

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Issue 17: Girl Talk

Wednesday, July 1st, 2009

Gregg Gillis, a.k.a Girl Talk, is definitely not a musician in a traditional sense. Drawing from experience as a biomedical engineer, he meticulously splices and dices samples and assembles them into a high-octane sound puzzle with attention deficit. This past January Chief got him on the phone to talk about Lil’ Wayne, his recent release Feed the Animals, and why he needs to work on his jump shot.

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Chief Magazine: Hey Gregg, So where are you right now?

I’m in Pittsburgh.

Are you at your house? You’re on break from touring?

Yeah I’m at home right now. I kind of tour all year ’round, but I do a lot of weekend shows, so I just played shows; like St. Louis on Thursday, Omaha on Friday, and I played Iowa on Saturday, and I flew home yesterday, then I’ll be here Monday, Tuesday, Wednesday, and then I go back out on Thursday, so that’s the majority of my year.

So basically you’re a weekend warrior.

Yeah, I used to hold down a day job, and it was the only time I could play shows, and after I quit I was kind of still into it. I do some extended tours for some of the year, and that’s enjoyable, but for me if I do weekend shows, I get to relax and work on some stuff during the week, you know not do too much, so when I get out to do an weekend show, I feel like you know, ready to celebrate and have a good time, on a similar mindset that probably a lot of people that come out to the show [have].

Word, sounds good. So bringing up your old day job, you used to be into biomedical engineering, correct?

Yeah, that’s right

So do you think that has anything to do with the way you create your music at all? Does it remind you of your organizational skills or anything?

Yeah there are some parallels. I think that going to college to study engineering…doing engineering work is often a detailed process, and a lot of times you’re focusing on some small aspect, a solution for a tiny problem and that will go on to impact a bigger picture, and I think that relates to some degree on how I make the music, some very small elements and meticulous work, and I’m sitting in front of a computer for a bunch of hours in a row, I think a lot of that goes hand in hand with my engineering background.

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Issue 17: MKNG FRNDZ

Tuesday, June 30th, 2009

We’re gonna say it, MKNG FRNDZ are fucking adorable. Daniel Scott Erickson and Tami Hart are two punk kids from “the neon side of town” who just love to dance. Every time we hear their songs we want to lose our shit on the floor and then go giggle with them. Go listen to “Situation” on their MySpace and tell us you stayed seated with all your limbs in check. Then stop lying… that shit’ll get you in trouble.

We went for coffee with them and left with our cheeks hurting from all the larfs. In fact, we md frndz fr lfe!

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Chief Magazine: Let’s just start at the beginning. It’s easy. Where are you guys from originally?

Daniel: I’m from Anchorage, Alaska. People are always like, “Sarah Palin!” It’s always a talking point. Oh well. Growing up there was awesome in retrospect. When you’re growing up you’re pretty isolated, and it’s a really small scene, but you make it work. I went to some pretty awesome shows. Like Red Ants came there, Seven Year Bitch. You would have never thought those kind of performers would come up there but they did. It was pretty cool.

Tami: I’m from Beaufort, South Carolina and we’re famous for Pat Conroy and Forrest Gump! And crack. There’s a lot of crack. I remember my senior year of high school, it was like, ABC and NBC news were coming down, because “Beaufort was turning into New York, because of the crack epidemic!” Kids would come up to me at school and be like, “Wanna buy?” I was eighteen. It was kinda cool.

Did you ever try it?

Tami: On accident once.

Daniel: “On accident” off and on for a few months!
[giggles ensue for a good minute]

Tami: Our next record: I Accidentally Smoked Crack. Anyway, I was living in Portland, Oregon and I was hanging out with this girl that I worked with at Whole Foods. I thought she was really cool, she was this ’77 punker girl, and her name was Asia, and she talked really hoarse, you know. She was a mess. She always came to work late and the first thing she would do was run to the bathroom because she had to puke. And I thought that was really cool! [laughs]

Daniel: So Foxfire.

Tami: Totally! One night I ran into her at the Jockey Club, which was this total punk dive bar that I loved. I went into the bathroom, and she was in there with this lady, and I was like, “What are you guys doing?” And they put the pipe in my mouth and were like, “Try this.” And I was all, “Alright, I’ll try anything once!” It didn’t even feel like anything, it just felt gross. And then I remember leaving the bar, and she was literally in the parking lot, like dying. And I was like, “I don’t think that’s a good thing.”

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Issue 17: Comics

Tuesday, June 30th, 2009

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Issue 17: John Dwyer

Tuesday, June 30th, 2009

John Dwyer (Coachwhips, Thee Oh Sees) spent New Years ’09 in Brooklyn hanging out with Nancy Whang (LCD Soundsystem, The Juan MacLean) and playing improvisational sets with saxophonist Sam Hillmer (Zs). I caught up with John at Market Hotel the Tuesday before New Years. Since John’s the kind of guy that does well in-the-moment, I winged the interview and let our conversation take its own course. We talked about werewolves, the new Oh Sees album, Cory McAbee, Dave Sitek, Scarlett Johansson, Peter Criss, Boy George, and Weasel Walter, among other things.

I got a few words in with Sam afterwards, but about halfway through, the sounds of machine-gun drumming came crashing from the main room at Market. It was John, launching into the set. Sam ran to hook on his horn, then joined John for fifteen minutes of the most intense music I’ve heard since I last caught Zs. It was charged with immediacy, like a monster set on fire at the climax of some 80s horror movie, using its last burst of mortal energy to run howling after its young, blonde, Reaganite nemeses. Yup, it was exactly like that. But with a flute…

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Chief Magazine: So how’ve you been, man? How’ve your holidays been?

