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Hey Creeps! We're stoked to premiere our pal Ryan's new song, Beauty Queen! Ya'll can take a listen down below!

Here's a little about him:

My name is Ryan Frailich. I am 24 years old. I live in Los Angeles. And I plan on making a ton of music in 2017!

You creeps can catch Ryan's song on Spotify, iTunes, and Apple Music! 

Also be sure to creep up with him on Instagram, Twitter, and at Play Yah Records!



Music was blaring from speakers in a backyard nearby as I stepped out of the car and past some wooden fences, eager to hear some new local indie. A few weekends ago, I attended a house show put on by Heartcore Productions: the lineup included Wanderlude, The Red Pears, Foliage, and High Sunn, who ended their SoCal tour with this event.  I had arrived just in time to catch the second band as they were setting up.

El Monte’s The Red Pears played an electric set. The band, made up of Henry Vargas on vocals/guitar, Jose Corona on drums, and Juan Aguilar on bass, are a perfect mix of old school charm and lo-fi garage rock. Vargas commanded the mic with his gritty vocals and cool charm while Corona and Aguilar’s energy and tempo were on fire. Fan favorites “Forever” and “Daylight Moonlight” had the crowd rocking out, swaying in time with The Red Pears’ melodies.

Foliage frontman M. Joseph Walker held a quick photo-op after setting up, smiling for the cameras before playing his first song. Dusk was setting as Walker crooned into the microphone, with neon lights illuminating from the backdrop. Songs like “URL” and “Unrequited” had fans get lost in the music as Foliage played their signature shoegaze indie pop. There was a bittersweet beauty in all of this, from the catchy guitar riffs to the ethereal vocals.

San Francisco’s High Sunn closed the night with a hypnotic and candid set. High Sunn’s unique style of low-fi bedroom and dream pop is the creation of Justin Cheromiah, who started the project in 2014. Cheromiah saw the importance of producing his own content and it didn’t take long for others to notice. High Sunn’s extensive work has garnered lots of attention not only in the states but Japan as well. Cheromiah played an intimate set, with songs such as “I want yr heart” and “Ok...Love You...Bye”. High Sunn’s music is of desire and despair, love and loss, shown through Cheromiah’s dynamic and pleading vocals. Foliage’s M. Joseph Walker made an appearance playing drums for a song.

The atmosphere was vibrant towards the end of the night. A random fan was crowd surfing as two male go-go dancers danced away. Throughout the event, there was a positive energy in the crowd and up on stage as well. High Sunn had a successful SoCal run with the help of great local indie bands. Expect more to come from these stunning acts.



Article and photos by Jaqueline Castaneda

Bands Featured:

The Red Pears, Foliage, High Sunn


“Do you guys wanna try something weird?” The crowd cheered as FIDLAR singer/guitarist Zac Carper spoke into the microphone.

“Alright I need full participation. Are you guys ready?” A devilish smirk fell on Carper’s face as he addressed the hundreds of fans watching the band perform at this year’s Beach Goth music festival.

"Everybody SIT DOWN!” There was murmuring in the air as fans, unsure of what to do, scanned the crowd. One by one, fans complied and sat down, giggling like little kids. “Now you guys just chill there and you will know when to stand up.”

As this was going on, the garage punk band kept playing the same riff over and over in the background. As more people sat down, the music became progressively intense and louder, reaching a crescendo. The music had a hypnotizing effect: at that climactic moment, the crowd jumped simultaneously and there was a release. People were moshing in the pit to FIDLAR’s “Cocaine,” a frenzied tale about sex and drugs, the last song in the band’s set.

Welcome to the island of misfit toys. Beach Goth, the local mini music festival created by the dreamy surf/psych rock band The Growlers, has garnered lots of attention ever since its inception in 2012. Held annually at the Observatory in Santa Ana, Beach Goth is a two day gathering where music and fashion are celebrated and the freaks come out to play—you have everyone from beach bums to pastel Goths to cholos, all under one roof.

Held on October 24 and 25, most saw this event as a pre-Halloween bash and showcased their costumes. Beach Goth is famous for not only its eclectic music but fashion as well. It was not uncommon to see things like Sailor Moon chatting it up with a giant taco or a nun partying it up by the beer garden. Some people kept it casual with festival wear, others stuck with the Beach Goth theme by wearing black clothes and makeup, and some went totally retro, even going with the 1960s go-go dancer feel. Wigs flew in mosh pits and a guy with an alien blow up doll crowd surfed one set. There was a little bit of everything and it was a treat to see a Ninja Turtle roam the venue to fetch some pizza at the food court area.

Art installations were scattered throughout the area. Piñatas in the shape of objects such as cacti and pills hung from streamers. A mini graveyard was displayed with headstones with phrases like, “OD’D ON WEED” and a gigantic skeleton hand making the shaka sign towered above. A fake school bus was painted with a friendly looking skeleton lounging out.  There were plenty of hidden art pieces for people to discover.

This year’s Beach Goth was the biggest to date. The Observatory’s two indoor venues were used and a massive outdoor stage was set up by the blacktop outside with a smaller stage nearby. Neater set times allowed for guests to catch all their favorite acts more easily, and most of the headliners took over the main stage. Day one had major acts such as all girl indie rock band Warpaint, indie pop quartet The Drums, mellow yet eccentric singer-songwriter Mac DeMarco, and synth-pop singer Grimes, who debuted two new songs from her newly-released album.

Day two was an incredible mix of genres and acts. Juicy J started the afternoon off right rapping his party anthems while passing out shots to those fans in the pit. FIDLAR played an adrenaline induced show, followed by an intimate set by The Strokes frontman Julian Casablancas and the Voidz. Beach Goth turned into a rager when South African rap-rave group Die Antwoord came on stage. Their mesmerizing energy drove the crowd wild with songs like “I fink U freeky” and “Enter the Ninja.” The Growlers played both nights to a mass of pumped up concert goers. The Growlers’ 1960’s psych pop sound swayed the crowd as they played favorites like “Someday,” “One Million Lovers,” and “Humdrum Blues.” Singer Brooks Nielsen was joined onstage on night two by Julian Casablancas and the two performed an incredible cover of The Doors’ “People Are Strange.” Towards the end of the festival, the Growlers graced fans with an encore, making it the perfect end to the night.

Beach Goth 4 was a hit and proved yet again the power that artists have when collaborating to put on a successful event. With such a diverse lineup and psychedelic atmosphere, fans are already anticipating the fifth installment of the music festival. With Beach Goth, the Growlers delivered an experience that people will never forget, leaving them eager for more. Until next time boys.


