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mixture magazine

Paul Goodnight



This is the Spirit of Inspiration

What inspires you? A piece of music? A work of art? A book? A poem?

Maybe it was the Pixies performing “Where is My Mind?” at the Paradise, or the Mighty Mighty Bosstones rockin’ in the New Year at the Middle East. Quite possibly it could be Ansel Adams “White Branches, Mono Lake” at the Museum of Fine Arts, or Henri Matisse’s “The Terrace, Saint-Tropez” at the Isabella Stewart Gardner Museum. Was it one of Dennis Lehane’s novels, Robert Lowell’s “Waking in the blue” or reading Henry David Thoreau for the first time? Perhaps it is the Trident Booksellers on Newbury Street, or the Comedy Connection at Faneuil Hall. The Red Sox at Fenway Park or the Celtics at the TD Bank Center. It could be the grand architecture of the old State House at Boston Common or the incredible John Hancock Tower at Copley Place.

Great places, great bands, great works of art, books, and poems. New England is electric.

Mixture Magazine takes you inside the minds and studios of today’s leading artists to find the inspiration behind the amazing works that propel creative change. We bring you the art that makes Boston, a soulful, creative place with the spirit of the artists who are inspired by it.


featured MIXTURE MAGAZINE Paul Goodnight Serius Black Handsome Boy Donald Gerola Ideology
featured MIXTURE MAGAZINE Paul Goodnight Serius Black Handsome Boy Donald Gerola Ideology
featured MIXTURE MAGAZINE Paul Goodnight Serius Black Handsome Boy Donald Gerola Ideology
featured MIXTURE MAGAZINE Paul Goodnight Serius Black Handsome Boy Donald Gerola Ideology
featured MIXTURE MAGAZINE Paul Goodnight Serius Black Handsome Boy Donald Gerola Ideology


Paul Goodnight

Serius Black

Handsome Boy

Donald Gerola







Big Ness

MIXTURE MAGAZINE featured Reason Wispers Provida Big Ness
MIXTURE MAGAZINE featured Reason Wispers Provida Big Ness
MIXTURE MAGAZINE featured Reason Wispers Provida Big Ness
MIXTURE MAGAZINE featured Reason Wispers Provida Big Ness


mixture magazine


C R E A T I v E D I R E C T o R

D E s I G N



The Source of Inspiration

• Jaymes Leavitt

• Christiana Gallagher

Rich Future


Wispers Aint no Plan B N ot many people are built to last in the music
Wispers Aint no Plan B N ot many people are built to last in the music
Wispers Aint no Plan B N ot many people are built to last in the music

Aint no Plan B

N ot many people are built to last in the music industry of today.

It is even harder if you are a rapper. One can’t simply rely on skill
It is even harder if you are a rapper. One can’t simply rely
on skill anymore; you have to be dedicated to the daily grind and able
to master writing catchy club anthems without losing one’s street image.
Wispers is truly one of a dying breed. Since starting Code of Silence En
tertainment (C.O.S. Ent.) in 2003 Wispers has caught the ear of industry
heavyweights such as DJ Sickamore, OG Ron C, Riggs Morales & Jon
Gottlieb thru the releases of his singles and mixtapes. He estimates about
15,000 of his cd’s have hit the streets over the years building his reputa-
tion as of the leaders of the new East Coast era. All this while serving time
in federal prison and witnessing the death of his brother in shooting that
nearly left Wispers paralized. Wispers is the man every girl wants and
who every rapper wants to be. For years Wispers has been preparing to
tell his story and now the world finally seems to be ready to hear it.
Born in Boston, Wispers first began writing lyrics in order to share them with his
Born in Boston, Wispers first began writing lyrics in order to share them
with his sister who was born with a hearing impairment. His lyrical ability
soon earned him a reputation but Wispers also began earning a bigger
name on the streets. Getting arrested serveral times as a teen Wispers’
mother moved him all around Boston and it’s surrounding cities to New
York and Florida in hopes of saving her son from the streets. The experi-
ence of living in so many different regions gave Wispers the ability write
songs that everyone would like. Wispers helped start Split2nd Entertain
ment and was fast becoming one of rap’s most promising talents but it
wasn’t paying the bills. Wispers found himself in prison and once released
he was no longer the label’s main focus.
Most people would quit after so much struggle, but not Wispers. Within a month Wispers
Most people would quit after so much struggle, but not Wispers. Within a
month Wispers was back performing shows and recording more than ever.
In Summer of 2008 Wispers released “Champagne” and “Power” on Digi-
waxx via Seawood Records/Risk Music Group.
The singles marked the
beginning of a new phase for Wispers. A phase marked with an unheard
of hunger to make it.
Since their release Wispers debuted a brand website (www.iamwispers. com) and recorded 60 new songs.
Since their release Wispers debuted a brand website (www.iamwispers.
com) and recorded 60 new songs. He has chosen the best 15 for his new
mixtape “Step Your Game Up” and has begun recording material for his
debut album which he has titled “Ain’t No Plan B”. The title signifies his
new approach to the music industry and how failure is not an option.
“Ain’t No Plan B”. The title signifies his new approach to the music industry and how







MIXTURE MAGAZINE MIXTURE MAGAZINE ProductionLive Online Covering New Englands Talent
MIXTURE MAGAZINE MIXTURE MAGAZINE ProductionLive Online Covering New Englands Talent

ProductionLive Online Covering New Englands Talent


P aul G oodni G ht

The Artists Inspiration

M ixture Magazine sits down with renowned artist Paul Goodnight in his studio at the

historic piano factory in Boston. We spoke to him about his recent projects, finding his identity, creativity, culture and his source of inspiration.

What is your source of inspiration?

My inspiration usually comes from travel people and places; it is not hard to find and it’s around every corner. My life and music inspires me. The guy sitting on the stoop gets me inspired. The last piece I did was on jazz musicians that had been displaced by Hurricane Katrina. Many musicians had been displaced had been really put out to pasture, so to say, and had to find out how to make a living. I did a whole series on these musicians. That is why a lot of people would go to Bourbon St. to hear music. It is not hard to be inspired. People inspire me like my teachers, John Biggers and Paula Healy who is now my inspiration because I am still in school. John Biggers is from North Carolina. He is truly one of my mentors. These guys can say certain things that keep you inspired.



