Real Creative Magazine

Issue #1 2019

reall

PETER LORIMER

LISA STEINBACH-SCHECTER Innovative Kitchen Designer

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Star of Netflix's "Stay Here" CHOR BOOGIE Modern Hierogylphics Artist

"Native" Wayne Jobson and Sting

REGGAE DJ AND MUSIC PRODUCER

NATIVE WAYNE

Front Cover Art : Chor Boogie

Co-Publisher/Editor Atticus Scheindlin

REAL CREATIVE/SUMMER 2019

Publisher/Creative Director Lon Levin Contributing Writer April Snow Contributing Writer Heather Leary "Be more concerned with your character than with your reputation, because your character is what you really are, while your reputation is merely what others think you are." — John Wooden

All the work depicted in this magazine are the property of the artists who created the work and cannot be used in any way without the expressed written permission of the publisher and artists.

PORTRAITS OF HOPE: SHAPING LA Artist Ed Massey created a public art masterpiece "NATIVE WAYNE" HOBSON A top Reggae DJ in America and a film producer let's us in on his creative secrets JUSTIN ROSENBERG Overcoming personal problems and medical challenges Justin has become a top photographer in LA. TONY DONALDSON Motocross rider turns his passion into art. Tony's spectacular action photography captures his sport vividly JOHN CAMPBELL MAC Actor, Boxer, Producer and Real Estate agent JC MA attacks all with ferocity and a touch of humor.

ROHAN EASON English pen and ink artist is a rising star whose work harkens back to "crowquill" English tradtions PETER LORIMER Top Real Estate agent and star of Netflix's "Stay Here" sits down for "Latte with Lorimer".

ADA MAURO Actress, cooking ethusiast and philosopher, the Italian lady who speaks Japanese talks turkey with us.

ROHAN EASON Rising English illustration star, Rohan Eason in black and white reveals his passion and mindset.

CHOR BOOGIE Graffitti master with heart of gold helps kids and others reach their goals while creating masterpieces LISA STEINBACH SCHECTER The master designer and businesswoman creates "kitchen magic" for her celebrity clients.

it's just

my opinion

by Lon Levin

back. I soon learned girls were impress with artists as well, so it seemed like a good idea to start being one.

What is being an artist all about?

This is a hard question to answer. I've spent a lot of my life trying to figure that out. When I was a young boy it was about trying to draw cartoons. If I could draw Daffy Duck then surely I was an artist. A few years later it was about drawing JFK when he was assasinated and making it look like him so I could send it to his family as a tribute. Soon it became drawing and airbrushing monster cars like Ed "Big Daddy" Roth or anything else I thought would impress girls. Then came the arrival of The Beatles. Everything changed. Their music was audible art congering up images I could've never imagined before. I drew pictures of them and the images their music inspired in me. I became aware of Alan Aldridge's Beatle artwork, Peter Maxx and others. I ws soon more interested in art than sports and that set off a firestorm of opposition in my father. To him, I was to be an athlete, then a businessman. "No "real man" was an artist!" he proclaimed In fact my father was so opposed to me showing any creativity that I swore off all creative endeavors except photography, which was acceptable to him. It wasn't until I went to college that my interest in art came

I studied fine arts at UCLA. I decided to devote all of my energy into being the best artist I could be. In my senior year, a girlfriend of mine suggested that if I was serious about being an artist I should go to Art Center for graduate studies. I had no knowledge of Art Center so I set up an interview with the enrollment director. After an hour conversation and portfolio review she asked me if I wanted to enroll in the arts or photography program.

"Both" was my response. I officially enrolled as an Advertising/Illustration major. My father was livid! "Who's going to pay for this?" he yelled. Then proclaimed I must be a "homo". I didn't care, he could scream all he wanted to. I was going to be a professional artist. With the help of my mother, a small scholoarship, odd jobs and a fierce determination to succeed I enrolled.

Once I arrived at Art Center I realized that not only would I get a technical education I would learn how to think and express myself thru my art. It took me 3 years to graduate, all the time working at very shops and agencies, doing freelance work whenever I could. After graduation it took me a couple years of freelance work in LA and New York before I landed a job at 20th Century as an art director. In my mind I was finally an accepted and acknowledge artist. The next 25 years I carved a career being an award-winning art director, illustrator, creative director, art department head. I've had ups and downs, I was humbled by my experiences and I've learned a lot. I lived my vision, I expressed it visually and I accepted the outcome. That's what being an artist is to me.

Now as the publisher of a magazine that celebrates art in all it's forms it is my mission to help other creatives on their journey. And the most important thing I can say is believe in yourself and your vision. Rewards of all kinds will come if you're true to yourself. Never give up.

PORTRAITS OF HOPE : “SHAPING L.A.” Little did I know the scope of their project involved wrapping Ed’s signature art style around the LA Convention Center. I was intriqued so I planned to meet with Ed at their temprorary headquarters in West Los Angeles.

A few months ago I checked in with Ed Massey, the well-known public artist that we profiled last summer.

He told me he was working on an exciting project called “Shaping LA and I may want to take a look at what he and his partner, brother Bernie Massey were scheduled to do.

How could I resist?

