Archive for artist
A group of gay rappers are trying to gain notoriety in the Hip Hop world.
Check out Diplo featuring Nicky Da B – “Express Yourself”
Calling all artists….
Monroe-land will be taking submissions starting January 1, 2013.
Are you a photographer and want your image bracing the cover for Monroe-land Mag? Do you have an editorial that you want to share with Monroe-land’s Piggies? Are you a musician that wants to share your music or a designer that wants to feature your designs? Are you a writer that wants to feature an article or interview? If you answered yes to any of these, please send your submissions to firstname.lastname@example.org.
MODEL OF THE MONTH MONROE LAND DIVA FRANKI FALKOW
JM: Tell us a little about your childhood. What kind of kid were you? Where did you grow up?
FF: I grew up in a tiny, remote village in the English countryside. I was the only girl my age for miles around. Surrounded by boys, I spent a lot of my time playing soccer, climbing trees and rolling in haystacks. It was small-town-life so my teenage years involved a lot of back seats on buses as we were an hour from the nearest club. I had a lot of fun though and my parents are incredible. They have always let me be me and are happy if I am happy.
JM: What was the moment when you decided to become a model?
FF: Well, when I was four my brother told me I was going to be a model. I am not sure why, but after that, I remember strutting back and forth across the living room with a book balanced on my head, convinced I was Naomi Campbell. Even though over the years lots of people said I should do it, I never really believed it could happen. My mum and I took the long trip to London once a year to go shopping for my birthday. On my eighteenth, I was in Topshop when I got scouted by an agent at Premier Models, Naomi’s agency. Two weeks later, I was on a flight to New York.
JM: What are the biggest professional and personal struggles you have overcame?
FF: I do not like to complain but every job has its ups and downs. Modeling is a cut throat industry and I have been told that I am fat and ugly multiple times. It can crash your self-esteem if you are not strong. It is also a last minute lifestyle, which can wreck your relationships, canceling plans all the time. You have to find people who understand and can cope with the craziness. Love life wise, it necessitates a large amount of trust. I think the most recent struggle is the internet hate, the new breed of YouTube commentators. It can cut but as Andy Warhol said, “Don’t pay any attention to what they write about you. Just measure it in inches.” As with a lot of things in life, the more inches the better.
JM: Have you ever been on a shoot when it just was not working for you? If so, how did you handle it?
FF: I have put up with a lot on shoots, trampolining in heels, male models who ruin the shot because they cannot control their erections. However, in my entire career, I have only had one really creepy shoot. I was on the Mediterranean island of Cyprus, stuck out in the middle of nowhere by myself with a guy determined to take photos up my skirt for his “exhibition.” Flesh crawling, it is the only time I have left set. I literally walked off into the desert until he agreed to take me back to the city. That was ten showers time.
JM: What kind of photo-shoots excite you the most?
FF: I would never say no to haute couture clothing, breath taking locations and a full craft table. But what I love most on a photo shoot is when everyone on the job feels inspired and free to do what they want. This generally happens on editorial shoots because then the make-up, hair, styling and the overall image can really be exaggerated and you are less worried about a specific product. This is when it feels like creating art, which is what drives me. It is all about passion with fashion for me. That and getting my boobs out.
JM: What artists inspire you and why?
FF: I am a sucker for quotes and surrealism so I think Salvador Dali puts it best when he said, “A true artist is not one who is inspired. But one who inspires other.”
JM: What excited projects are you currently working on?
FF: I just finished shooting a short film for Vogue Italia with Ian Somerholder and Jaime King. My part was only small but it was a great project to be a part of. I am currently working on a novel based on my modeling career. Of course there is the magic that we are currently making together. I cannot wait until we can show everyone the final result. It is going to be fierce.
JM: What are you guilty pleasures?
FF: Oh I have got loads. Trashy TB, trashy magazines, everything sweet, Disneyland, dressing up as animals, cheese, fast food, cheese, drinking all night, really expensive shoes, really cheap shoes, Christmas, piercings (I am a secret stretcher) and sequins, lots of sequins. That is just a few.