People whom are not artists can inspire me. Movement inspires me. Inspiration is easy.

Talk about living in Roxbury and how the arts impacted the culture there.

It is funny because when I first started, I did not want to be an artist that stayed in the same place and did the same

thing that other artist did. I never thought I was going to be recognized, and I was kind of in the mix. I wanted to get out of Roxbury so I wouldn’t paint the same thing everyone else was painting. I went to live in Haiti. When I came back to Roxbury I realized that there were things here that are interesting and that this is my neighbourhood and this is the place that I know most. I was born in Chicago and

I grew up in Connecticut and moved to Boston. Roxbury

was not my only influence. I spent a lot of time trying to get out of Roxbury and I soon realized that my biggest support team was here.

Did you want to be an artist when you were growing up?

I wasn’t going to be an artist when I was growing up. I

was not sure what I wanted to do. Come on… who wanted to be a painter when you didn’t know anyone who

was successful at it. There were two things I knew about artists. One, that to be successful you had to die. This was not much of an ambition for me. Two, you had to starve to be a good artist. So Starving and dead did not seem like a good combination to me in order to do this work. This is

a calling. After Vietnam the veterans were in a suspended

aria. I came out of Vietnam with no way to communicate.

I had lost my voice in Vietnam, so consequently all that I

could do was draw. I knew I always loved to draw but I never took it seriously. It became my voice. There was a mural at the Roxbury YMCA that I remember coming down to and I would stop there trying to figure out what I was going to do with myself after this Vietnam dilemma blows over. I would look at that painting and say to myself, “That is what I wanted to do. I want to do this. I want to paint a painting so large that everybody would stop and look and ask questions about it.” I was delirious at the time. Gary Ritchie was the guy who did the painting. I don’t know if

that thought was real and I did not know whether or not

I had the luxury to think like that. That is what I wanted

to do and that became my calling. It never left. I did not think of being rich and I did not think of anything but doing a painting that large. I did not know what it entailed but that was the real connection.

Can you talk about finding your identity as an artist?

I was fortunate when I was young to have been able to

travel. In travelling to Russia, throughout the Caribbean, Central America, South America and Africa, I was exposed to a lot of art. A lot of it I found to be very interesting and I was attracted to the colour, texture and the form. Travel, for me is also a really good way to get something that had some substance to it. Seeing how people live and experience the culture and to really get a sense of this has formed my identity. That is how I developed my work. It was a process. In the process you think you are developing, but the process is actually developing you.

And if you push it too fast, it doesn’t work. It doesn’t have an evolution. It doesn’t have a growth period. You have

to allow the creativity to get the proper exercise. The only

way to work out a muscle is to exercise. That was, for me,

a hard lesson because I think that a lot of young artists

who have a lot of talent want to go in quickly and identify

themselves. They do it and they just get stuck.

What is the creative process?

The creative process is an evolutionary process. The idea to create is that you are creating out of nothing and the creating never stops. If you get into creating a stylized art, you know that is as far as you can go. Some people want to do that for example there are cartoonist’s that have their style and they are happy with it. For me… I am not happy with dong something over and over again. I get bored with it. It has to be something that develops. It has to constantly develop. I do a lot of studying of the old masters and people I am interested in. I try to incorporate that into my work. You have to have a foundation, and a lot of very talented artists don’t want to take the time to develop the foundation. They don’t want to develop the

a lot of very talented artists don’t want to take the time to develop the foundation.
a lot of very talented artists don’t want to take the time to develop the foundation.
a lot of very talented artists don’t want to take the time to develop the foundation.


MIXTURE MAGAZINE fundamentals and structure. They go off on their talent, and they find that they

fundamentals and structure. They go off on their talent, and

they find that they get stuck at a certain time or place. What I realized is that I could be a very successful artist when I was young but I couldn’t do the things that I wanted to do because I did not have the structure. I went back to school and really learned the developmental process. The rehearsal and the exercises I needed to do over and over again so when I go out of the box or when I wanted to make something my own, I had

a real legitimate place to come out of. I think the ingredient

that makes a good painting or any thing is texture. It shapes the interesting way that you make a design.

What effect does creativity have on culture?

Historically the creative minds like Michelangelo and those guys helped identify what the Vatican was supposed to be. The Vatican became one of the richest places to go. It was

a series of people who had the money to make Catholicism

one of the only religions or the best religion in the world. And that was based upon what the Vatican was putting out there. They had some of the best artists in the world, at that time, to do sculptures. The Sistine Chapel, which Michelangelo did,

were all of these great

Davinci worked there… Rafael

artists. There was a sign of intelligence if you had a portrait


or great art in your mix. It is part of history. It is a part of culture and it identifies culture. It speaks to their spirit and who they are politically. Art and satire have always been one of those components of a particular period. If you look at artists, they were always the ones opening books when books were closed. In terms of politics, identifying that maybe, for example, demonstrating that war is no good. Educationally, if you learn about a certain country like Egypt and the tombs, for example, it is all art and all of the things we believe worth preserving. You can walk through a museum and get a history of a particular place without even reading anything. Most civilized countries always identify themselves with the arts some way or another. The arts make up a civilization and the arts are always a part of a culture.

What place do you think the arts are right now in America?

Well, right now because being in a recession period, the arts were one of the first things to suffer. Music was taken out of schools. Sports have suffered. The creative process is the first thing to suffer because people do not understand creativity. The arts are one of the first few things on the chopping block. This includes music, books, painting and dance because they rely a lot on people who have disposable income. When that


dries up people stop buying art. They take care of their necessities first. It is up to us as the artists to be resourceful enough and creative enough to make things work. I do a lot of freelance work I do a lot of commissioned work. I also

never forget that the reason why I am in here is that there is a certain freedom to doing my own thing and I love basically doing that. I also live in a neigborhood where there are pictures all over the place. I try not to worry about the economic climate because there is enough to occupy my mind to pass over this period and

I will grow with it.

You mention art in sports would you consider art a sport?