On a very rainy night rolls of primed canvas were trucked into the Westside Pavillion space that was donated to Bernie and Ed to complete their project. I arrived at the pavillion just as several supporters gathered to bring the rolls into the dry space. Young and old worked together to set this marvelous project in motion. I set my camera equiptment down and pitched in, and for the next hour roll after roll was brought in to the huge space and stored by the front counters that lined the entrance. After some further setting up the space was ready for the next step... the kids and adults who were going to play their part in this huge project. I spoke with Ed briefly at the end of the night and he was excited to get started. He laid out the timetable for me and invited me to come back the following week when the painting was going to start. I was pumped to see how he was going to orchestrate how to create a painting that was approximately 20 high by more than a thousand feet long!

Go to www.portraitsofhope.org for more about Ed and BernieMassey’s Portraits of Hope Programs

The next time I saw Ed and Bernie the floor of the pavillion was covered with large half-painted sections of canvas. Bernie was conducting a seminar for some of the kids and adults who volunteered to paint and Ed was going over paint mixing and floor logistics with some of his volunteer staff members. Within minutes the helpers spread out across the floor with painting tools, small rollers and paint in plastic bowls. Each designed area had a paint color assigned to it. The room was buzzing with activity as music floated over the gathering.

It was truly a paint party. One of the young women painted herself into a circle of unpainted canvas. Once she realized what she had done she started to laugh and dance to the music. Other painters hooted and hollered their approval. The atmosphere was joyous as the process played out.

I made several visits to the paint area over the next week or so until the work was finally done. The entire month was a productive house party and I didn’t see one person including mentally and physically challenged crew members who were not joyful about the part they played in creating such a monumental piece of art. It really hit home to me as an artist that it’s the process not the end product that is a joy to experience.

However, anyone who now passes Ed Massey’s art that hugs the convention center can’t help but smile when they experience the colorful joy and good feeling it inspires.

I believe in being strong when everything seems to be going wrong.

I believe that happy girls are the prettiest girls.

I believe that tomorrow is another day and I believe in miracles.� – Audrey Hepburn

Native Wayne Jobson

Interview by Lon Levin (cont) to watch Cat Stevens produce and record, and watch Chris Blackwell produce Bob Marley. My first album was produced by the eccentric genius Lee ‘Scratch’ Perry and my band leader was Joe Higgs, the Godfather of reggae music (who taught Bob Marley to sing). So I was able to stand on the shoulders of GIANTS!!

How did that evolve into “Native Wayne” ? Were you encouraged or discouraged by family, friends, teachers, mentors?

Native Wayne, is a Jamaican record producer of European ancestry. He has worked with such artists as No Doubt, Gregory Isaacs and Toots & the Maytals. He hosts the weekly radio show "Alter Native" Sunday afternoon on Indie 103.1. He previously hosted a similar radio show, "Reggae Revolution", at Indie's main competitor KROQ-FM. Jobson is also known as a musician. He recorded an album in 1977 produced by Lee 'Scratch' Perry at the Black Ark. When did you first think about writing and producing music as something you wanted to do?

I grew up in Jamaica where my cousin Diki Jobson helped to start Island Records with Chris Blackwell. So I was was blessed enough to go to the studio

My band was called "Native" with my brother Brian and some friends.Everyone was very encouraging, and Bob Marley and Jacob Miller came to our very first show. You try doing your very first gig with the Master Marley observing you with mystic eyes!!

What kind of kid were you? Where did you grow up? What were your influences?

I grew up in the misty mountains of Jamaica, about 9 miles from Bob Marley’s birthplace called 9 Mile. It was a magical spiritual place and my parents were friends with Bob’s mom Cedella Booker. My main influences were the two Bobs, Dylan and Marley, and of course the most important group in history, the Beatles.

I watched “STEPPING RAZOR-RED X”, and it was fascinating. How was it like to put that project together?

Any interesting behind the scenes stories that happened?

My Peter Tosh documentary “STEPPING RAZOR-RED X” was my first film project and it got nominated for a Canadian Academy Award.

I used to hang out with Tosh and he is still the greatest rock star I have ever met (including Marley, Bono, Jagger, McCartney etc). He was a genius musician, singer, writer, performer as well as a poet and revolutionary. Peter had a brilliant mind and an incredible sense of humor. During the documentary shoot I had to bluff my way into Death Row in Spanish Town Prison, the most dangerous prison in Jamaica to interview Leppo who had murdered Peter. I hid a tape recorder in a book and recorded the conversation and took some pictures (which all appear in the film). The Head of the Prison busted my crew shooting outside and nearly got me!! But I said we were shooting a documentary on the classic historic buildings in the town and his prison was so beautiful. He believed my story and let me go. But it was close, and the worst place to get busted is in a prison, as they can just announce “Welcome home! You will be a guest with us for a few years. Our future.

Do you still perform? As a DJ or singer?

I still DJ and have performed in London, Berlin, Santiago (Chile), Calgary, Los Angeles, Jamaica, and Kauai.

Your musical style and way of handling your music business is very unique. How did you arrive at that way of doing things and why?

With Native we were one of the first bands to combine reggae with rock. I remember recording at Bob Marleys studio and he came and stood at the door to listen. I heard him ask his friend “I wonder if these guys have the sound that is going to take the music to the next level”.