Article & Photos by Jackie Castaneda.

Beach Goth.jpg

After three long years of working on their music, The Freedmen’s Bureau released their first album, appropriately titled “3 Years Later,” in September of this year. The guys of Freedmen’s Bureau, ranging from their late teens into their mid-twenties, were kind enough to tell us about their musical journey filled with struggles and successes on creating their music and solidifying their bonds as brothers as well as band members. The band is unique with their blending of different genres and trying to maintain originality in an industry that’s obsessed with labeling music into one genre. Freedmen’s Bureau’s vocalist Josh Kozycz acts as a powerful force in delivering lyrics in spoken-word, layered with bassist Joey Viscarra’s haunting screamo vocals, along with Israel Cortez on guitar, Micah Cortez on the keyboard, and Ryan Kozycz on the drums, who all cohesively create a sound that is all their own. We had the opportunity to conduct the band’s first ever interview when we sat in at one of the band’s practices before their gig at the notorious Chain Reaction venue in Anaheim, so without further adieu, here it is…

Collective: How did you guys come up with the name “Freedmen’s Bureau?”

Israel: I was taking antebellum U.S. History and I thought it was cool cause [it was] a historical organization that freed slaves and I thought it was pretty interesting, the concept of that, and so I really liked the name.

Collective: How did the band form?

Ryan: Once upon a time, long ago, myself and Joey, we went to a church in Whittier and there was a fella we had taken to calling him Skittles, he did spoken word stuff and one day Skittles walks up to me and says, “Hey Ryan, I’m playing a show in a few days would you like to play it with me?” and I was enthusiastic and said I would. Later I went to this practice and Joey was there and Skittles had brought along Israel, so that’s how I met [them]. About two weeks later we wanted to jam again, but we didn’t have a place to so Israel said “Hey, we can just play on my front lawn,” so we did and when we got there Micah was standing [there] with an accordion, dressed like a very fancy Swedish professor. Then Skittles disappeared, so we needed someone else to do vocal duties in the band and Josh is my cousin, he also went to that church with Joey and myself so that’s kind of how we all met.

Collective: Tell us about how it was a big deal making your CD.

Joey: We had been wanting to record for quite a while, it’s been three years since everybody [had] been in the band, so we wanted to actually put the songs that we’ve had into a CD. Our friend Drew Rodriguez recommended this place York Recording Studio, so we met up with the guy there who runs it, his name is Tim, and he was just amazing. We’ve heard horror stories of being in the studio and we can say that our experience there was pleasant. We finally got those six songs done, we recorded two ten hour days, then we ended up coming in again and doing another five hours so we finally got the CD recorded.

Josh: We basically put all the jackets and stuff together and printed out a lyrics book, so that was done in the time that we had, I hope it worked out for everybody to enjoy, we got it done after three years, hence the name “3 Years Later.” 

Collective: How long did it take to write all the music?  

Joey: So we started writing a song called “Bad Motivator,” which came out of this instrumental opener piece that we wanted to have before shows, but then we thought, “Hey this is kind of fun” and then slowly we’ve had five [other] songs for about three years that we’ve consistently evolved.

Israel: For two years we just kind of rearranged parts of songs and revised them.

Micah: Before when we played shows we always changed them, we would always add choruses.

Collective: Do you write all your songs together or separately, how does that work?

Joey: To have six people writing a song is very much a hard difficult thing to do, but it makes it have like six different parts in it, which is interesting. I’ve written maybe three/four song lyric pieces and then Josh was part of the lyrics, a big part, Ryan was another big part of the lyrics. I think the music has a lot to do with what Israel says is okay [laughs]. Israel’s been a big part of what sounds good and what we shouldn’t do and I know Micah and Ryan have been really good with telling us [what’s] too generic or whatever so they’ve kept us really on track with writing different and good original stuff.

Collective: How did you decide on your sound?

Micah: Like I said earlier, every three months we would change our songs, so I think we’ve evolved a lot, I think going through the recording process we actually kind of made a sound for ourselves. [Before] we would change [our songs] every show so we didn’t really know what the songs sounded like, well at least I didn’t [laughs], they all just got mad at me and I was like, “I don’t know what I’m playing” so I think it was really good for me to go into the studio and record something so it could be like a reference point.

Joey: Micah usually keeps us, I guess, weird and original that way. I know Israel and myself at one point we were listening to a bunch of music in my room and we’re like, “Oh there’s actually quite a bit of spoken word bands who do punk-ish type stuff.” I know for myself, I tend to write more I guess hardcore angsty lyrics/cord progressions.

Ryan: From my end it’s just whatever I enjoy and have fun playing, if I’m not feeling something, I’m not gonna do it, so whatever I end up enjoying that’s what it’s going to sound like. In response to the second question, how do you describe your sound? I don’t know how. I just tend to tell people it’s loud real-life music made by real-life people. I feel like any descriptor you’d give towards it would kind of already set some preconceived notions up in people’s heads so they come with a certain set of expectations. I think apart of me wants to say that to sound like an angsty artist, but in all honesty it’s just my own deficiency in not knowing what the heck we sound like and how to describe it.

Collective: Do you think adding a certain specific word to whatever your sound is would limit you guys from trying to come up with songs?

Micah: Definitely. I wanna stay away from that so if we’re like, “Oh we can’t do that sound because we’re a punk band, no we can’t do that because we’re a blues band,” we’re definitely a blues band [laughs]. I like it more when we don’t have a genre set so we could be more, or at least I would be more comfortable, being like, “Oh it’s fine if we do it a little more pop-y, it’s fine if we do it a little more punk-ish.”

Joey: I almost take pride in the moment that when someone asks me, “Oh, what does your band sound like?” and I say, “Honestly I can’t really tell you,” and then when they go to a show and they like it or they think it’s interesting, I almost like the fact that they can’t put their finger on what we sound like. Because of that it’s allowed us to have more room to do whatever we want and that means that anything is okay if we go and play a song that does have a real bluesy riff, like people shouldn’t get upset because we’ve never been any type of genre. If we wanna play something really mellow and soft and maybe we wanna do a song that’s completely acoustic that’s what we feel and that’s gonna be as much apart of us as these last six songs we’ve written.

Collective: In the long run what are your goals as a band? What do you want to achieve?

Israel: I’m excited to approach the writing process with the listener or audience in mind because I enjoy connecting with people and having people connect with our music or with us when we play. I’m excited to create art with the audience in mind because I think when we first came in we kind of just wrote stuff and threw stuff together because it was fun, but I want to create stuff to connect with people and to share passion with people.