No. I think art is art. I mean there is sport in art and there is art in sport. You see Michael Jordan doing what he is doing and it’s like an incredible ballet. I love sports. Oddly enough, I used to be a boxer and I know a lot about boxing. If you look at my sketches there is a nice rhythm to it. It is all about bold movements.

to be able to do this job during these times.

myself as being rich unless you call rich being blessed to do what you want to do. work hard at it and probably couldn’t work for somebody else.

I haven’t been rich and I never think of


What do you think your work with the World Cup does for your brand in terms of being involved on a global level?

I was one of five artists chosen from each country to do a piece replicating soccer and South Africa. They have a series of artists that do artwork for the Olympics every

year and then they figure out who does what.

so subjective! Believe it or not, Boston has the most soccer viewers in America. Of all sports, you may not have realized, soccer is one of the most viewed. With the Bruins, Red Sox and the Patriots you would think that there is enough sports in Boston! This summer the World Cup is really going to have a big break out piece. Addidas hired me to do

I don’t know how they do that art is

hired me to do I don’t know how they do that art is The only reason
hired me to do I don’t know how they do that art is The only reason
hired me to do I don’t know how they do that art is The only reason

The only reason I did this is because I have a nice connection with movements. What’s the price point on your pieces?

The prints range anywhere from $45 to $700 and originals go from $800 to $3000.

The most expensive painting I have sold was $75,000.

That was a good day and


Andre Agassi bought it.

How do you feel being an internationally renowned artist?

That is so far outside of me. The thing that I really know is the people around me. I am really like an organic guy and I don’t think of myself as extraordinary. Every once in a while, I get an extraordinary sale and that may put me in another

bracket but it really doesn’t. It is ordinarily where you are supposed to be. While

I am working I teach and I learn and I love what I do. I have been very fortunate to

be able to do this and if I die tomorrow I will still consider myself very fortunate

a piece for their t-shirts, an auction and some prints for sale. I also did the World Cup piece for South Africa. Each one of these pieces is going to be shown in each

country that is participating so it is a travelling show that will go on for about a year.

It can’t hurt! The Addidas label connecting to the t-shirts is a very good help too. It gives me an audience that I would not have had before, especially with sports.

Now how do you feel about that mix of Corporate and Creative?

If you ask me to do something with heavy liquor or cigarettes or something of that

nature I will not do it because I do not believe in it. When you get a corporate brand and they put your image on that brand it cannot hurt you as far as merit. Most of my clients allow me to be who I am because that what they want. They want a fine arts piece and they dress it up graphically to sell whatever it is they sell and of course they pay top dollar. It can’t hurt. The audience may not know who the artist is but can identify with the creative and then they find out who the artist is and they are like

“ Yeah! So that’s who did that.” as well, it has all helped me.

So it expands.

TV and Movies

What is a mixture to you as an artist?

I think of the synthesis

of life. I also think why we don’t mix and why we separate ourselves as part of the pattern of divide and conquer. When you mix something, you blend two things together and hope that it works. And that is what I think of.

I think of colour.

I think of people.





A Passion

For Writing

H ow did you get into poetry?

First and foremost I go by the name reason. My real name is Ayobami I am from Nigerian decent and my mom and dad are straight from Nigeria. I was

born and raised in Roxbury Mission Park however. In My past my parents were kind of strict so they kind of kept us in line. I am one of three siblings and they tried to keep us in line doing our schoolwork and to keep us out of trouble. I took shelter in different arts. I used to draw and I also did poetry and short stories and whatever to keep me entertained and out of trouble. Sports were also another activity that I took up. That’s how I found my passion for writing and it did not actually take hold until a couple years back when I realized it. I was also a little shy and I needed to break away from that because I had the idea that I wanted to do some public speaking. That is how I chose to step out and share some of my work. And I have a little skill with it so I am enjoying what I do and this is just fun for me.

How can people see your work?

I am on Facebook under the name - Ayo ‘Reason’ YaYo I am also on twitter I have plans on publishing a book later on in life but I am still in school now so that is my first priority right now.

Where are you performing?

Anywhere I can find an open mic! Right now Boston is not very prominent with the open mic but it’s getting better. I find myself at Verve Lounge a lot. I have done shows at Saints, 360, (when it was open) UNH, Northeastern and the Blue Wave. I actually had my first paid performance at the MFA for the MLK Day open house. Anywhere there is an open mic for poetry you can bet I will be there!


Provida Clothing and Accessories

P atrick, Tell us how you got your start in the footwear and accfessory business?

started a t shirt company about two tyears back and I was doing a lot of marketing for it. My girlfriend and I had an idea about a shoe store. So we saved up and opened it up. I had built a lot of connections in the business and I used that to help gain business for the store.


and I used that to help gain business for the store. I Was there an event

Was there an event or something specific that inspired you to do this? Well my son was born and I had to provide for him. I have a lot of sisters and I have been surrounded by women all my life so I kow what they like and I know what they want and I also know how to deal with their personalities

How do you find the merchandise for the store ?

I find wholesalers from all over the country

Georgia, California, NewYork, florida. All the fashion states.

Who picks the items you feature in the store? My girlfriend and sister chooses the shoes and handbags and I pick out the jewelry most of the



learned from them though

How do you forcast the trends and how do you know what women will like?

I always take note of what peole are wearing

and I ask women who are fashion concious what

they like

come to the store and my customers too. I am very observant and I listen to what they are say-

I hear it a lot from the people who


That is the hardest thing about the busi-



whats gonna sell the fastest

How can people find you?

am all over Facebook and I just opened up a new website. have a web site



Provida Footwear and Accessories 574 N.Main St. Brockton, Ma, 02301

By phone:


Business hours:








GMG Clothing

KJ How did you get into the Graphic Design Indus-


I am from the West Indies and I basically got into the fashion industry after living in Boston and

being in the Nightlife scene promoting night clubs promoting events and putting on fashion show in the night clubs. I worked with the fashion indus- try and with a lot of high-end brands and also in- between brands. It gave me an idea to put some stuff out. In terms of graphic design and fashion. I started a line called GMG Clothing. Right now we are in the stage of branding ourselves and putting the products out there. We are doing club shows and club promotions. Pushing the GMG Lifestyle and creating the brand.