We opened a show for Bob Marley who then came on after us and sang in front of our ‘Native’ banner, and that clip was featured on 60 Minutes on CBS TV. Wicked!!

As far as business , I have a Masters in Entertainment Law from Kings College in London, so I am able to do my own deals etc. But I much rather write a song than a contract!! Right Brain/ Left Brain, feel no pain. Rock station in Dallas on my computer while I answer your questions. The internet has changed everything.

"The worst place to get busted is in a prison, as they can just announce “Welcome home!"

Which performer did you enjoy working with the most?

It would have to be Keith Richards and Willie Nelson. If we are all 50% spirit and 50% dust, then Keith and Willie are 80 % spirit and 20% dust. They are ethereal!

How has the advent of the computer affected your work?

Of course nothing beats the sound of analog tape in the studio, but Protools has made recording a hundred times easier. How we record, store and transfer sound has opened up a new world for all aspiring artists.

Did you take the performing name “Native Wayne” to allow yourself the freedom to create a persona that can be whatever you want?. What is the concept behind that?

When I started as DJ on the World Famous KROQ in LA it was the #1 station in America and the #1 Modern Rock station in the World!! I had never done radio, but they liked me so I just ran with it.I needed a name to associate me with my band, so I just said Native Wayne.

Does living in LA give you a certain tone to your work that you couldn’t achieve living in Jamaica?

I move back and forth from Jamaica to LA so get inspiration from both places. LA is fantasyland, but Jamaica is pure reality, so it sobers you up and showers you with spirituality.

Did your roots as a reggae artist influence No Doubt and their songwriter and arranging?

I helped to break No Doubt at KROQ when they were just starting, so I told them I would take them to Jamaica and we could create some magic along with Sly and Robbie. No Doubt had sold 15 million albums, but they had never won a Grammy. The first two songs we did with them in Jamaica won two Grammys! Was it luck or the magical Jamaican smoke or the wicked Jamaican rum?

Do you prefer creating music or producing film…or are they on an equal plane?

I am a storyteller, so whether I am telling the story in a song or film or production, that is my mission.

And I hope that the audience relates to it like I do, as I am just trying to explore the depth of the mind.

What’s the future hold for Wayne and “Native Wayne”?

Any ultimate goal?

I have some amazing stories that I am doing as documentaries and feature films so I am always working. The album that I just produced in Jamaica with the legendary Donovan (Mellow Yellow) is called Jump in the Line and is a tribute to Harry Belafonte. It has one my songs on it called Jamaica Time. I also put together an album of great blues songs done in reggae, called Red, Gold, Green and Blue. Its on BMG and the singles are I Put a Spell on You featuring Mykal Rose, and Man of the World featuring Toots and the Maytals. Zak Starkey from the Who was band leader and guitarist.The main producer was Youth ( McCartney, Pink Floyd)

Article written by Lon Levin

rosenberg >

JUSTIN

“After shooting for many years in South Florida, I decided to pack up and head west . . . way west, to Los Angeles. I have fallen completely head-over-heels for this city, and after living here for a few years, I feel I have a greater understanding of Dr. Dre and Tupac’s “California Love.”

“My name is Justin Rosenberg and

contrary to popular mythology, I was not born with a camera in my hands.”

WRITTEN BY LON LEVIN Two years ago I walked into my new position as president of a design firm called BTS Communications. I inherited 14 people who would work for me and the first one I got to know was photographer Justin Rosenberg. Within a hour he had given me all the information I needed to know about the firm. I was skeptical of him at first but I came to realize that somehow this big bear of a young man was dead on. Aside from that he was enormusly talented and I was determined to mine his talent and encourage him to break out.

I’d like to claim I had something to do with his growth as an artist but that’d be a lie.

It’s all him. He is always searching for a different way to do things or trying to discover a bit of information that will increase his abilities. He lives and breathes photography. Late nights trolling downtown LA or early jaunts to the LA River are not uncommon for Justin. He and I have spent time together shooting at different shoots and I have l;earned so much from him noy only technically but artistically. He is an artist’s artist.

rosenberg >

JUSTIN

M

y name is Justin Rosenberg and contrary to popular mythology, I was not born with a camera in my hands. I was born a normal birth, in a hospital, in Plainview, NY . . . and unless my parents lied to me, I popped out cold and hungry, sans camera. Fortunately, the trauma of entering a new and scary world didn’t phase me all that much and I eventually picked up my first camera (in the odd chance you’re dying to know, it was a 1978 Canon A1 that my father still owns).

After shooting for many years in South Florida, I decided to pack up and head west . . . way west, to Los Angeles. I have fallen completely head-over-heels for this city, and after living here for a few years, I feel I have a greater understanding of Dr. Dre and Tupac’s “California Love.”

My main-stay is photographing humans– editorial, commercial, music and family Sometimes I professionally photograph non-human entities such as dogs and cars.