Micah: I think it’s changed a lot, like when I first met the guys, we just met because we wanted to start a band, I was like, “wow bands are awesome, I’m gonna be popular or whatever, like woah, this is my big break [laughs],” and I just started hanging out with everyone here and we hung out and we didn’t talk about the band, we didn’t talk about what we wanted to do, we were just hanging out as friends. I started thinking about the band completely differently so I don’t know if this is more selfish but I’m doing it because I enjoy doing it and, just like Ryan said, if I ever stop enjoying it then something’s wrong. I’m excited to write music that I enjoy with people I enjoy being with, and I really enjoy playing shows with everyone, just everyone having a good time, that’s my goal for that to still happen.

Ryan: I don’t know, personally speaking, if I ever came to the band [with] any goals attached to it, I don’t really see it as a means to reach any goal. If anything I kind of just see it as a way to experience a certain community, be it musically or personally speaking, I enjoy making music with and for my friends and we’ve been doing that so I’ve reached that “goal.”

Joey: For myself my goal would be to consistently make music that means a lot to me and that shows reverence towards life, I guess, in a sense of experiencing life with other people and experiencing life with understanding that with myself that there is something greater and there’s a real reason to making music onstage. I love god and being able to share that love and that passion no matter where I am in life, [and] that the moment I go onto stage I represent something higher and greater and faultless unlike myself.

Josh: I think for me personally playing in the band has been a venue of freedom and it’s been a place to, no matter what may be going on, it’s just a place to almost unleash.  I think what Ryan said really hit home, that it’s a community that it’s not us just playing to some people but more and more I see the lines of the audience and us being blurred, I really appreciate that. [The band is] an extension of the beliefs that we hold to, to love other people [and] to go out and leave the world a better place than what we started with. I think being able to play, especially [for] me, [since] I’m more of an introvert, when we play it’s easier for me to talk to people, so it’s a cool place for everyone to be a little more open. I don’t really think of it as a goal. I don’t know when our next album will be out or how its going to come out or what’s going to happen, but I think right now in this moment things are getting done and I think it’s just one step at a time.

Collective: At what moment did you guys realize that you enjoyed doing this?

Joey: When we didn’t have our former vocalist we had to realize that we can either just drop what we’re doing or we can continue and we had enough fun and enjoyment out of it that we were like let’s keep this going.

Ryan: I just thought of an anecdote, it was one of the earliest moments related to this band where I thought, “Oh, wow that’s cool.” So on the first night that I was practicing with this Skittles fella and Joey and it was also the first night I met Israel, I decided to go to the bathroom, this is an absolutely terrible subject to bring up in an interview, so I’m sorry to bring it up [laughs] I went to the bathroom and I’m done, I wash my hands and all of a sudden start hearing these crazy guitar noises that I had never heard before it was insane. I walk outside the bathroom and I see Israel huddled over his pedal board like a wizard mixing and matching these different knobs and wirings and making these crazy guitar sounds, in that moment I thought, “This is pretty cool.”

Micah: I think it was after there was like a stream of shows where we would play a show and I was like “Dang I don’t know if I could play a show that’s more fun than that,” then I did the next show, then the next show, and there was just five shows in a row where each one was just better and better. Our friend Gabriel Ferralez had a house show and it was the first time anyone had kind of sung along and anyone kind of danced and kind of got crazy, it was a real connection with everyone else in the band and feeling that community and friendship and enjoyment inside. I connected with it a lot and I saw myself doing it for a while longer, so maybe I’m like four more years tops [laughs].

Israel: I think the moment I realized that I really enjoyed doing this or that we had something fun and special was when we were just in this practice studio. There’s like this bond that you get when you’re making something together with your friends and it kind of all fits together. There’s like a moment of connection or a friendship and it’s something beautiful that you share and I think that special bond is something that keeps me going, something that brings me back.

Josh: I agree with that what they said [laughs].

Collective: So you have six songs on your album, what are they about?

Josh: The one I contributed lyrically to was “It’s a Trap” which is track five on the album and it was frustration with how I saw certain things being done in the church. [The song] kind of stemmed with being realistic and not pretending that everything was okay all the time, and you know kind of glossing over the bad parts and being like, “there’s a lot of crap out there, in fact most of the time it’s crappy,” so it was just being open and honest and letting people know they’re not alone. The whole talking part at the end was about how life seems like a downward spiral for most of the time, you’re not sure what you’re doing, but the hope that I hold onto is my belief in the idea that there is something bigger, that there is a being that loves us more than we can understand.

Joey: One song that I care for the most lyrically would be “They’re Only Younglings,” it’s Track 2, it came out of my frustration with after my mom had died from a heroin overdose. My frustration of that was that my whole relationship with my mom was for the most part negative, there were beautiful parts and I love that woman, I always will, but after she had past away, I asked myself and god, “Why does she exist in my life? What was her purpose other than to give birth? And even then was that enough for her to even be in existence?” Her whole life was filled with depression, she was partly mentally ill, she was abandoned when she was a child, and then also abused, so I was like “God, her whole life it just seemed like she was in this mourning process, always wanting to escape life, and what was that [for]?” Then my brother had shared with me the fact that He helped us understand how to forgive and love more. It was kind of a rough subject to talk about in lyrically, but every time I’ve ever played that live I’ve been able to go through the grieving process again, but not alone because I have five other brothers and plenty of people to be there around me and doing that has meant the world to me.

Micah: Another reason why that one show that I talked about at Ferralez’s house was so special to me was just because I think it was a couple days after [Joey’s] mom passed. I didn’t know how that show was going to go, but everyone just really came together and just had an emotional, but really fun [time], it really stuck with me and that’s when I realized that these are really good friends that I’m going to stick together with for a long time and I’m not just thinking about the band, but I’m thinking about these guys that I’m really close with and we could write this art, write this meaningful stuff together. That’s why I enjoy that moment so much, so yeah thanks for bringing that up and I think about that every time we play that song too.

Ryan: I think the one song that I contributed the most to lyrically would probably have to be Track 6 on our album entitled “You’ll Be Dead,” some have said that it’s the best song we have, that seems to be the rumour around here, around the world, and the internet and all the places where people inhabit areas [laughs], so that song [was] written after experiencing some hardships in my life. The song isn’t necessarily about the hardships [themselves] but more so going though the process of realizing that it’s okay to hurt, it’s okay to acknowledge your faults, and even though there’s such things as hurt in our lives and fault in our lives, it’s gonna be okay, we’ll be able to move past them hopefully. There’s themes like loss, fear, doubt, but also celebration, freedom, and some form of liberation throughout all of them, but really however folks tend to think of these songs I think that’s what’s most important.