JM: If you could have a dinner party with three people out of history, who would you invite and why?
FF: This is a difficult question. There are so many and you would want them to get on. I am drinking wine now and it is getting harder to concentrate. OK, right now I would say, Hunter S Thompson because I want some tips for my next trip to Vegas. Dr Seuss because I like stories and Cark Gable because he was hot.
JM: You look so fierce in your images. How do you keep your ego in check and keep it from getting to your head? Or are you a diva?
FF: I love to play fierce characters. It is so much fun to unleash that energy. If you are not afraid to emotionally and yes, sometimes literally, ‘let it all hang out’ it can be an empowering experience. I can switch it on and off though and would never let it affect how I interact with the people I work with. Everyone on a photo shoot is part of a team and everyone’s job and being is just as important as the next. I have “in the dust, be equal made” tattooed on my middle fingers as a reminder never to forget that.
JM: How do you keep your body and skin looking so amazing? Any beauty tips for us?
FF: I would love to tell you I have this perfectly planned out routine and meticulous diet, that I exfoliate every morning and never go to sleep with my make up on, but that would be a lie. I was lucky to inherit some good genes and even though I drink and smoke people still keep telling me my skin looks great. Saying that, water really is the key and I try to avoid the sun as much as possible. As we all know, moisturizer is everybody’s bff. I am also a huge advocate of sexercise.
JM: What is next for Fanki Falkow?
FF: A glass a wine.
HAPPY BIRTHDAY FREDDIE! WE MISS YOU!
“Is this the real life
Is this just fantasy
Caught in a landslide
No escape from reality.”
- Freddie Mercury
Something has recently come to my attention that I find to be extremely alarming! A lot of you young followers out there have no knowledge of Freddie Mercury. I have decided to post his biography so you all can see what an AMAZING artist this man truly was. He has left behind a legacy that should not be forgotten. -Justin Monroe
Freddie Mercury was born Farrokh Bulsara on Thursday September 5th 1946 on the small spice island of Zanzibar. His parents, Bomi and Jer Bulsara, were both Parsee (Persian). His father, Bomi, was a civil servant, working as a High Court cashier for the British Government. Freddie’s sister, Kashmira, was born in 1952. In 1954, at the age of eight, Freddie was shipped to St Peter’s English boarding school in Panchgani, about fifty miles outside Bombay. It was there his friends began to call him Freddie, a name the family also adopted.
As St Peter’s was an English school, the sports played there were typically English. Freddie loathed cricket and long-distance running, but he liked hockey, sprint and boxing. At the age of 10 he became a school champion in table tennis. Freddie was not only a good sportsman, his artistic skills were incomparable. At the age of twelve he was awarded the school trophy as Junior All-rounder. He loved art, and was always sketching for friends or relatives.
He was also music mad and played records on the family’s old record player, stacking the singles to play constantly. The music he was able to get was mostly Indian, but some Western music was available. He would sing along to either and preferred music to school work.
The principal headmaster of St Peter’s had noticed Freddie’s musical talent, and wrote to his parents suggesting that they might wish to pay a little extra on Freddie’s school fees to enable him to study music properly. They agreed, and Freddie began to learn to play the piano. He also became a member of the school choir and took part regularly in school theatrical productions. He loved his piano lessons and applied himself to them with determination and skill, finally achieving Grade IV both in practical and theory.
In 1962, Freddie finished school, returned to Zanzibar and spent his time with friends in and around the markets, parks and beaches. In 1964, many of the British and Indians, due to political unrest in Zanzibar, left their country, although not under forcible pressure, and among those driven out were the Bulsaras who migrated to England.