I’ve had the lucky fortune of photographing magazine covers (WeMerge Magazine, Beit T’Shuvah Magazine, The Vista View) as well many other national and international publications (Jewish Journal, Octane Magazine, Thoroughbred and Classic Cars, Jewish Week, CSQ, and more)

• I once was suspended on the back of an ATV while photographing a $1 million+ car (with less than stellar brakes) barreling after me on a steep hill. I survived, and my got first double page spread.

•I believe in transparency and authenticity, something I’ve learned since I decided to get sober from drugs and alcohol in January of 2011. - I do not have a large intestine. Long story short, I have battled Crohn’s Disease since 2001 and subsequently lost my large intestine in 2011. I only put that here, because as I mentioned above, I believe in authenticity and Crohn’s Disease is a major part of my “story”. I am currently working on some photoRandom Facts: graphic projects geared towards spread• I have a full-on obsession with Sushi. ing awareness of a disease I have dubbed, I might even consider bartering my “The Little C”. Incidentally, If anyone finds services for copious amounts of good raw my large intestine, hit me up on Facebook, salmon.

Instagram or Twitter.

TONY DONALDSON

Tony Donaldson got his start as an athlete, racing BMX then starting his own BMX freestyle team. His freestyle team toured the Midwest doing shows at fairs, festivals and events. He started his first business when he was only 15.

Associated Press photographer and friend Seth Perlman took Tony under his wing and taught him the basics of photography, within months he was working as a stringer for AP then earned himself a staff position at a BMX magazine he had grown up reading.

After working for several years on several magazines, he went out on his own. Tony’s clients include magazines like ESPN, Time, Millimeter, Golf, and the New York Times,

“Tony is the real deal. A photographer who both understands the artistic In high demand for his knowledge of the business, creative and technical sides of photography, he’s written product and software reviews, an editorial column, consults with government and aerospace contractors and lectures at conventions around the country on photography. You can find the two books he’s written, both on BMX, on Amazon.com. He’s currently working on another book or two.

Clients love him for the power of his images and the ease of working with him. He can work within extreme time limits, Tony has a gift of developing instant rapport with his subjects, drawing out interesting and sometimes rare sides of them.

From a quick editorial portrait to a large layout, Tony and his crew bring out the best in people.

value of the “right look”

John Campbell

MAC

by Lon Levin

According to IMDB, John Campbell-Mac was born in Canning Town, East London, England in 1973.

John was brought up by his grand parents William and Mary Campbell. The family moved from Canning Town in East London to Colchester in Essex when John was the age of 5. After being bullied as a child he was encouraged by his grandfather to take up boxing and boxed for the Castle Colchester Boxing Club. He won the award for best prospect in his first competitive season and later became club champion eventually moving back to London to advance his career.

His acting talent first came to the attention of his school teachers where he was regularly given main character in school plays and later in amateur theatre productions. Upon leaving school, he worked in construction, as a physical fitness instructor, model, dancer and as a professional boxer and continued his training in martial arts including Muay Thai (Thai boxing), karate and taekwondo.

When did you first think about acting as something you wanted to do? How did that evolve into your present business? Were you encouraged or discouraged by family, friends, teachers, mentors?

I think I was born a natural entertainer straight out of the gate, my family were all these huge personality’s so I guess I was just finding a way to be heard. I think people are either born funny or their not and with regards to tough guy roles I grew up in a pretty tough neighborhood so that came pretty easy too.

What kind of kid were you? Where did you grow up?

What were your influences?

I was one of those cheeky naughty kids, full of fun and mischief. I was raised by an old couple who adopted me, I sure kept them busy. They were real larger than life characters from the East End of London, salt of the earth, amazing people. Both sadly passed now.

We were working class but there was never a shortage of love in our house. They moved out of London to Colchester in Essex when I was around 5 years old which is where I grew up. Early influences were probably the tough guys in our neighborhood, early performances? Well when I was about 10 I remember standing on a kitchen stool at the bottom of my garden and singing Nat King Cole, SMILE to the field full of sheep that were gathered there, If I remember rightly they were a great audience ha ha .

Your style is very unique. Did you work on developing a style or is that what naturally came out of you?

I’ve done lot’s of comedy and tough guy roles, both come pretty easy to me. I was always the class clown and it just grew from there.

What areas does your acting work appear in? How did that come about?

I love acting, from my very first day on set I just thought ‘Wow this is it, this is where I’m supposed to be. I’ve met a lot of crazy eccentric people in various parts of the entertainment world. Many were as crazy as a bag of frogs so I felt I just fitted right in, ha ha. If you google my acting name John Campbell-Mac you should find some of my work. Mostly film with some TV, I did more theatre back in London.

But my route to it was a little more unique. I moved back to London when I was 23 years old looking to advance my boxing career. I had been club champion and fought in the ABA’s (UK equivalent to the golden gloves). Now in my mind it was clear, join the most successful club (there was Repton in Bethnal Green which I joined), get an Olympic gold medal, turn pro and become world champion simple as that. Well the universe had something else in store for me. I had managed to buy the house for my old mum and dad and make it nice for them before I moved. Then there was a big recession at the end of the 80’s early 90’s in the UK and suddenly there were fewer jobs especially in construction and I was having hard financial times. Unbelievably I’d lost a few fights (it came as a shock to me) and after a few months it seemed that I had gone from hero to zero, overnight. I remember my car being re-possessed as a particularly low point. Now as a young guy, being broke is not such a big deal but with my aged parents mortgage to pay as well as rent in the city was a tough spot to be in.