Collective: Do you have any crazy band stories? Or fun things that happened with your band?

Josh: It’s not so much a crazy story, I think generally speaking, the first few shows that I played, we tended to play with hard core/metal bands and every time. The kids would come out with their Megadeath shirts, their jean jackets, and their long hair, which is awesome, we love that, but we would open up most of the time or we’d be the second band, and they’re all ready to get pumped up ready for the beat to hit and then we come out and everyone looks confused and lost and not sure what to do. So [the crowd] kind of just stands there awkwardly and we just play our whole set and then after that we join in the mosh pits of the bands that follow.

Israel: I think the most fun I’ve had have been at Desert Woman members’ house shows, we’ve played a couple at the Cortez house and I think they’re such a welcoming family and such great people. I just love being in their backyard, in their little living room and getting to see DJ or Derrick or whoever just yelling or having fun along with our music, it means a lot, it’s really cool just to play shows with them, so I’m grateful for them.

Ryan: I have this strange obsession with the Christmas song “Simply Having a Wonderful Christmastime,” it has the potential for that line to be sung over and over, [sings the line] it just keeps on going and so one day we were at practice appropriately it was December and we had finished practicing a song so there was some downtime and we were all kind of starting to fool around. I got out from behind the drum set and grabbed the mic, which I rarely get to do, so when it happens watch out, somebody got on the drums and somebody else got on the guitar.  I started yelling at the top of my lungs “Simply having a wonderful Christmastime” and just started singing it over and over again and for a good, maybe 35-45 minutes we just riffed on this line.

Joey: We would end it and then five seconds of silence would pass, then we’d all make eye contact [and] we knew we had to start it up again.

Ryan: I think one of those odd crazy jam sessions also birthed an unreleased single called “Smelly Pirate Hooker” [laughs] maybe one day that will be released. That’s crazy enough.

Collective: Final thoughts?

Josh: It’s been an absolute pleasure playing with you guys and I’m sorry it has to end this way, but good luck with the rest of the music you guys have going for you [laughs].

Joey: I have zero thoughts right now, but I think I’m better talking than using a camera and I have no good side of the camera because I can’t take photos.

Ryan: I usually have two trains of thought going on at all times, one of which is related to the present moment, the other of which is completely not. So my first thought, which is related, would be that I really don’t like taking pictures, I knew that that was true about myself, but today I think that solidified it further. My second thought, not related, is that R2D2 is really a fantastic character in the Star Wars franchise, he goes through so much, like he has gone through some crazy experiences, he deserves to be the hero of the franchise, seriously.

Micah: I really think I try to aspire to be like Nine Inch Nails, but after today’s practice I realize I have a lot more practice to go [laughs] I had a broken gear and everything, so that was tough, but I’m gonna try and fix that up and not screw up the show on Wednesday [laughs]. That happened once actually, I was playing the keyboard and it completely just fell down [laughs].

Israel: This was fun, I enjoyed it, thank-you guys for doing this. [The band claps, then starts singing “Simply Having a Wonderful Christmastime”]

You can purchase The Freedmen's Bureau's album on theirBandcamp, and keep up with the guy's shenanigans on their Instagram.

The band is made up of Israel Cortez [guitar], Micah Cortez [keyboard], Josh Kozycz [vocals], Ryan Kozycz [drums], Joey Viscarra [bass], Andy Leonette [guitar, not present at interview].


Interview by: Emily KimuraKelsea Cadena, & Leslie Gomez

Edited by: Emily Kimura 

Photos by: Leslie Gomez

You can keep up with the Collective XIII's latest projects onInstagramFacebook, and Twitter.


Sounds of Satellites is the manifestation of Chance Espinoza’s songwriting that he started almost six years ago when he started writing songs in his room. Throughout various music collaborations, Sean Fadling and Cameron Simony, who play guitar and bass, joined the current line-up of the band and they have all been playing music together ever since. Their latest album God in Quotes tells their tales of growth, pain, redemption, and sense of self during their almost six years together as a band. A couple weeks ago the Collective got the opportunity to sit down with the band and ask about their various adventures on the tours they performed at this past year and what their hopes for the future of Sounds of Satellites are.

Collective: How long ago did the band start?

Chance: I think the first show was in 2010, so almost six years ago.

Collective: Were all of you in the band?

Chance: It started with just me writing songs and I liked it, so I just had my friends fill in. Sean ended up being one of those friends and became the first real member other than me, and then Cam joined earlier this year.

Collective: Some of your songs have themes of anguish, pain, etc., with undertones of redemption, how is the creative process to produce those songs? Like who is involved in the composition and songwriting aspect of the band?


Chance: It’s always a little different, like the album a lot of it was songs that I had already written, but others were ones that Sean and I wrote together musically and then I wrote the lyrics, the music is a little more collaborative.

Collective: You guys toured a while back, right?

Sean: We’ve been on a couple this year, four as a band, Chance went on one on his own, just this past year, it’s been like a full year since we started.

Collective: What’s your favorite city?

Sean: Oh, that’s tough.

Collective: Okay, top three.

Sean: It depends. Salt Lake City is definitely up there, we have some really good friends. Topeka, Kansas, we have some really good friends.

Collective: You guys are all over the map, it’s awesome.

Sean: And then probably Austin would be the third. Those are the cities that I think we have the best friends in for the most part.

Cameron: I really liked Lynchberg.

Collective: Lynchberg?

Cameron: Virginia.

Chance: I like Kansas City, Missouri, is my favorite, not necessarily because of the shows, but because some of our best friends live there.

Collective: Could you tell us a little more about the tours you’ve been on like do bands ask you to go with them or how do they come about?

Sean: Maybe the first one, I mean kind of the whole reason we tour now is cause our friend Chris sort of like helped us do that cause he’s been touring for a while and you know he, he has a band called Red Sweater and he plays in a band called Listener.

Collective: So he’s in multiple bands?

Sean: Yeah, like we were a fan of Listener before we became friends and we played a couple shows with them and he’s like ‘Hey come out on a tour with us’ with Red Sweater Lullaby from there we kind of learned, he’s kind of like our band dad.

Chance: We’ve used his van a couple times.

Collective: Where are you guys now with the band because you’ve switched members and everything? Are you taking a break right now or writing?