I have been around for 3 or 4 years. I travel a lot and

I am in NY New Jersey and Connecticut. most of my time in Boston.

I spend

You can check out the mixture magazine store and at



The New Boutique from Bianca Wheeler

Bianca how did you get the idea to start your boutique?

W ell I knew a long time ago that I did not want to work for someone else for the rest of my life. I had a strong vision and a lot of creative ideas.

I knew I could get an idea together. Something I have passion for and I could make

a future out of it. I love retail, and I love fashion so it was idea for a boutique. I came up with a name and I dit’nt know anything about opening a retail store at the time . I had to teach myself a lot! Everything I know right now I tought myself. I researched everything. I went to retail workshops in NY that taught me how to open and run a successful store. I talked to other boutique owners and went off on my own. I also bought a lot of books. So I wrote a business plan, put it on the back burner for a while and now it’s up and running. Its called Starchic.

The boutique is kind of everything except the clothes. It’s all accessories hand- bags lingerie and bathroom products. You could have the prefect dress but the outfit is not going to speak with out the correct accessories. Come to my store and you can find everything you need to complete your wardrobe. I like to embrace a lot of different styles. I love the rocker style girl, the casual girl, the sporty girl and business minded style as well. I want everyone to be able to shop there.

How do you find the merchandise and choosing what goes in to the store?

The world we live in now! It is inspired by the world, and driven by the public. It is driven by celebrities and the media. A lot of women go to magazines to get inspi- ration for fashion. I look at what is going on at the time and I predict what style to

feature in the store.

I pay attention to how fashion is changing. I buy from many

different designers. I dont want to carry just the same names you will find at Mar-

I want to make sure that

shals or Filenes or the next boutique around the corner.

I bring all different styles together. I look at designers from Chicago, Miami and LA

and bring many different styles to Boston. I find fashion bloggers and merchandis- ers and ask them if they sell wholesale if they do we set up photos. I am very picky

too it has to be great quality.

up photos. I am very picky too it has to be great quality. We would like

We would like to have a storefront by the end of 2010. I would love to be on Washington St they call it the SOWA neighbourhood.

I love that street!

I am starting the website first and I just want to have an online presence as well so I have to get that up first. I am just going to start off with jewellery, handbags

and shoes. It is going to be up soon… it is still under construction.

How can people contact you? I have an email address Email: and a Star Chic facebook page.


Donald Gerola

To be an artist takes Passion and a whole lot more!

D onald Gerola what was the art scene like when you got your start?

I was doing work in some of the famous office suites like Hayworth

corporation, Henry Miller, American seating and I did some churches outside NYC and then I did underwriters labs. The art movement in NYC at the time was raw. It was real and original. Galleries down in SOHO were right on the edge. And then when I left the city, I guess it was in the mid eighties, it just died away. I bet a lot of people in the art world would reprimand me and criticize me for saying that but that is just my take on it. The seventies were just alive. Soho was raw and wild, new and dynamic. The best cutting edge pop galleries on earth were in NYC. I had a gallery and studio in NY. In the mid eighties.

Did you grow up in NY?

No I did not grow up in NY. I grew up in NJ and then went to college in Ohio and then came to NY in 1974 and that is when I started my career. That whole era was very inspiring. I spent a lot of time there. Connected with a couple of famous designers there in NYC, and got into the hottest design shows. Not the galleries. The galleries pissed me off. OK Harris was like if the hottest international artist got in anywhere it was that gallery and I was brought in by the brother in law of Ivan Carp. You don’t get into these places unless somebody brings you in. You walk in the door and they will just show you the door to walk out. Somebody real important brought



me in. I sat down and they looked at my slides, he put them in the slide projector and the slides got stuck. He absolutely flipped out, absolutely went ape shit in front of me. Here is this famous bizarre guy that owns one of the hottest galleries on earth and he said to me “you are not meant to be here” he did not even look at the slides he just absolutely flipped out. There was this man next to him. He must have been the best looking man I have ever met and he looked at my slides and he thought it was amazing. That is how I got in to begin with because I was doing things nobody else was doing. Ivan picked the one piece, which was the best piece I ever did in my career at that time, and he said it was ‘Pre- Cubanist’ and he did not like it. Well, there was no such thing as ‘Pre-Cubanist’ art. Picasso started the Cubist movement that was it! I was doing sand frescos. Similar to the work here (looking at a large panel on the wall) and there is no one in the world that knows how to do this technique period. It’s all sand. Layers of sand with color. And that is how I got into the famous design shows being around OK Harris I said to myself “I don’t need this shit” plus they got 80% of sales and you had to sign an exclusivity contract for two years which meant I could not be handled by anyone and if they did not sell it meant you were

a starving artist. So I got into Cassa Bella,

they met me at in international art expo in NY. I was doing giant aerial sculpture then, and I was the centerpiece. I am still to this

day the only artist in any of the international art expos in the United States who had two mobiles hanging. I never met the right brokers, the right marketing people so we were never able to do anything with it. Being the centerpiece of the international art expo, having a centerpiece aerial sculpture artist would die for. I was there. It is however all about marketing. I am curious in Boston now… is there this new resurgence like what has been happening in the art world and there is new set of galleries looking for the next new sculptor the next new artist? You know this country is fucked up as far as art goes. All they know is pasteurized American cheese! It is all just Calder and Lichtenstein and I am just sick and tired of

it and Picasso… and it’s like the same two-

dozen artists everyone has been talking about for the last 50 years. I am just sick of it. You know when you go to RISD, and RISD will respect their artists and yet Roger Mandel is being thrown out and replaced by


MIXTURE MAGAZINE MIT John Mayer. The new president of Media Lab at MIT! And what does

MIT John Mayer. The new president of Media Lab at MIT! And what does RISD get? They don’t get an artist, painter or sculptor as president they have a media guy. They are competing with Brown and they want to be the big boy on the block. Anyway Roger Mandel looked at my portfolio and just flipped out. I come to him for a second meeting, he asked me what I was there for and I told him I wanted an endorsement from RISD. I am almost 60 years old and he said it would not make any difference. We argued for like a half hour literally screaming back and forth he just refused to listen to me and what I wanted and what I came there for. He was adamant that any kind of endorsement from RISD wouldn’t do me any good and went on to say that artists come to him for endorsements and it does not do anything for them. I asked why then do they give BA and Masters to students, if it’s just a worthless document and this argument went on and got more heated. The reason I got there was I did a monumental piece for the city of Pawtucket and his


son Lou Mandel is a famous architect who was on the board and literally begged me to get one of my pieces and here is his father fighting with me so there is so much beurocrasy which you know about I am sure. So here I am…my career in NYC. I had my 15 Min, and then I dropped out to move to Pennsylvania. When you drop out of an art career you lose the following the designers, and architects. I went out to the mountains of Pennsylvania to do all this work you see outside. It took seven years to do it, 10 to develop it and then I come back in the world and all these architects and designers that I knew are now retired, gone out o business or dead. Now its like I’ve just hatched. Now it feels like I am new again and I have re hatched and I am started over again I just want to scream.