In desperation I heard about the world of underground unlicensed boxing, I remember a real tough guy in an infamous gym in London saying to me ‘You look a bit tasty Johnny, why don’t you have a fight? you might be able to make a few quid’.

Well desperate times call for desperate measures and all that so I was in. Try and imagine a warehouse in Woolwich filled with 500 flat-nosed skinheads begging for blood. If you have ever seen the movie “Snatch” with Brad Pitt and Jason Statham well my last fight was in the same ring in the same venue where that was filmed and they captured the vibe perfectly. There were some very tough guys, people like Lenny McClean and former champions like Jimmy Cable, really hard men involved who I still have the greatest of respect for, but fortunately for me I had some skills. Rules were pretty loose but we did have gloves. Anyway let me not bore you, I had a handful of these fights, won them all but realized I couldn’t make enough money so I needed something else.

Well just before I left Colchester I saw a guy in a bar in a G-string with a load of screaming cheering girls around him and I remember thinking maybe I could do that. He was performing I think for somebody’s birthday or a bachelorette party. Anyhow to cut a long story short I phoned every entertainment agency in London before I finally got an interview. I went down to meet the owner who took a look at me and said OK son We’ll give you a go, you might want to hit the

weights and build yourself up a bit.

Then boom the next night I was doing it. Straight from the boxing gym into the city on the tube shaking like a leaf. Shot of whiskey for Dutch courage, then bowled into a wine bar took off my track suite while reciting a happy birthday poem to the ladies in there. I’m sure I was dreadful but the crowd seemed to like it and I was hooked. After a few weeks I was running all over London meeting all types of people and it saved my financial situation.

I later met a friend who was a successful model and suggested I try my hand at that. He generously got one of his friends who is still a top photographer to take a few pics of me, then I got an agent and suddenly I was a model, you couldn’t make it up. Believe me it was quite a journey from my working class beginnings. I was in good shape and did lots of underwear and swimwear shoots which led to me being put up for commercials.

Simultaneously the dancing was going from strength to strength and now I was doing fully choreographed shows in every type of venues from small bars to nightclubs and theaters. Through the modelling I met lots of other similar looking fella’s so I put a group together along with my brother and suddenly we were touring the the country and eventually the world not just dancing but singing as well. We toured over 20 countries over a period of 10 years meeting all sorts of people and making all kinds of connections which still serve me today. Sorry I digress so I remember being on the set of my first commercial which was very sane in comparison to my night job and seeing the lights and the crew, etc and thinking, this is me, this is right, this is what I want to do. This led to small parts in TV shows where I met some real actors which made me realize I needed to get some proper training. So for the next few years I did every possible workshop I could do gradually honing my craft as my resume got bigger. You know acting is very different to performing, it took me a long time to learn that.

You’ve worked in construction, as a fitness instructor, model, dancer and as a professional boxer. How has that helped you to become a great real estate agent?

I was a bricklayer for 5 years when I left school, even went to college for it, seems like a million years and a few lifetimes ago now. But I feel this gives me an idea of building fundamentals and architecture. The rest well I have been blessed to have done a lot of things which has brought me into contact with many types of people. Hopefully this has given me a greater understanding of people which can only help in real estate.

I’m fascinated by your film work and it seems like you’ve had some real success at it. What caused you to want to be a real estate agent??

I love acting, it truly is a passion and I’ve enjoyed all the projects I’ve worked on. I’ve had a degree of success and won a few awards and it’s taken me to some glamorous places like Cannes and Sundance for the film festivals. But I would say my second passion has to be real estate. I bought my first house when I was 21 years old which was my introduction to the industry. As my brother and I had success with the entertainment industry we bought a few houses together. We bought and held, managed tenants and flipped. I spent over 20 years negotiating entertainment contracts for our group and later for him when he became famous as a singer in the UK. Owning property was the first thing I experienced that could give you a residual income and was a sure fire way to build real wealth.

Does living in LA give you a certain tone to your work(acting) that living elsewhere wouldn’t?

Believe it or not I came to L.A reluctantly, I had a

nice life in London. I was acting, my managing my brothers career (he’s a bit of a pop star back there).

I was wheeling and dealing in real estate and had a small portfolio of properties. But being an extremist I always wanted to take my acting career as far as I could so Hollywood it had to be. Always having an eye for real estate a friend and I partnered and bought a duplex in El Sereno which we still own.

Coming to the US from the UK and getting a working visa believe me is no mean feat. Thankfully I had a decent resume as an actor but it still took years and thousands of dollars to graduate from an actors visa to a full Green card. Imagine you are trying to build a life somewhere but are always worried that the rug can be pulled from under you. Unless you have been through it, it’s hard to understand but believe me it’s incredibly stressful. The minute I got my green card I started studying for my real estate license which quickly followed.

What’s does your process entail? Start to finish. Can you give us a short step-by-step?

I think great acting comes from great writing, if the writing is good I find the lines easy to learn they just flow and stay in my head. In truth the behavior around the lines is far more important than the lines themselves.