Chance: No, we’ve been working on recording, I just finished backing the last track of our EP today and so we’ll have new music coming out. We’re working on new projects, booking stuff, so we’re just working on a bunch of stuff. And there’s not an intentional direction we’re going in, we’re just writing songs we like and then see what we like.

Collective: How many CDs or EPs or singles have you guys released since forming the band?

Chance: There was like an EP a few years ago that was not very good [laughs] but that was a thing and then we have God in Quotes and this next EP will be another thing. Then this EP will come out and hopefully pretty soon after that.

Collective: Do you want to talk more about Dad legs? Who was the founder?

Sean: The three of us.

Cameron: We kind of just went to Chance’s house one day and then I started playing like a bass line that surf-y, there’s so many kids, I say kids I’m only 20, but people that I know in high school they’re so into surf music, and all that just reverb. Everyone’s just trying to start a cool band, you know.

Collective: Like a beach sort of vibe?

Cameron: And I think that’s ridiculous a little bit.

Collective: That’s not your cup of tea.

Chance: But you see there’s good and bad with everything, but it’s just really obvious it’s [Dad Legs] bad.

Cameron: But yeah we went to Chance’s house one day and I start playing dumb bass lines.

Sean: And I played guitar with it and that’s like the most popular song on that EP, we paid the least amount of time on it.

Cameron: Literally that first song we made didn’t change.

Sean: Till the end that was it.

Cameron: And then we did three other songs

Sean: The whole thing we wrote and recorded in 15 hours.

Collective: All in one night?

Sean: [laughs] Yeah.

Cameron: Till I had to go to class the next morning.

Chance: And then I had to pull a couple all nighters in a row, to like finish mixing and mastering.

Collective: And it was all worth it?

Sean: Yeah it turned out really well.

Cameron: I was at school today, I was seeing people that I still know and they would come up to me singing the songs.

Sean: That’s so cool.

Chance: It’s funny cause part of the reason why we wanted to just do the EP and just finish it was because maybe we’d get a couple extra bucks to record for Sounds, but now it was just a fun thing.

Sean: We just ordered shirts.

Cameron: It played into like the fad of it.

Collective: So you’re doing the merch and everything?

Sean: [Laughs] We’re pressing cassettes, I think.

Cameron: We were contacted and they want to do stuff with us.

Collective: That’s awesome news.

Cameron: We were like ‘it’s a joke man.’

Collective: If they only knew how it started. No, but I mean it’s grown into something.

Sean: We’ve been pretty upfront with it, like whatever the bio is on our bandcamp, it was made in 15 hours, it was a joke. I mean it’s fun I’m proud of how it turned out.

Collective: You guys should do a Christmas album.

Sean: We did. It’s called Full Nog, available now.

Cameron: That one was quick too?

Chance: Yeah that’s the beauty of it, little effort.

Collective: When you get so jazzed up about it, you kind of just work on it.

Chance: And yeah you don’t have time to just get all heady about it and weird, it’s easy when you take something too seriously.

Collective: Like when you’re a perfectionist about something and you kind of lose the purpose of it.

Chance: And even if it turns out great sometimes it’s not as fun.

Collective: It’s like something you can laugh at now. Like right now.

Sean: Like right now.

Collective: I want to talk about the songs, specifically on the EP. So if you want to just talk about any of them.

Chance: Do you have any examples?

Collective: Glory is a pretty heavy song, so I don’t know if you want to talk about the undertones of that and then maybe Ghost Notes, like give us a little in depth, like what inspired it or the story behind it.

Chance: Ghost Notes I wrote because my older brother was diagnosed with bipolar disorder when I was younger and he was also kind of an addict, so he struggled with all that kind of stuff, substance abuse. So I had this vision when I would come home late at night and I would kind of just see this image in my head and it was kind of haunting for a while so I wrote the song to kind of just get that out and that was Ghost Notes, kind of depicting whatever that vision was and it was about that. I’m really really grateful that people are receptive to that song and that people like it because it was a really personal thing to write.

Collective: What are your guys’ favorite tracks on the God and Quotes?

 Chance: I like Forfeit a lot because that one I started writing like six years ago and then I abandoned it and then changed it and didn’t finish it, then came back to and Sean added his pieces to it and then it just came together way better than I ever thought it would. That one was like the longest it had ever taken to finish a song start to finish and like it was really gratifying to finish so I like it.

Cameron: I really like Preprise and the lyrics and I think that’s one of your [Chance’s] best lyrics.

Chance: Thanks, Cam.

Sean: My favorite is Empty Loops.

Collective: What are the main influences for your music?

Cameron: Absolutely Manchester Orchestra and I’m gonna throw in Radical Face.

Sean: David Bazan is my favorite songwriter, probably of all time, Deer in the Headlights is a big one and I’m gonna stick with those for now.

Chance: For me As Cities Burn is number one, when I heard Come Now Sleep it changed my life and I was like dang I should write songs because this is like the coolest thing ever. Manchester Orchestra is a big one for me, Color Revolt is an influence on me, they’re awesome. It always changes, but these are across the board and then there’s like ones that aren’t as cool to say, well I’m not guilty about it but Counting Crows, I like The Fray a lot cause there’s just good, catchy songs, and I know it’s not like cool to say, but I like it.

Sean: The Fray mug!

Cameron: We made a mug about The Fray because we love The Fray.

Sean: I don’t listen to them enough to say that I love them, but I definitely appreciate them.

Collective: What inspires your songs?

Chance: I’m not always listening to a thing and going ‘oh I gotta write something.’ It can come from anywhere.

Collective: How to deal with the dreaded writer’s block?

Chance: I don’t believe in it, I know it’s a strong statement and it’s not true for everyone, but for me I don’t give myself that because if I’m not writing good I’m just not writing anything good. I never say I can’t write, I just discipline myself enough to do it all the time.

Collective: How often do you write?

Chance: I write almost everyday and it doesn’t have to be a lot.

Collective: What’s the best part about being in a band?

Sean: Touring is my favorite thing about it because we get to go to different places and meet cool people everywhere we’ve gone, which is cool because you don’t always get that here.

Chance: Sometimes I recall how I met a lot of the friends that I know now and somehow they connect to music and that’s so freakin’ cool that such strong friendships formed because we were at the same show we played and they saw and we hung out afterwards. If it were for none of that it would be for the songwriting and releasing, it’s so cathartic for me.

Cameron: Probably touring and just being able to do it and being a band is pretty awesome. You grow up learning to play an instrument and you’re really shitty at it and then you get better and people like it.

Collective: What’s the hardest part about being in a band?