Initially they lived with relatives in Feltham, Middlesex, until they were able to find their own small, terraced house in the area. Freddie was seventeen, and had derided he wanted to go to art college, but needed at least one A level to ensure he could get in. In September 1964 he enrolled at the nearby Isleworth Polytechnic
During vacations he took a variety of jobs to earn some money; one was in the catering department at Heathrow Airport, a stone’s throw from home, and the other was on the Feltham trading estate, where he had a job in a warehouse lifting and stacking heavy crates and boxes. His fellow workers commented on his ‘delicate’ hands, certainly not suited for such work, and asked him what he did. He told them he was a musician just ‘filling in time’, and such was his charm that those co-workers were soon doing the lion’s share of his work.
He studied hard, although he preferred the aesthetic side of school life to the more mundane academic side, and easily achieved his Art A level, leaving Isleworth in the spring of 1966. His grade A pass and his natural skill ensured that he was readily accepted by Ealing College of Art and, in September 1966, Freddie began a graphic illustrating course at that college.
After Jimi Hendrix exploded onto the scene in 1967, and Freddie became an ardent fan, he spent time sketching and drawing his hero; drawings he would frame and use to decorate the walls of his flat in Kensington, rented by his friend Chris Smith, where Freddie had moved from the family home in Feltham. At that time Kensington was an important place to be for the art crowd – it was the base of the famous Biba boutique and the home of Kensington Market, frequented by the then ‘in’ crowd.
A fellow student at Ealing College was bass player Tim Staffell, with whom Freddie became good friends. As Tim’s and Freddie’s friendship became closer, Tim took him along to rehearsals of his band called Smile, with Brian May on the guitar and Roger Taylor on the drums. Freddie got on famously with Brian and Roger and loved the sound that Smile had achieved; he also had immense admiration and respect for Brian’s guitar-playing. Inspired by Smile, Freddie began to experiment with music for the first time since leaving India.
He initially began to practice with Tim, another art student Nigel Foster, and with Chris Smith. “The first time I heard Freddie sing I was amazed,” recounts Chris. “He had a huge voice. Although his piano style was very affected, very Mozart, he had a great touch. From a piano player’s point of view, his approach was unique.”
“Freddie and I eventually got to write little bits of songs which we linked together,” adds Chris. “It makes sense when you consider Bohemian Rhapsody. It was an interesting way getting from one piece in a different key signature to another. But I don’t think we actually finished anything. Freddie certainly taught me a lot at those sessions. He had great, natural sense of melody. I picked that up straight away. For me it was the most interesting aspect of what he was doing.”
Freddie left Ealing College in June 1969, with a diploma in graphic art and design, and a few commissions for adverts in local newspapers. He moved into Roger Taylor’s flat, and that summer opened a stall with Roger at Kensington Market, initially selling artwork by himself and fellow Ealing students, and later Victorian or whatever clothes, new and secondhand, he could lay his hands on.
In the summer of 1969 Freddie was introduced to a Liverpool band called Ibex, who had come to London to try to make a name for themselves. Ibex were a three-piece, with guitarist Mike Bersin, John ‘Tupp’ Taylor on bass and Mick ‘Miffer’ Smith on drums. They also brought with them their apprentice manager, roadie and general dogsbody Ken Testi; part-time bass player Geoff Higgins used to travel down for occasional gigs. Geoff would play bass when Tupp, a great Jethro Tull fan, wanted to play flute.
Freddie first met Ibex on 13th August 1969. Such was his enthusiasm, that just ten days later, he’d learned the band’s set, brought in a few new songs, and had traveled to Bolton, Lancashire, for a gig with them – his debut public performance. The first date was 23rd August, and the occasion was one of Bolton’s regular afternoon ‘Bluesology’ sessions, held at the town’s Octagon Theatre. On the 25th August, Ibex appeared in the first ‘Bluesology pop-in’, an open-air event on the bandstand in Bolton’s Queen Park, and the proceedings were covered in Bolton’s ‘Evening News’. This even featured an uncredited photograph of Freddie.