Rhode Island seems to me a dead end for the arts. I mean I speak for anyone in the arts except for RISD; no artist should waste any of his/her time here. The mayor of Providence has totally no interest whatsoever in modern sculpture. So how can a city go anywhere if they do not have any beautiful modern sculpture? You don’t see any Litchenstines, and Picassos, any unnamed artists local artists nothing here. I was one of the few artists in the history of Providence who was willing to install these things. Remember, some of these cost $10.000 to move around. At my expense, and the zoo was interested some people from Parks department were interested, some of the arts people were interested. The mayor was not interested. It’s a dead end street. Newport totally I got him on public radio at a town meeting I wanted to loan some of these things to the city the marinas down there and he said that Newport was totally against modern art now and in the near future. I mean that is a tragic thing for a mayor to say. So you got the two big cities in RI Providence and Newport against modern art? I don’t belong here anymore. So what happened I started doing was moving up to Mass. The Springfield Museum is doing a major installation in March and all of a sudden I am heading out to Cape Cod. This is a waste here. This is just my studio now. I have to get to where I want to get now because there is no more time. This is it. This is my life. I sold everything I had about four years ago.

Some of those big sculptures cost 100.000 to build. Not looking back and thinking this is the dumbest thing I ever did. And that is tough. So the world is looking at these things and asking, “gee I wonder if anyone is going to get hurt. What about liability? And I’m like what are you sick? How many humans in this world get out of RISD and Mass College of Art and are able to make it as an artist and sell their paintings for thirty years and acquire this beautiful piece of property in the country see these waterside sculptures (points to picture on wall) and then one day wake up and realize that people are scared of large things they are unfamiliar with and it is crazy.

You heard of Woodstock NY? The sequel to it is in Pennsylvania. On the Delaware River, I was surrounded by waterfalls, streams and ponds for almost 14 years. And that’s where this was all born. All these sculptures were rusted. They weren’t painted. They were all on the stream and around the walkway sand. These sculpture were all on stream-beds around ponds and I sold Milford, got 700,000 dollars, and that is what fuelled all this.

Artists today cannot survive solely on grants it is impossible. The grants are like 50 to 100 thousand dollars. And that’s not even going to pay for one of these sculptures. Even a grant that is 200.000 will only cover a fraction of the cost to build these things. What about my time? My studio? My life or my family? It is really sick out there. So somehow you have to do self- funding or get a benefactor like Jackson Pollock. He had backing. This is what I am looking for. I can’t go any further. I have sung my song.

Take a look at this sculpture magazine. A lot of this sculpture is not going to survive the test of time. I am not saying it’s good or bad, it’s not going to survive time. You know the work of the Egyptians, Picasso, Lichtenstein; they are going to survive time. This other stuff will not survive. This stuff we are looking at now is just performance art, of the minute but most of what’s in here.

So what do they consider when purchasing art? Public art is just that. They consider it Public art so when they want to acquire another piece what they will do they will have a competition. So if you are a sculptor. I am a sculptor. They find all the sculptors, Call them in and they say “Ok we want it to be this high and this wide and it has to fit here” I mean n it is so. I mean it’s like putting apples in a press. They keep squeezing it and squeezing it and squeezing it and processing it and that is what ends up being public art. You never get some one like me that produces a model and building a great sculpture because my heart tells me to do this and you find a city that wants to buy it. That’s what Picasso and Lichtenstein did they did not say to themselves, hey I need a little money let me go get a grant and come up to Boston to get a grant says we want it to be non representational to be this high to have this dimension out of this material to be flat on the north side its sick. There’s nothing creative about it. It drives me nuts!

I am one of those who are young at heart. I have been fighting the system all my life I am like the wolf. And that’s why Alan Barta, who is doing a documentary on me thinks that I have a chance or that I just might be the next Joseph steel. If I get the right Exxon or whatever behind me and fuck the museums! Because when you think about it was Rockefeller who was responsible for the modern art movement. He was responsible for Jackson Pollock; he was responsible for Peggy Guggenheim to go whoohoo!! Rockefeller was sponsoring the modern artists and what Rockefeller was doing was his business. What he was doing was going around he was doing

I am a banker and I have charisma. I have


ties and jackets and I want modern art in my provincial banks so my banks are cooler than the other banks. And that is what was going on I don’t know if you know that or not. That is what was happening there. And he had all his scouts going all over the place looking for the best artists who were doing radical cool things. They weren’t going to pace gallery or any of the great galleries. They

were actually scouting out looking for people like you who knew people like me. And that is how they found Jackson Pollock. And all these radicals like Motherwell


and Arnold Knot and they were buying a few of the Pollocks and the Mother well’s and they were sticking them in their modern banks with drapes. So that’s what was going on then. Peggy Guggenheim got wise to it and literally owned Jackson Pollock. And then put the museum up. So that’s what I’m looking for I’m still one of those raw un-pasteurized talents out there that trying to break the rules and the only difference between me and the art world is that I put my money where my mouth is I sold everything in the world and I am building these things. So that is where it is.