But if the writing is shall we say not great then it takes me longer to learn. Then longer to have the freedom of having the lines in your head so you can simply react.

But acting is a lot of work, I believe there is no substitute for repetition and running over the lines again and again and again then make some bold choices then just go for it, as I think James Cagney said ‘Hit your mark, look your partner in the eye and tell the truth’ But if you are under-prepared and you are still thinking about your lines etc then this is not possible. Real estate is not so different, in acting you are trying to understand what your character really wants, what is their motivation, why do they make the choices they do. With real estate it’s almost the same thing, what does your client really need, what’s practical, affordable, suiting to their taste

etc. So again you are trying to understand them and their motivation. Once you fully understand the reasons for buying or selling, why they need to downsize or upsize. Or what’s truly important to them then you can serve them a lot better and save them and you a lot of time. I’m sure you have heard the saying ‘your network is your net worth’ well in real estate that’s holds true even more than any other industry. I’ve been blessed to have made a lot of friends and have a huge network of people. I work with a lot of directors and producers and entertainment types as well as now do a lot of video and social media marketing. I’ve not really had a lot of mentors in my life but my broker and great friend Peter Lorimer certainly is one. He is always offering help and ideas for marketing especially video which he has had great success with over the last few years when nobody else was doing it. He is always encouraging us to run to our tribe as the vast majority of deals I do are with people I know and have something in common with. So yes, I work with a lot of single woman… ha ha, only kidding. Actually I do. Thinking about it, my last two deals were for successful independent ladies but lots of my business in from the world of entertainment, both sides of the camera and musicians as well. For the past 12 months I have been building a team at PLG , my brokerage, I have been training two young agents, Dakota and Colton who are both now competent in their own right which has allowed me to social network more, face to face with them helping with the extra workload.

I get to instigate, delegate and negotiate although I give all of our clients my personal cell phone number and they are welcome to call me anytime with any question they might have.

What’s the future hold for JC? Short term and long term. Any ultimate goal?

I know, to be happy and healthy and for everyone I meet to leave with a positive experience. It would be kind of fun to play a leading role in a big blockbuster, win an Oscar maybe? Fun maybe who knows, you know funny enough two of my friends were in the Green Book this year that won best picture, I’m helping one of then buy a condo right now in Marina Del Rey.

LORIMER PETER

“When one wins, we all win”

We embrace each and every nuance of our agents persona encouraging them to run toward the traits of their personality they feel show the world who they are, never hiding or feeling that they need to pretend to be someone they are not. This “take me as I am” approach by definition breeds a more confident agent with their North star always being and unwavering from “whatever is in the best interests of the client first” mantra being the navigator of how PLG operates. Additionally, we wanted our clients to experience a far more creative environment than the sterile norm so that the byproduct is an open, free and utterly transparent experience that, thankfully, our clients seem to gravitate to as evidenced by the constant repeat business our agents receive.

Last, but certainly not least is, we at PLG treat each other as family, when one wins we all win and when one loses we circle the wagons to nurture, learn and grow how we can all benefit from the experience. Yes, we are not the norm, but that’s just how we like it here at PLG and if you are looking for a swat team of creatively-minded entrepreneurs then look no further than PLG. Peter Lorimer

Peter Lorimer joined Keller Williams Realty, in 2005, where he was rookie agent of the year. He then went on to have 3 back to back years of being the number #1 agent in his brokerage. Culminating in 2009, where he earned the prestigious distinction of being the #1 top producing Keller Williams agent for the entire LA region, including Beverly Hills, Malibu and Bel Air and all other areas of Los Angeles County.

Never one to rest on his laurels, in 2010 Peter decided to branch out on his own and launch his long planned and awaited, PLG Estates based in Beverly Hills.

He and his team of hand picked agents cater to a discerning clientele, many of whom are extremely well known individuals with creative tastes, but who wish to remain fiercely private.

Originally from the UK, Pete had tremendous success as a record producer before coming to the US, working along side some of the biggest recording artists of the 80’s and 90’s and having over 30 #1’s in the Billboard

Club Charts and another 25 around the world. It was his love of working with artists, his creative mindset – and a succession of personal real estate investment deals - that led him into the world of real estate. In 2010, Pete passed another milestone by proudly becoming a naturalized US citizen .

As Pete’s business acumen grew over the years, he realized a tremendous need to assemble a S.W.A.T. team of support staff headed up by his wife and business partner Cindy Lorimer, herself an acomplished business woman. Her natural ability for real estate and tremendous attention to detail have helped give PLG Estates its reputation for legendary customer service throughout every step of the transaction. Whether it’s a first time buyer looking for a $100, 000 condo, or a well-heeled celebrity in search of a $10 million beachfront hideaway, every client is treated equally and given top-notch service by one of a team of agents.

When did you first think about what you wanted to do as an adult? Were you encouraged or discouraged by family, friends, teachers, mentors?

As an adult I have had multiple careers and the first career I wished to have was in the music business. First, as a Top 40 band member and then as a record producer/DJ.