Sean: Maybe being aware that, it’s not the most sustainable thing, like we don’t make money doing it so at some point in the future there’s at least a possibility that we won’t be able to do it in the same way cause not everyone gets to do it the way that Kendrick Lamar gets to do it [laughs] and at some point not to give up but to adjust their life, that’s tough for me, I love doing this, but I want to at least acknowledge the possibility that I won’t be able to do this when I get older that’s tough for me. I’m a realist.

Chance: For me there’s like two, but one of them is like a good thing, the hardest over this last year is seeing how anxious I am and how I take it out on other people and so it’s a good thing but it’s the hard part of it, mostly being on tour and things, but then the other, probably the more, the tougher thing would be just the internal dialogue I have all the time about everything I ever do and whether it’s good or bad or okay and it’s not even necessarily in a tortured kind of thing, I don’t want to do the wrong thing so that’s why releasing music feels so good cause that’s no longer an option and so that’s why writing and releasing, until it’s released there’s a little of that going on.

Cameron: Nothing’s been like ‘oh, that was so hard, dang,’ well I guess it’s true in any situation, but it’s sort of hard to like find sound about yourself and how you work with other people and that it’s not good how you do that adjusting, but that’s not necessarily hard, it’s like ‘oh, I wanna do that’ but it works really well in this dynamic.

Collective: Is it difficult choosing what’s going to be on the EP because you write so much?

Chance: For me yeah [laughs] that was like a really long unnecessary process, it’s fine now, so I would like, these guys had to be like ‘I think it’s good’ and then I’d be like ‘No, maybe we need this.’

Sean: It’s like chill out, other stuff will happen in the future [laughs].

Chance: There were a couple that we were like ‘nah they are ready’ and then we just held off and now we don’t like those songs as much, it happens for everybody, every band has that.

Collective: Any final thoughts?

Cameron: Final thoughts from Cam: excited to listen to Kendrick Lamar.

Sean: Final thoughts from Sean Alan Fadling: It’s been a great time so far, I’m about to work for Door Dash, that’s what I’m going to do in just a little bit.

Chance: This is Chance and my final thought is that I liked how Sean was performing his last thought, there was a lot of miming, but I’m really grateful that you guys wanted to talk to us at all, it’s really nice. I’m really stoked to do music at all in any way, so we hope that we keep doing what we feel is fun and cool and whatever and that’s about it.

Collective: Anything you wanna plug?

Chance: Oh, I have one our new EP Leverage is gonna be out in a bit so just whatever, just look out for that, we’re on instagram, we’re on facebook even, I could go on, we’re on all of it, and also in person, if you run into us at the mall or a juice bar say what’s going on and we’ll tell you exactly what’s going on, yeah let’s chat. 

You can purchase God in Quotes on Sounds of Satellites bandcamp, and check out more of their music on Instagram and Facebook.

You can keep up with the Collective on our Instagram and Facebook for more behind-the-scenes footage and updates on our latest projects.



Interview by: Jackie Castaneda

Edited by: Emily Kimura

Photos by: Ariel Cortez

Sounds of Satellites Band Members: Chance Espinoza (Guitar, Vocals), Sean Fadling (Guitar), Cameron Simony (Bass)

Creep on us on InstagramTwitterTumblr, and Facebook.



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Calling all mystics: channel your inner hipster witch with a little help from The Pretty Cult, an LA based up-cycle and vintage fashion company. Founded in 2012 by Arielle Salsa, The Pretty Cult offers one of a kind pieces inspired by all things magical and occult. We caught up with Arielle Salsa at the Magia Moderna Market in Downtown Santa Ana to talk about the birth of The Pretty Cult, where she draws her inspirations and ideas from, and The Pretty Cult’s upcoming projects!


Creeper Magg: Can you tell us a little about the process of how The Pretty Cult came to be? What inspired it?

Arielle Salsa: Totally. Well it came together in 2012 when I was in college. I was seeing a lot of things that you know I wanted [but] being a college student I couldn’t afford it or I was like ‘You know what I could actually make that myself.’ So I just started messing around and trying to make my own stuff and I did and a lot of my friends we’re like ‘This is really good, you should try to sell it,’ and that’s when I opened my Etsy store.

CM: Can you tell us a little about your first piece?

AS: My first piece was actually a pair of cutoff high-waisted shorts that I studded the pocket and I still do all the studding by hand so that was the first one I did. [I] wasn’t really sure how it was gonna look and I never actually sold it until about a month ago so I finally put it out on the market.

CM: Can you tell us about how you’ve evolved, like with your aesthetic, where did you start?

AS: I would say my style in the beginning and still [is] very driven by music, I also work in music. Fashion has always been a really big part of my life and there are just a lot of artists that I’m inspired by and one of those would be Chelsea Wolfe, so I think a lot of my pieces are driven from music, from female rockers in particular, and then also the occult. I’ve always like tarot, crystals, [and] I’ve found it really interesting so I just get inspired from everything in my life, I guess.

CM: If you could give The Pretty Cult a tagline to describe its aesthetic what would it be?

AS: That’s a tricky one, maybe, like occult minimalism. I like minimalist things, I’m obviously inspired by tarot, moon phases, astrology, and I find that even if you don’t believe in astrology you can find out about it and it can help you relate to life and maybe people you encounter that you don’t understand.

CM: I know with your past collaborator you used to do tarot card readings so how was that for the company?

AS: Well I first created, it was a rendition of the high priestess card flannel and I reached out to my friend and asked her, ‘when I’m going to sell this on my store I’d like to give a listing about what the high priestess card means’ cause I think it’s really important when you wear something with such symbolism that you understand what your wearing. So she did a write-up and [I] listed it and it sold pretty quickly so we kind of were like ‘Hey maybe we should do all the cards.’ I don’t currently have all the cards of the tarot deck, but I do have the 22 major Arcana cards from the Rider-Waite deck, which are all on vintage flannels.

CM: What would you recommend for someone who is interested in getting into the occult kind of thing, how did you kind of delve into that?

AS: Well it helped that I had a friend who is very knowledgeable about Tarot, and she’s a tarot reader. I’ve been researching, it’s just research to be honest; learning in my opinion Tarot is like a history lesson. It’s really interesting to see [that] a lot of tarot derives from Hebrew and Judaism, so just do your research, talk to friends, talk to other people interested in it and you can just go from there.

CM: How has social media helped you in branching out?

AS: Instagram in particular has helped in finding markets, such as [Magia Moderna] to sell at. I [found] a lot of other shops and local artists I really like and I could see what they were selling and if they could meet up with my demographic. You find out so much by following people, seeing where they’re going, who they’re tagging, so I found a lot of markets with that and I mean my Instagram numbers have been growing so I guess people like what they see and it helped in getting the brand out there.