These sculptures here in the studio are all models. The problem is that when you go from 10 feet to 20 feet you have all these structural problems. If you don’t know what you are doing from an engineering point of view, this thing at 20 feet is going to look like a big piggy mess. The trick in sculpture is when you go bigger not to make these things look powerful and ugly but to make them lift and beautiful and light oh my goodness look at that it is this graceful cat tail 20 feet high. When you go from 20 to 30 feet the structural problems are phenomenal. From 30 to 40 feet they are extraordinary. Those big babies out there. It is unbelievable. This is not territory for art students. This is territory for and artist and has an engineering background at the same time. Which culture had, at one time, throughout ancient civilization.

We start from a sketch to a drawing to more CAD drawing and then it gets blown out studied, modeled and then built and sold.

How did you first start getting into metal work?

My dad was a famous mechanical engineer; he died when I was a boy I went off to school for engineering at North College of engineering. I quit in the third year because I did not want to work in an office and have somebody tell me what to do all my life. I did not want to live the life I saw my father had. I wanted to be free. It was 1974 I was down in Florida and I just woke up one morning and I saw this magazine it was called paint contractor and


they had these beautiful murals that they were doing in New Mexico and in California. I looked at these things on the sides of buildings walls in Chicago now I never

did any art never did any drawing in my life and I looked at it and I said I can do these better than they can! I just like that just packed up and moved out of Florida, came up to New York City and I started doing these beautiful graphic murals. And nobody did them better.

I was like the finest! I did them so perfectly for giant

corporations it just took off and after a short amount of time the vice president of American Chair and Seating brought me down to Washington DC and I was going to do a mural for the government in the Ray burg building and that project fell through, because they

were redoing all the congressional offices down there the contestants for the project were Hayworth, American Seating and Herman Miller. My agent at the time was with Hayworth and he wanted the commission from the government so they used me because the government was interested in me. They wanted that type of mural in their offices and they were more interested in me than my agent and I was the worm on the hook and was getting used and I lost the project because Herman Miller did not get the commission and I after that I was so pissed of at the world that’s when I broke away. I moved from the NY side of the Hudson River to the Jersey side

rented this giant old studio and started to do these huge paintings. Giant… just giant canvases and that’s what

I did. I decided at that point I did not want any more

agents any more brokers. I just painted canvasses for quite a few years because going from murals to canvas was pretty extreme. We had accidents. We had floods. We were flooded by the Hudson River my whole studio

was flooded out and we were bringing bags of sand in and I remember the patterns designs the water would

come through and make in the sand. We were young

and stupid and crazy and we would get high at the end of the flood and just tremendous amounts of stuff was ruined and we would clean it all out and open it and make flood gates and that is when I started exploring sand because it is so wonderful. After 3 or 4 years

I developed this fresco technique then one year it

was just hot. I was in Casa Bella which was the most famous interior design show in NYC and I would paint these pieces and they would sell for 5 to 10 thousand dollars everyone was buying these you know Billy Joel was out in the Hamptons and through my anger and stupidity I bypassed the galleries so I did not get the fame of the gallery but I made a lot of money. I am not going to kiss some ones ass.

I made a lot of money. I am not going to kiss some ones ass. Whenyouchoseyoursubjectmatter

Whenyouchoseyoursubjectmatter is something that has affected you personally?

No I am not thinking of anything. It’s like the universe is pumping these things into my mind and I am just putting them down. There is no thought process. I see these things and I have to put them down. It’s not like I am deciding to do something non representational. Non-representational is something you are not familiar with. If you are going to do a sketch of the tree line you do a sketch and just do it or the ocean or a boat. But something non-representational? Non representational

is what you don’t understand so you put a line here and

a line there and this comes and goes CAN’T EXPLAIN

IT. It is just a gift. I have a psychic connection to the universe and it is a gift and it is just there. There are places that I know where and when to go to. I have always wanted to go to New Mexico as a child and

when I was there I would transform those feelings I get from when I am there and translate it into designs.


The material is very difficult to work with. It takes a lot of time and patience and knows how to do the type of work I do. It’s not forgiving. This one small piece of metal here is like $1000. If the design was

wrong or if the piece does not fit or if it doesn’t work right I just lost 1000 dollars. All of these things

were cut out of virgin steel. None of this was found in junkyards. been cut through and welded.

It is all brand new metal that has

Where do you do this?

Mostly in the mountains of Pennsylvania. Yeah what I’ll do is ill come into these industrial steel shops for like a week or two three two months ill actually buy them for a unit or two where I will run the shop for a specific period of time and we get into a lot of egos where the shop owner is saying it cant be done I am not going to do that. And I go wait a minuet I am the engineer here I am paying you and this is the way it’s going to be so a lot of heated words and sometimes a couple have almost come to fist fights. Your life is on the line for this thing. You tell me it can’t be done and I’m the engineer I say it can be done and yet it is dangerous they have never done it and I’ve never done it before so we all respect each other. It’s a major production huge industrial bridge cranes and forklifts and welders that you never see in any artwork. Huge welders that they use to make submarines with. Dangerous. We should have shot footage. Alan Barter my media guy now is doing a documentary he has devoted so much time into writing and producing documentaries on me and marketing them.

Something like this would sell for 12,000 dollars as garden sculptures. This metal has to be strong enough so it can support a human say a kid tries to climb it and does what he is not supposed to do. This stuff weighs a ton.


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Mixture Magazine Interview with Mui Romano and Mark Gringnon

M y Name is Mui Romano I am from Mexico originally and I have been doing a lot of travelling recently and I have been in Europe Mexico Australia and Asia for the past couple of years.

I think that is a big inspiration of what we do and how we do it. And why we do it. It is a connection of people more than any thing, between cultures and arts which all inspired us to do this. Based on those connections that not only took into consideration the environment, but the people who are in- volved. Using that communication where in a broad perspective you can say anything to anyone and hopefully somebody will pick up on it and we think that it is possible to try to do and we think is has been a good time so far.



MIXTURE MAGAZINE Mark Gringnon Mui Romano How did you and Mark meet? Mark graduated about a

Mark Gringnon

MIXTURE MAGAZINE Mark Gringnon Mui Romano How did you and Mark meet? Mark graduated about a

Mui Romano

How did you and Mark meet?

Mark graduated about a year ago and we both met at school and we had this idea together and now we have been doing it for two years now. Building the company through fashion through our Suffolk university courses we came together and formed a business plan and build the marketing plans and built it into a business. Then we were very pas- sionate about it.