I was discouraged by everyone and their mother as they quite rightly gave me sound advice which was the chances of you being successful are next to nil. Regardless, I decided all or nothing it shall be, as I left home and went to England as not much more than a child at 16. I headed to London to become a record producer, but I did not know a soul nor anyone in the business. 18 months later I had my first hit and from there it spawned 16 years of consistent hit making.

What kind of kid were you? Where did you grow up?

What were your influences?

I was always a mischievous kid, never mean, and ridiculously fair, to the point of, if you wanted to share something or not I was going to share it with you. I grew up in Yorkshire, an industrial part of northern England county that I could not wait to escape. I sought a much more liberal environment. I found that the industrial north of England was somewhat narrow in its parameters of thinking in a liberal way.

My influences were all music. Jazz played a very big part in my early years as my father was a jazz saxophonist up until he died. Soon after I discovered classical music, and then the big mistress of my life, electronic dance music.

My early influences were Stevie Wonder, Michael Jackson, Electric Light Orchestra, and that’s about it, those are the big three.

How did you get into the music industry? Are you a singer, songwriter or musician?

I got into the music business through playing in bands at school, starting with jazz and big band swing and then

gravitating to reggae and then eventually pop. My heart was always on the production side and the songwriting side and the remixing side, so when I pursued a career in London, it was a total crap shoot. That is the genre of title I went after. I was lucky enough to carve out an extremely successful electronic music career that still gets me royalties to this day.

Why did you switch professions? And why did you think you could be successful and happy doing it? .

I produced my first record at seventeen years old and had been in the business for approximately fifteen to eighteen years, professionally from the age of sixteen.

I had always been tech geek and I was in many chat rooms regarding technology. One of the chat rooms informed me that you could now rip from CD’s.

I inquired, “What does that mean?” The person who was in the chat room replied, “you can pull the digital data off of CD’s so you never need to buy them anymore.” At that moment, I had a moment of clarity and I realized that the music industry was going to go through a massive change because of the digital technology. In addition, I had found myself venturing into another area. I felt that the Los Angeles property market was still under valued on the global stage so I set to carving out an investment career I made several successful real estate ventures which gave me a taste for the industry. And with me being me, I wanted to get on the inside so I decided to become licensed and really have at it in my usual all in or all out fashion. What I found was, the style created from my former life intriqued people. They became attracted to the style I worked in the real estate industry. It was far less corporate than my colleagues. This allowed me to grow a loyal, creative base of people who eventually gave me the ability to start a creative, focused real estate company.

To answer the original question...what made you think you could be successful at it... truth be told... I had no idea whether I would be successful or not. I just knew that I was gonna throw every cell of...every ounce of my energy at it and if I was going to fail or succeed, I would be happy with either outcome as I would have given it everything I had. And I would’ve succeeded or failed under my own volition...that has been a thread throughout my multiple careers.

Tell us about the evolution of the videos, shows and wildly energetic character we all at PLG know and love?

The evolution of the character known as Peter Lorimer was really born by the fact that I knew I was going into an incredibly saturated industry that was founded by Wall

Street up to the back teeth. So always having an independent mindset and wanting to find white space in an incredibly dense industry such as real estate, it led me to the conclusion that marketing via social media with a heavy emphasis on video was the route we should take as a company. I did my research and I realized that my competition was few and far between and the people that I found on social media back then were rather vanilla and a little bit dull, spouting numbers and statistics without much sparkle. That was another moment of clarity for me. I decided to put the kids college fund down the kitchen sink behind growing... no, deploying a social media campaign, but with a video that was done with authenticity, vulnerability and was characterized as Infotainment, I wanted to give information in an entertaining fashion so people would be engaged and enjoy the way that I informed them.

This brought the genesis of The Magic Minute, where I broke off bite size pieces of information regarding the real estate industry and fit them into one to three minutes videos. Then I got the internal itch to do more and for my social media to evolve. This is when the Backstage Pass happened and this was much more of a vlog format.

It can be long form – sometimes as much as fifteen to twenty minutes –then the touch paper was lit. I was utterly consumed by this medium. I knew that more or less we were the only voice – certainly that I could find out there – so making content was the agenda every single day. As the Netflix show is concerned, I never intended to create media so I could get a TV show. But in a similar fashion to Justin Bieber, they discovered me on YouTube and invited me to come in and meet them. And the rest as they say is history.

MAURO

ADA

An Italian born actress, linguist, chef, and inspirational speaker, Ada is what show business in Japan calls “maruchi-tarento” (multi-talent), a talent with a wide range of performing skill, from comedy to drama.

I met Ada a few years ago in my role as a real estate agent. I didn’t get her listing but we did become friends. I hope I am able to bring to you readers the Ada I know who is vibrant, energetic, funny and very much a star.

“I

plan to travel and tour with my show

and publish collections of my writings about

confidence,

mental

toughness

(emotional intelligence and the power and rewards of self control, patience and perseverance — versus instant gratification and entitlement). �

When did you first think about acting as something you wanted to do? How did that evolve into your present business? Were you encouraged or discouraged by family, friends, teachers, mentors?