CM: What was your biggest struggle?

AS: Just being afraid of putting it out there, sometimes I still get nervous when I see people actually looking at the clothing. I’m afraid their judging my craftsmanship or my hard work but at the end of the day not everyone’s gonna like it, but as long as you do that’s gonna shine through, and just really master your craft always be practicing, I’m always trying to teach myself.

CM: What’s the current project that you’re working on?

AS: I am currently working on a new line, everything I have now is either vintage or up-cycled fashion and [the] new line I’m working on I’m going to design myself. I’m not going to give away too much about it, but I’m gonna be launching it in fall it looks like and it’s gonna be something to do with sleepwear and I’ll just leave it at that.

CM: You said that you also work in the music industry, so can you tell us a little more about that?

AS: Every so often I present shows with Spaceland who do the Echo, the Echoplex, and the Region in LA and there’s been times where we’ve done a pop up shop and we help build the bill with a few artists and we do the poster art and it’s just a really fun night for the bands and it also gives the concert-goer something more for their ticket in that sort of sense cause we have our pop up shop there as well.

CM: Any advice for people who want to start their own business?

AS: Just do it, don’t be afraid to just get out there, and try it and you know that was the hardest thing for me for a while since I’ve only been doing markets and pop-ups since November. Don’t be afraid of what people will think of your art because at the end of the day it’s yours and as long as you love it, then it doesn’t matter, so just put yourself out there and just keep trying and then only good things can happen.

CM: Can you give us a sneak peek into what your next events are for next month?

AS: I’m selling at a pop-up in LA, it’s gonna be a very small, local pop-up and my next Orange County one is April 16th I’m gonna be selling at the Mermade Market in Dana Point and that ones a really cool one, everything is handmade and there’s gonna be a ton of vendors and they only do it twice a year so that’s not to be missed.

CM: Cool, so any last words or thoughts that you kind of want to give us at Creeper Magg?

AS: Thanks for doing this, this has been really fun and it was awesome that I met Creeper Magg!


You can check out more of The Pretty Cult on Instagram, Twitter, Facebook, and purchase some of the pieces on Etsy.

The Pretty Cult created by Arielle Salsa

You can creep up with Creeper Magg’s shenanigans on Instagram, Twitter, Tumblr, and YouTube! #creepitreal

Creeper Magg Credits:

Interview by Jackie Castaneda

Edited by Emily Kimura

Photos by Chris King

Edited by Kelsea Cadena

Be All, End All: "The Single" Video Premiere

Hey creeps! This week we are stoked to release the latest music video from San Diego indie alt-rock band Be All, End All. “The Single” is from Be All, End All’s recent album Cortez and has Carls Vertongen on vocals, Jack Severson on lead guitar, Carley Fischer on rhythm guitar, Kaylee Kussman on bass, and Hannah Silverstein on drums. The song is an outspoken and angst-filled anthem about dealing with the pressures of growing up and self-acceptance. Directed by Christophen Macken and produced by Play Yah Records, the music video follows Carls as she gets ready for another routine day on the job as a lifeguard. Things get out of hand as an annoying group of kids antagonize her, but she’s had enough. The song’s catchy hooks and melody are enough to make you check the vid out (as well as Carls’ role as the irritated lifeguard and Jack in a speedo…) Go check out Play Yah Records and Be All, End All on social media to catch the latest from them!

You can creep up with Be All, End All on Youtube, Twitter, and Instagram

You can also creep up with Play Yah Records on Youtube, Facebook and Instagram 


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#JackieCreeps: Outside Lands

The cool breeze kissed my face as I stepped off the shuttle bus that departed from San Francisco’s Bill Graham Auditorium to Golden Gate Park. It was early in the afternoon on a Friday but people were already lining up to get their wristbands scanned, ready for a weekend of music and good vibes. Outside Lands, here we go.

 There was a buzz in the air as I followed the trail of eager concertgoers to the main festival grounds. The sun was shining but the wind didn’t hold us back as we made it through a graffitied tunnel with a mural of old school lowriders. Immediately to my left was the huge expanse where the Lands End stage was, where Ra Ra Riot was playing to a crowd of pumped up fans.  

I trekked through the grassy open space, passing picnic tables and people taking selfies at art installations scattered throughout, onto a dirt path and through tall trees towards the Sutro Stage, a  slightly smaller stage than the main one but just as crowded. My group split up at that point so my cousin and I headed to a nearby booth in need of some good grub and a cold one. We found a nice spot to sit by the hilly incline near the stage where New York’s indie pop group Wet was closing their set. An hour into my first Outside Lands and I’m on cloud nine.

Outside Lands isn’t just your average music fest. Just a six hour drive and you’re transported to another world, where 100 degree weather and typical festival problems don’t come your way. Maybe it’s the Bay Area magic in the air, or the perfect 65 degree weather, or the woodsy camping atmosphere- whatever it is, it’s alive and it’s perfect. With notable acts such as Miike Snow, Grimes, J. Cole, Vince Staples,Sufjan Stevens, Lionel Ritchie, Peaches, Snakehips, Diiv, and Lana Del Rey, this year's Outside Lands delivered. I never imagined I would be able to see bands like Foals, Beach House, LCD Soundsystem, and most importantly, Radiohead. Never in a million years did I see that happening. Needless to say, I was beyond excited for the weekend.

Cheers emerged from the crowd as Foals took command of the Sutro Stage. Lead vocalist and guitarist Yannis Philippakis roared into the microphone as the band opened with a fiery frenzy. Jack Bevan’s intensity on the drums complimented the sharp complex guitars and heavy bass provided by Jimmy Smith and Walter Gervers with Edwin Congreave on keyboards. Fans danced to the rhythm as the twangy guitar riff for “My Number” played on. Foals played songs from their latest album What Went Down that included fan favorite “Mountain at My Gates.” The band also performed “Spanish Sahara,” a haunting melody that became progressively raw and jarring. Transfixed, people sang aloud and clapped in time to this striking performance. In signature Foals fashion, they went out with a bang with “What Went Down.” Yannis gave an aggressive final performance, taking the mic and diving into the audience as his energy transcended the stage and into the sea of people.