While Freddie’s trip to Bolton with Ibex was photographed, Ibex’s appearance at the Sink was recorded. This recording was made by Geoff Higgins; as he says, tape is chronic quality, but it demonstrates Ibex’s love of Cream, Jimi Hendrix, as well as Freddie’s favorite of the day, Led Zeppelin.
Somewhere between 9th September and the end of October 1969 Ibex underwent a mini upheaval – at Freddie’s instigation. “I recall him canvassing the idea of calling the band Wreckage, but nobody was very enthusiastic,” reveals Mike Bersin. “Then he phoned me one night and said, ‘The others don’t mind. How do you feel?’ I said, ‘If they agree, then fine’. When I spoke to the others about it, Freddie had phoned them all up and had the same conversation.”
The name-change went hand-in-hand with the departure of drummer Mike ‘Miffer’ Smith. He was replaced by Richard Thompson, the former drummer in Brian May’s 1984. Despite flashes of true potential, the end of the 1960s also marked the end of Wreckage. Gigs were few and far between, and while John Taylor, Richard Thompson and Freddie remained in London, Mike Bersin was committed to his college course in Liverpool, as he promised to his parents. Inevitably, the band petered out.
Freddie started to search for another band for himself. He found Sour Milk Sea after seeing a “Vocalist Wanted” advert in the ‘Melody Maker’. The pomp and ceremony were impressive, and the band he was auditioning for knew he was the right man, especially when he got around to singing. Freddie had a great voice, with terrific range. But there was not only his voice that made his performances so attractive to people. “He knew how to front a show,” – Ken Testi recalls. “It was his way of expressing that side of his personality. Everything he did on stage later in Queen, he was doing with Ibex at his first gig.” It wasn’t anything that could be developed. It was his charisma, his pure natural gift that was in perfect harmony with his voice, his appearance, his delicate taste and his musicianship in the wide sense of the word. The fact that he realized it himself made him absolutely fascinating!
They offered him the job, and in late 1969 Freddie became the lead singer with Sour Milk Sea. The other members of the band were Chris Chesney on vocals and guitar, bass player Paul Milan, Jeremy ‘Rubber’ Gallop on rhythm guitar and Rob Tyrell on drums. They did a few rehearsals, and then a few gigs in Oxford (Chris’s home town).
Freddie and Chris, who was about seventeen at the time, became close friends and Chris moved into the house that Freddie shared with Smile in Ferry Road, Barnes. The other members of Sour Milk Sea were more than a little peeved Chris and Freddie spent so much time together, and felt rather insecure about the future of the band. After just two months Jeremy, who owned nearly all the equipment, derided to take it back and break up the band.
In April 1970 Tim Staffell decided to leave Smile, and Freddie join them as lead singer. Freddie decided to change the name of the band to Queen, he also changed his last name to Mercury.
The further biography of Freddie Mercury is to considerable degree a story of Queen.
In 1970 Freddie met Mary Austin. They lived together for seven years and remained good friends until his death.
In 1971 John Deacon joined the band and Queen were complete. Freddie designed the band’s logo using their birth signs: two fairies for him (Virgo), two lions for Roger and John (Leo) and a crab for Brian (Cancer). Freddie was the author of the first Queen song that entered the British charts (Seven Seas Of Rhye), the first big hit (Killer Queen) and the most famous Queen song that was on the top of charts for 9 weeks (Bohemian Rhapsody). Freddie has always been considered the front-man of the band.
In 1975 Queen toured Japan. A crowd of screaming fans followed them everywhere. They were taken by surprise at the strength of their reception. Freddie fell in love with Japan and soon became a fanatical collector of Japanese art and antiquities.
On October 7th, 1979 Freddie performed with the Royal Ballet. He had never done any ballet before, but it was something he had always wanted to try. The songs he had chosen to perform to were Bohemian Rhapsody and Crazy Little Thing Called Love. Songs were played by the orchestra with Freddie doing live vocals. Freddie’s first dance was Bohemian Rhapsody, and he performed with skill in front of a packed house of enthusiastic balletomanes, who loved him, and he received a standing ovation for both his cameo performances.