All of this came out of an existential practice. Asking yourself ques- tions who am I what am I why am I here and what difference does my life make and then there was a lot of philosophy and spiritual search that really go us to the fundamental factors which formed this company that is love hope awareness education and Art those factors being true to us to every sense of the word.

Mark Grignon How did Ideology start?

Ideology started out more of like a social movement than a clothing company at first. It was about how we can express our positive way of life and our positive messages and how we could get that to as many people as possible. We got bored with everything we were doing to get the movement started and we wanted to go into fashion. We went to the trade shows and saw what everyone else was doing. We decided to go with T-shirts because that is the most commonly worn article of cloth- ing and pretty much everyone wears a t-shirt every day. We wanted to have our customers be the carriers of our message. Our customers are like a mobile canvass. Fashion is very personal and people wear things that say something about themselves. Weather or not you are even thinking about it or not you wake up every morning and put on some- thing that you bought at one time that made you feel a certain way. Ide- ology clothing expresses a positive message and you feel great about it. There is more of a sensation when you are wearing a t-shirt with a positive message. Right now we are doing more than just t shirts we are doing hoodies and a bunch of different cuts for women. Tank tops and stuff like that. The t-shirts are not cheap they are quality garments and made from the best materials.

This is our first go at it and it has been very interesting hearing the feed- back from customers and seeing what sells and what does not sell. As a social movement we want to get the message out to as many people as we can. There are kids our age, we call them the Obama generation who really fall in line with what we are doing so those are our initial target market. We sell to a lot of older people too who I would say are like Ex-Hippies who fall in line with what we are trying to do with this. These are people who tried to do the same thing 40 years ago and they can connect with us and like what we have to say.

What is actual message behind the Ideology group?

Ideology started as a movement for social change. We want people to

Lets say you

have the Ghandi shirt or the Einstein shirt and you read the quote and

learn and educate themselves with what we are doing.

MIXTURE MAGAZINE ask yourself what that means to you. Why did he say this? Why


ask yourself what that means to you. Why did he say this? Why should it be important to you? How will this make a difference in the grand scheme of the world? Why

does this matter?

from it. We think that this is important with what we do because it is unique. Most companies give you a shirt and then that’s it! There’s nothing you ever hear from them

We are very detail oriented in everything we make. Everything has a very specific meaning and message behind it. You can actually learn something

again. We pride ourselves with giving the customer something they can come back to over and over again. We want them to come into our family and be a part of what we

We work with a very creative group and we

welcome contributors to our movement. It’s about social entrepreneurship. There is an end result other than just financial. At the end of the day the message lives on. If one person wears our t-shirts and changes the way they think about the world and fashion then that is positive. A boutique owner who carries our 100% organic products decided to carry more organics that synthetics and that is a posi- tive change even if on a very small scale. It works. We donate a small percentage of our sales to the Acumen Fund which is the worlds biggest NGO. They are like us who promote social change but they go into places like Africa and Asia and they find social entrepreneurs and they invest into their projects and they teach them how to run their business so they become sustainable.

are doing. Be a part of our facebook. Be apart of our twitter page. Be on our website and interact with us write on our blog.

Be on our website and interact with us write on our blog. Our website is

Our website is In Boston we have merchandise in a boutique called Stills, which is in Danbury. There is a store opening in fanueuil hall called the Local Collection that will have our products. They sell mostly fine arts jewellery and artwork from local artisans. All of our art is from local aria art- ists so they love what we are doing.

Do you have any plans for upcoming Ideology business?

We would like to make snowboarding

jackets and snowboarding gear all organic. We would like to also do other art re- lated project like skateboards and surfboards and stuff like that. We would like to get our products to as many people as we can all over the US, Mexico, California, Seattle Oregon, Canada. And we are trying to get as many places as possible. Like in Philadelphia we went to like 20 stores. One carried us but the other 19 did’nt but they know about us now so that s a good thing.

We eventually want to have our own stores.

Social entrepreneurship is amazing. There is one statistic that today you hear college grads say that their diplomas are worthless. There are no jobs and the

and we’re sitting here

talking about how everyone can make a difference. That is Ideologies big thing. No matter who you are you can make a difference. It’s more about your will power and your drive. Are you willing to work hard enough to get that? Passion obvi- ously had a lot to do with it because if you are not passionate about what you do you, you will not put the time into it. The statistic about how many people actually graduate from college is 1/1000 of 1% of the global population ever graduate from university. That is such a small number! There is no way if you have a college degree that you can’t create some sort of an impact on the earth. You have such

economy sucks. We are in a recession yadda yadda yadda

economy sucks. We are in a recession yadda yadda yadda an advantage over everybody else! In

an advantage over everybody else! In America people get kind of closed minded even in a big city where a lot of people doing really big things. It is easy to look at that guy with the Bently and say “Hey, I am not making enough money” and in reality in the grand scheme of things you are so fortunate to even be sitting in a city as great as Boston right now regardless of what you have. The street people have more money that the average person does in Africa. Everyone is fortunate in this country. I am Canadian originally and My Partner is Mexican we are both well travelled and we have a global perspective of what’s out there. I think that makes us aware of what opportunity there is out there. It is our responsibility to do something because we are so fortunate.



H ow did you get into the arena of poetry?

I am from Detroit Michigan. About the time I was 10 we moved to Charlotte

North Carolina and I graduated High School and College in Charlotte. Ended up moving around states wit ha project I was working on with Hewlett Packard so my girlfriend at the time moved to Chicago and I was on the road at the time and she ended up moving to Boston. I ended up getting a transfer to live in Boston. I was going to get the whole grown man thing and get my life

together. I ended up breaking up with her and was still on that life path but I enjoyed doing poetry because it helps me deal with things that I sort of expe- rience from day to day life. Love, justice and day-to-day things. Sometimes

I may not understand it so I write it down. It sort of incorporates emotions

into it. I put my own experiences into my writing. I know these are things that people can also relate to. I do it mostly so people can feel like they are not alone in what they go through. Secondarily I am always trying to figure out

women. And these poems are sort of personal journals of what I have gone through to figure women out. Somewhere along the lines I realized that you can never figure out women but I realize as much material you can reference as possible it is poems. So

I do get a lot of inspiration from external sources too. I would write on things

like stories people would tell me and I found it became this amazing kind of peace for me. Media plays a lot in it too like what happened in Haiti I started writing a lot about Haiti just different things that go on in the world. I do a lot of reading of old religious text and things on conspiracy theories. I research the planets history as far as development of civilizations and things like that.