John Dwyer: It was good. I went to Rhode Island and hung out with my mom, who is pretty crazy, because I haven’t seen her in three or four years. And my brother’s got cerebral palsy. So she’s been taking care of him for like 20 years. She’s lost her mind. It’s like within 20 minutes of being there I knew why I moved out when I was 17. No, but she’s super rad. But she’s just really involved in that.

Yeah, I don’t think I’ve ever really asked you about that. The whole moving out of Providence—did you go directly to San Francisco after that?

Yeah, directly to San Francisco. I was with my friend, Jeff Rosenberg, who I was in Pink and Brown with. We were supposed to tour out there, and then our band broke up at the time—pre-Pink and Brown, a long time ago. We decided to do the trip anyway, so we drove out with some friends. Just went across the country and had my first adventure out. I got a taste of the touring vibe, and then I got to San Francisco, and I just loved it. I don’t know why.

Yeah.

Because nowhere else had really struck me, and to this day, I can’t even say why. But I’m glad I picked it, you know?

It’s really got that kind of magnetism to it. I was out there for four years and—

Yeah, I think some people don’t see it, and other people do. Just like tacos and the beach—the classic. It was easy for me to live there. I got lucky. I’ve got my little thing constructed, so…

Right.

Low overheard in a very expensive city. I’m just trying to hold onto that.

Yeah, and you’ve worked with tons of people—lots of different people—and it seems like every time I hear some new thing that you’re up to it’s like, “Wow. He’s doing that now?”

Yeah, this guy, Sam [Hillmer]—

Yeah, like Sam—

Have you met Sam before?

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Issue 17: Letter From the Editor

Monday, June 29th, 2009

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Hi. We’ve met before. Maybe? If we haven’t, let me hip all of you to my presence. I’m Jacqueline. And I am the Managing Editor over here. The road to this position has been a tenuous, lovely, beer soaked one. I walked into Chief HQ about two years ago. A friend of mine, and I’m sure yours, Jah Jah, had just told me he had been profiled in his friends’ ‘zine and that they’re “always looking for writers” (ed note: that was translated from Sparks-ese). At which point I promptly dusted off my, still unframed, degree from the New School, which reaffirmed that I had, in fact, majored in Writing. I just finished a stint at Gawker when it was run by Alex Balk and my fellow New Schooler/friend Emily Gould (not laaaaame 22 year-old NYU grads). And was ready for a change, I mean, how invested can one really be in America’s Next Top Model recaps? And Tracie Egan snorting blow off cocks? Well… I’m still interested in the latter.

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Back to Chief HQ. I met, my soon-to-be my bosses, A.P. Smith and Ed Zipco. And if first impressions are the most important, I should have ran out of there as fast as I walked in. Andy was frantically alternating hits off a cigarette and an asthma inhaler and Ed was just… smiling (read: high as fuck. all damn day). Whatever. A new project! So, I started writing blog posts. I think I may have even put together Pen Pals! Once! And, oh, the proofreading! WOOF! Finally, I approached Ed and Andy and said, “make me blog editor”. So, I was that for a hot second, until, around Issue 11 when Ed called me up and asked me to be Managing Editor. Done. And if I may get corny for a second, it’s been pretty much the sweetest gig ever. I get to talk to my friends about their art and music (OMG Michelle, Scotty Hug of K48 Magazine, Zebrakatz, Cristy Road, Kate Clark, man, the list goes on). And now, I run this shit with Ed… who is still high as fuck, in case you were wondering.

So, that’s my story. Now, onto the real news… Welcome to Issue 17! Our long, long anticipated Issue 17 (we’ve been busy: breaking up with people, going on vacations, getting surgeries, doing work that actually pays us, you know how it is!) Anyfuckingway, we hope you enjoy what we’ve got for you in the Music Issue. We gathered together musicians and performers who just understand the anatomy of a “good fucking jam”. Seriously, just go to any of these folks’ shows and you’ll know what we mean. From Girl Talk to Cerebral Ballzy, from John Dwyer to MKNG FRNDZ, just wonderful, varied, right on artists. MIXTAPE GOLD.

And now even BIGGER news! We’re leaving! It’s not you. It’s us. You didn’t do anything wrong. We just need a break. We have some stuff we need to do to better ourselves. Figure things out. Think of it as a retreat for bad boyfriends who neglect their girlfriends and fuck other chicks and forget to give them shit on their birthdays (I think this was turned into a social experiment/documentary called, “The Tool Academy”, you should totally check it out while we’re taking time off).

On the real, we’re taking a break and coming back, bigger, better and harder than EVER. I don’t want to spoil anything, suffice to say, God-willing, in a little bit Chief will be online with a new look and a new website. Fuck, the day we launch will feel like the day Barack Obama became president all over again. Hugging strangers. High fives on the subway platform. Unicorns cumming cotton candy tasting rainbows all over our faces! Also, leading up to the epic relaunch… we’re running this town. Want to know about it, join the family and help out? Get at myself or Ed!

In addition, to tide you over, we’ll be feeding new, exciting blog content everyday, all day. We’ve got a team of bright, young interns and bloggers tapping away. Expect mini-interviews, video content, the bastardization of daily news stories, us being our insensitive/emotionless selves… you know, the usual. Blogroll us and fuck your job!

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You pumped? We sure as hell are.

Catch you on the flipside homies,

Jacqueline Lewis

Managing Editor
Chief Magazine

Summer 2009