In 1980 Freddie changed his image. He cut his hair and grew a mustache. His fans began to send him gifts of nail polish and razor blades.
At the end of 1982 Queen all agreed they wanted to take break from each other. They announced they wouldn’t be touring throughout 1983. Freddie had been thinking of making a solo album for some time, and at last he had time to do something about it. He booked studio time at Musicland in Munich and began work in early 1983. During that time he was introduced to Georgio Moroder, who was working on a re-release of the 1926 Fritz Lang silent science fiction film Metropolis. He wanted to put a contemporary musical score to the film. He asked Freddie to consider collaborating on a track for the film to which Freddie agreed. He had never before co-written with anyone outside Queen, and had not recorded anyone else’s compositions, apart from Larry Lurex. The result of this co-operation was the song Love Kills.
In 1983 Freddie attended a performance of Verdi’s Un Ballo In Maschera at the Royal Opera House sometime in May. It was the first time when he saw Spanish opera diva Montserrat Caballé, and the sheer power and beauty of her voice mesmerized him.
On September 10, 1984 Freddie’s first solo single was released. It was the track he had co-written with Georgio Moroder for Metropolis, Love Kills.
The first single from his forthcoming solo album was I Was Born To Love You. It was released on April 9, 1985. Three weeks later Freddie’s first solo album Mr. Bad Guy was released on CBS Records.
July 13, 1985 was a special day for Queen and Freddie. It was the day of their memorable performance at Live Aid, a tremendous show at Wembley Stadium in front of 72,000 people. Live Aid was also broadcast to over one billion people worldwide. Queen secured their place in history, as every media person, journalist, fan and critic unanimously agreed: Queen stole the show.
The early part of 1987 was very quiet for Queen, so Freddie took the opportunity to go into Townhouse Studios to do some solo work. It resulted in a remake of the classic Platters’ song The Great Pretender. The single was released on February 23rd.
In March 1987 Freddie flew to Barcelona to meet Montserrat Caballé. He gave her a cassette with two or four songs. The Spanish opera diva liked these songs and even performed one of them at London’s Covent Garden. Freddie was delighted. In early April, Freddie began work on the album he agreed to record with Montserrat Caballé.
At the end of May the island of Ibiza staged a huge festival at the outrageous Ku Club. Freddie agreed to be a guest of honor and closed the event with Montserrat Caballé singing the song he had written for her and her home city, Barcelona.
On October 8th, 1988 Freddie and Montserrat appeared at the huge open air La Nit festival in Barcelona. They performed three tracks from their forthcoming album – How Can I Go On, The Golden Boy and Barcelona, accompanied by Mike Moran on piano. The long-awaited album, Barcelona, finally come out on October 10th.
October 8th was the last time Freddie Mercury performed on stage. At the time, he was terribly ill with AIDS, although he didn’t want people to know about it. He announced that fact the day before he died. Being ill he continued to compose and record songs and even took part in making videos. In my opinion, the I’m Going Slightly Mad video is his masterpiece.
On November 24th, 1991 Freddie died peacefully at his home in London of AIDS-related bronchial pneumonia.
On April 20th, 1992 a tribute concert in Freddie’s memory was held at Wembley Stadium, and many famous rock stars took part in it. But the best tribute to Freddie was the album Made In Heaven, released on November 6th, 1995 by the three remaining members of Queen. We can hear the last songs that Freddie composed and recorded.
Thank you Freddie. We love you.
Alluring. Provocative. Whimsical. Iconic. There are not enough adjectives in the English language to describe the impression that one gets while viewing the work of Pierre et Gilles. I have been a fan and follower since the day I picked up my camera. When I saw their book in a book store, I could not put it down. I would study each page as if I were taking notes and trying to figure out some magnificent secret. This was long before the day of digital photography and Photoshop. These creations were imaginative and otherworldly to me. I think that I spent two hours in the book store drinking in every page of this compelling book. I have long since been a fan and admirer of the talents these two posses. -Justin
French artists and Romantic partners.