- I am always trying to figure out women

Current events make it into my writing but more of my influence is from books and my research.

How has the poetry scene in Boston influenced you?

The scene in Boston is interesting. People always say we are an interesting community. Where I come from, in Charlotte,

people regard poetry differently. It is more of a community. We would go to a poetry spot to another on a weekly basis and we would interact a lot more. We would read each other our work and get feedback from one another. People are visibly working together all the time. There are musicians amongst us who would meet for incredible sessions. Soon after I left we ended up winning the National Poetry slam. I see Boston as having enough talent to take it to that level l and shine on

a national stage. I also see Boston as a place where it is every man for himself. I always tend to work with people who will work with other people. I always hate to be associated with satellite poetry groups who have a problem with other groups. There are rifts there that I don’t like and the people who can see beyond that are the ones who are making moves and tak- ing it to the next level. I am willing to work with anyone as long as they are positive people.

Where can people see your work and tell us some new things that you are planning.

Every Fridays we are at Soul Café. Last Wednesday every month Blue Wave. As far as online .You can go to Facebook /


What is the story behind the name Sirius Black?

Lie I said I read a lot of Text on ancient religions and world history. The star system Sirius is actually the North Star. What people see is actually three stars Sirius A, B and C where the North Star is the brightest. Sirius is a really important con- stellation because there are many cultures that believe that there were people who came from Sirius to Earth and that the

y are the big part of the reason we had an evolutionary jump. I did a lot of studying of these concepts and they are pretty

cool to me .So one day my girl and I were watching Harry Potter and it was like the first Harry Potter and there is a character Sirius Black and I am like whoa! That name! That name is awesome and he sounds like he can really mess some people up! At the at point I chose that as my pen name and it kind of stuck.

Any plans for publishing your work?

I am recording a lot of work in my own home studio… so I plan on releasing an album. The life and times of Silky Johnson.

It is like an ongoing love story. That is coming before the end of the summer. Silky Johnson is another alter ego. I also

plan on publishing a book in the next two years. I have a lot of material but I don’t use a lot of it so I need to edit it down. I want to get a couple books out there… that would be nice.



em H$Bmf

M arvelous Mason how did you get into the fashion industry?


Well, I started in retail actually. I started at the back end of the retail environment in the stock rooms and I learned how a store operates. I learned the different merchandise of fashion like separating a tank top from a camisole. I made my way on to the sales floor and started inter- acting with guest and it just became a natural occurrence I moved up the ladder that way.

Did you build your contacts through being in the industry?

Pretty much, I actually started the concept of Handsome Boy in 2000 and I was working for a high-end retailer and we dealt with a lot of high profile clients, entertainers, athletes and lawyers. I gave them ideas as far as fashion to expand their wardrobe, I was pretty much their per- sonal shopper. They would call me and tell me what they have going on and I would purchase or put looks together for them. I built a rapport in that sense and it also gave me the knowledge and contacts for what I should do next.

What was the first big leap you took when starting the business?

Actually it was getting the first piece made. The ideas and the concepts were in my head and I just needed the time to actually make the prod- ucts. I was still in retail…it was a pay day and I had my check in my hand and I said you know what …I am out of here! I knew I had bigger plans for myself, I walked out on the job and the following week I had my first products made.

Where did your inspiration come from to do the designs?

I was watching a old re-run of the Five Heartbeats and the movie gave me an

idea to create the brands “Mason Head” logo. I made all concepts and designs around the logo. I knew I wanted a brand that was unique, fashionable and fun to wear. My experience in retail and experience with multiple brands gave me a better understanding of what the consumer wanted.

Is there anyone in the arts who inspires you?

I am into fashion, twin brothers Dean & Dan creators of D-Squared, a great fash-

ion line that pushes the envelope. I worked with their products in the past and I always admired their collections to date.

What really gets you in the mood to do what you do?

Seeing people I don’t know in the products I created is motivation alone to cre- ate. Along with the everyday hustle of operating a brand and seeing the suc- cesses.

I created is motivation alone to cre- ate. Along with the everyday hustle of operating a


Is there anything else besides the clothing industry that inspires you?

I am inspired by all things vintage. I collect furniture, old albums to cowboy boots. I love going to vintage shops and seeing what was cool before our time. Since the Handsome Boy collection is based on a vintage concept, these things allow me to express the different variations of my influences. Vintage shopping always inspires me and always tips a creative spark in my mind.

What are your plans for Handsome Boy Clothing.

Handsome Boy is now in our seventh year and everything is looking amazing. We just wrapped up the brands Spring / Summer 2010 short commercial titled “The Urbane Renewal”.

As a brand we are focusing on smaller boutique style collections, putting out our strongest pieces and those that move for us. Producing product in shorter runs allows more exclusivity and keep pieces collectible. We are expanding the product catalog with polo shirts and more accessory items for the upcoming fall season.

What are some of your major accomplishments

About a year ago we wrapped up the movie Business is War ( directed by the late Kemal Gordon, where I was the Wardrobe Director. Not only did I have the opportunity to create looks for scenes, I also had the opportunity for some product placement throughout the film.

Having celebrities wear the products in their music videos and TV shows is an accomplishment on it’s own. We have been successful on getting the products on celebrities such as TI, Fabolous, MassPike Miles, even athletes like Dhani Jones. Some of these artist have thier own clothing brands and still request to wear our products is a accomplishment.

and still request to wear our products is a accomplishment. Our twitter page is and

Our twitter page is and you can follow us there.

We are on Facebook, Myspace and we have a blog space “The Daily Handsome” that we do which is basically lifestyle images we like to showcase about what inspires us.

The new spring/summer collection is out and available for purchase on our website. www.handsome-





mixture magazine

The Source of Inspiration

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