Indie dream pop duo Beach House was another blow-away act. Lead vocalist and keyboardist Victoria Legrand appeared from the fog and dim lighting, almost floating in her shimmery black cloak. She was just a shadow as she howled into the mic, slowly removing her hood to reveal wild crimson hair. Guitarist Alex Scally gave an invigorating performance as well, as they performed songs like “10 Mile Radio,” “Wild,” and “Take Care,” The standout song from the set was “Space Song” from one of their latest albums, Depression Cherry, a bittersweet and mesmerizing ballad that even starcrossed lovers would appreciate. The twinkling lights, foggy atmosphere, and flashes of white stage lighting gave the space an ethereal feel as the audience got lost in the music.

LCD Soundsystem are one of those legendary rock bands you can’t afford to miss. To see them play live after their reunion is as rare as finding a double rainbow near a pot of gold- it just doesn’t happen. It was like an open air disco as they jammed on, playing hits like “Daft Punk Is Playing at My House,” “I Can Change,” and “Someone Great.” I danced away to the sounds of “Home” and sang along with a random group of people as we made a dance circle with people waving glowsticks. The buildup of “Dance Yrslf Clean” made us all erupt in a wave of pure bliss. They closed the night with a moving performance of “All My Friends,” showing just how great James Murphy and the rest of LCD can put on an all night dance party.

One of the headliners for this year’s Outside Lands was none other than Radiohead, one of the most iconic British rock bands of our time. With a musical trajectory that spans three decades and an evolution of sound as varied and complex as theirs, Radiohead delivered a powerful two hour set. I’ll be completely honest: the fact that I was going to see one of my favorite bands of all time, really of ALL TIME, hadn’t really hit me, even as the lights went up and they took center stage. In fact, I still can’t believe it. I keep reliving flashbacks to that night; it was like a good dream that you never want to wake up from. In my opinion, their music is so profound and has been so life changing to me that I don’t think I’ll be able to fully recover and suffer through Radiohead concert withdrawals.

Radiohead played a variety of tracks from their catalog, from albums such as In Rainbows, their latest release A Moon Shaped Pool, and even their eponymous third album OK Computer. Songs like “Climbing Up The Walls,” “Bloom,” and “Pyramid Song” were hypnotizing. Thom Yorke’s pleading vocals mixed with the raw guitars and bass provided by Ed O’Brien and Colin Greenwood bewitched the crowd with everyone swaying in perfect synchronicity. Phil Selway pounded the drums with such precision and strength while Jonny Greenwood was in his own element on keyboard/synths and guitar. The crowd fell silent as Yorke sang  “Exit Music (for a Film)” and there wasn’t a dry eye in sight. I sobbed but it was more a release of different emotions just pouring out and not of sadness. I sang and held my palms up, eyes closed, allowing the music to take over. The transitions from song to song were captivating, almost as if Radiohead knew exactly what the crowd needed. We were in a trance: at one point, Thom was leading us into a series of claps and when he went faster, so did we. When he stopped, so did we. We were put under a spell. There was such an ease to it all, a continual flow, evident as they played song after song. When “Weird Fishes/Arpeggi” carried on into “Everything in its Right Place,” there was a collective consciousness, a unifying force, between us and them. Everything really was in its right place. Radiohead’s encore performance included classics like “Let Down” and “Nude” and fans sang at the top of their lungs to “Karma Police,” the closing song for the night.

My Outside Lands experience was more than I could’ve ever asked for. I spent three days of my summer immersed in music and art and spent it with people I love. I saw some great live acts and discovered new music. I stood front row for some of my favorite bands in a perfect atmosphere. Sure, I came across big crowds and long lines and overpriced food, but it was all worth it. It was worth the hour long train rides and the sunburnt face and the tiredness and aches. I was in heaven and this will forever leave a mark on me.

Article by: Jaqueline Castaneda

Photos by: Jaqueline Castaneda and Vanessa Lopez


It is approximately 3:30  on a sunny Thursday afternoon. Waiting for the light at the corner of Grand and 2nd in Downtown LA, I gazed ahead at the line forming outside the double doors of The Broad, the highly anticipated museum that opened its doors in September 2015. I had reserved tickets two months in advance; the only thing more striking than the huge standby line forming was the massive white-slate honeycomb-like structure that comprises The Broad’s outside. Ticket in hand, I walked eagerly past the doors.

Inside was a cacophony of noise and wonder: a bustle of people navigated their way through the almost industrial expanse of the lobby. Anxiously, I made my way to Yayoi Kusama’s  Infinity Mirrored Room Exhibition located to the left of the entrance but to my dismay the exhibition was booked and no slots were available for the rest of the day. Many visitors make line just for a timed ticket exclusively for this exhibition, a mirrored room with an endless array of LED lights.

There was a towering display of oversized white teacups reminiscent of Alice’s wonderland that were by the escalators leading up to the second and third floors of the museum.Ascending into the third floor, I was welcomed by an expansive area with pristine white walls and a ceiling which gave the feeling of complete openness. Founded by philanthropists Eli and Edythe Broad, the museum houses over 2,000 works of postwar and contemporary modern art. The inaugural installation is on view, featuring an eclectic mix of contemporary art--from 1950’s till now.

Politically charged art provided much for social commentary. Marlene Dumas’s painting “Wall Weeping” depicts Israeli soldiers searching Palestinian men. Works from such artists as Glen Lingon and Damien Hirst show the tension of America’s complicated, messy racial history and climate. Also on view are works from Barbara Kruger, whose prominence rose in the 80s with her bold pieces that focused on media and politics, such as “Your Body Is a Battleground.” Works from influential artists such as Cy Twombly, Jeff Koons, John Baldessari, and Jean-Michel Basquiat are displayed as well, who all helped shape and transformed the art scene in their respective times.

I was anticipating seeing the works of Roy Lichtenstein and Andy Warhol, perhaps the most sought after collections at The Broad. Seeing their works  in person was a surreal experience. Here were the two most influential artists of the modern and pop art movements; there really are no words for it. Warhol is by far a favorite of mine, so seeing Marilyn Monroe hang out right by Elvis and of course, Warhol’s famous Campbell’s soup cans basking in all its glory left me feeling elated and inspired.

The Broad is a magical, transformative experience: It is so much more than a museum. The Broad’s collection of modern and contemporary art are evocative and visceral, engaging visitors and broadening minds. So what is one to do after visiting such a remarkable place? My suggestion? Plan this all on a Thursday. Eat lunch at Grand Central Market. Take your time touring the vastness of the Broad. Once the sun sets and you’re all done, continue the cycle of course by taking a quick stroll to MOCA; they offer free admission every thursday from 5-8 pm. You’ll thank me later. Until next time my lovely little creeps...


#Jackie Creeps: Women's March-LA