Pierre was born in La Roche-sur-Yon in 1950, Gilles in Le Havre in 1953. At the beginning of the 1970s, Gilles graduated from the Ecole des Beaux-Arts in Le Havre, while Pierre was studying photography in Geneva. In 1974, Gilles corresponded for a year with Annette Messager. He settled in Paris, did paintings and collages, collected Photomatons and did illustrations for magazines and advertising. After service in the army in 1973, Pierre began working in Paris as a photographer for the magazines Rock & Folk, Dépêche Mode and Interview.
In autumn 1976, Pierre and Gilles met at the opening of the Kenzo boutique in Paris and started living together. Their apartment/studio was in rue des Blancs-Manteaux, Paris. As from 1977, it became clear that they should work in collaboration. Pierre will shoot and Gilles paint, each one working on the other works. Their work for the publication Façade brought them to the attention of the public.
The cosmos of the worldwide renowned French artist duo is a vivid, colorful world poised between baroque sumptuousness and earthly limbo. Pierre et Gilles create unique hand-painted photographic portraits of film icons, sailors and princes, saints and sinners, of mythological figures and unknowns alike. Pierre et Gilles pursue their own, stunningly unique vision of an enchanted world spanning fairytale paradises and abyssal depths, quoting from popular visual languages and history of art. Again and again, they re-envision their personal dream of reality anew in consummate aesthetic perfection.
Pierre et Gilles are among the most influential artists of our time. In their complex, multilayered images, they quote from art history, transgress traditional moral codes, and experiment adeptly with social clichés. Their painterly photographic masterpieces exert an intense visual power that leaves the viewer spellbound.
Over the last thirty years, Pierre et Gilles have created photographic portraits of numerous celebrities including Marc Almond, Mirelle Mathieu, Catherine Deneuve, Serge Gainsbourg, Iggy Pop, Jean-Paul Gaultier, Nina Hagen, Madonna, and Paloma Picasso. They work almost exclusively in an opulently furnished studio, where their subjects are costumed lavishly and placed before three-dimensional backgrounds. Pierre photographs the model, and Gilles retouches and hand-colors the print. The reproducible portrait is rendered unique through painting, which highlights each detail with carefully selected materials and accessories.
The ‘sulphur loveliness’ of fashion photography and advertising is where this art comes from, and where it belongs: amid exclusive shopping, outrageous price tags and very private parties that are the embodiment of social status. Here, perfection is not terrible but beautiful, yearned for and everlasting. Pierre & Gilles are part of a global glitterati who serve up happiness as exquisite corn and battered clich’. The stagnant male studs in Pierre & Gilles’ blended ideals certainly don’t sweat. Even vomit is portrayed as scentless, precious diamonds (L’escale, petit matin, 2003). In an erotic image of 1996, a naked man has his head and torso ‘splattered by the photo stylist’s equivalent of semen’. Gilles explains: ‘Johnny was originally meant to be a beautiful young thug, but he turned into something more vulnerable. It’s fake cum, just something we concocted. I think we used shampoo’.
Why is this schmaltzy kitsch so popular? Pierre Ardenne suggests that the ‘niceness’ of Pierre & Gilles has something to do with it. ‘The definition of the French equivalent, gentillesse… fits the work of Pierre et Gilles like a glove’: that which pleases by the familiar grace of its forms, its appearance, its manners.
Today their portraits have become a camp trademark and are as true to reality as Astro-Turf is to grass. The flagrant oblivion of Pierre & Gilles towards any awkward realities of history and culture does have a Ship-of-Fools quality to it. Also, their oeuvre, redolent with recycled popular icons, cute heroes and fantasized ideals, has a nightmarish undertone. Nevertheless, their portraits are immensely popular and any star worthy of Paris Match wants to be in one. Celebrities need to be talked about, spied on, yearned over. They are locked into the sadistic ratings game of fame. So they flock and befriend Pierre & Gilles