My first exposure to the performing arts was through a community theater sponsored by the church I went to as a child. We did lots of singing and acting, comedic plays and musicals. My first gig on camera was for RAI National Television at the age of thirteen. It was a great experience that planted a good seed in my heart, I later modeled a bit in Milan and then worked for a local TV channel. At the age of twenty, as I was studying

“I had a very active

imagination and

played many hours

at a time setting up plastic toy soldier war scenarios” (continued) the Japanese language, (and fell in love with both the people and their culture), I grasped a clear vision about going to Tokyo to pursue show business there. I was not particularly encouraged by my family or friends, but I fortunately was by one of my teachers at my university (I will be eternally grateful for him!). I knew in my heart that that was what I was supposed to do, no matter what other people said. As far as the evolving of my career, for me, being an actor is getting in someone else’s shoes, studying and exploring human behavior; it is about understanding the human heart and mind, and the struggle and beauty of life; what I do today is no different, in fact it is exactly the same — but just in real life. I believe the more truthful and compassionate we are the more we can connect with one another. Being a talk show host and entertaining people comes naturally for me, but certainly the fact that I’ve done so much professional work and interacted with an innumerable amount of people both on camera, live stages and in multiple languages and countries, has definitely provided the familiarity and ease at what I do today. If there is anything new, that would be the amount of writing I currently do on a daily basis — that came as a surprise. I expected to write at some point in my life, but I thought it would be later and certainly not almost unstoppably! I now write more than I talk — and that’s truly hard to believe!!

What kind of kid were you?

Where did you grow up? What were your influences?

I was born and raised in a sunny port city named Salerno, but I grew up with lots of access to nature and the outdoor because my grandparents owned a 750 acre property in the country side with multiple rural homes, and I spent lots of time with my maternal grandma growing up. She was a professional tailor incredibly energetic and motivated who started with nothing and built a fortune, along with my grandpa.

She was a calm force of nature, pioneeristic, courageous in her business undertakings, and could do almost anything, but was just not very interested in cooking or food so much (although she did make the best bread in the world, which I miss!). She was undoubtedly my greatest mentor. I owe my cooking skills and passion to my mom, who was an incredible cook and my grandpa, who was a professional chef. I was interested in crafting, drawing, sewing, and in all creative and artistic endevors (except for cooking back then, just like my grandmother hahaha!). My dad, who made a living as an accountant, was an amazing artist, he drew, painted, was a master at calligraphy, and wrote beautiful poetry, he was kind, generous and unquestionably one of the most beautiful souls on earth. As far my personality, I was a deep thinker at a very young age, very sensitive and aware of my surroundings, and a very gregarious child (according to my mom I was born to talk and spoke before I walked!).

I loved being with my cousins (who were my first best friends), my mom would quite often invite them over at meal time so that I would eat (I was a horrible eater, absolutely not interested in food until I hit 13). I grew up in an atmosphere of creating and making

everything at home from scratch, literally everything: cheese, olive oil, vinegar, pizza, pasta, wine (which by the way, I hated the smell of), clothes, and even soap!

Of course we had everything from eggs to fruits and vegetables coming from our land. Crazy when I’m reminded of all of that!

Your style is very unique. Did you work on developing a style or is that what naturally came out of you?

Thank you, I appreciate the compliment! I think I just strive to be true to myself since a very young age. I owe this way of thinking to my mom. She always told me not to be afraid of people’s judgment, but to feel free to be my own self.

What areas does your work appear in? How did that come about?

That’s a big question to answer, but I’ll try. Some of my early work can still be found on YouTube (sometimes people send me clips they randomly find of my work in Japan). That stuff is old and although I feel very blessed to have done it, I feel like it’s almost from a previous life (hahaha). Today I still do some acting, and occasionally even work from here for Japanese TV again, but mostly I am focused on sharing my message through writing, podcasting and live talks. I have two regular venues for my Eat-Laugh-Learn events, one in Beverly Hills and one in Monterey (and currently looking for a location in San Diego). I travel all around Los Angeles and California for small private, and corporate businesses company events, as well as for schools, and even homes upon request. It all started from one little YouTube video I had made for my Japanese fans who

I thought my still remember me after so many years . The idea was actually prompted by a conversation with my wonderful and very talented, long time friend Yuko Kurosu, who was my make up artist on one of my regular shows back in the day. She encouraged me to start a YouTube channel to reconnect with the people that wondered what happened of me and would’ve liked to hear from me.

My using food as a vehicle to talk about what it means to live a full and delicious life developed from cooking on my YouTube videos and thinking about what we all need to feel good about ourselves in order to enjoy life.

I basically went from talking about eating organic food to talking and writing about how to organically live a healthy, happy and full life. I had what I call a “diamond epiphany” and realized that connecting food to our emotional and overall human needs would resonate with all people, no matter what language or culture they come from. You can find me on social media and popular websites like Medium or Quora, even Patreon, Facebook, Twitter, YouTube and Instagram (of course haha!). People can book their own Eat-Laugh-Learn with me or join one already scheduled in my calendar on my website.

How has the advent of the computer affected your work?

For someone like me, born and raised in one continent, with a long history and career in another continent, and then currently living in a third one, the computer is what words cannot describe. I am so grateful for all that I can learn and put out to the world through the Internet, as well as the encouragement I receive from so many wonderful people all over,

including old friends, family, fans from a long time ago that still graciously support me. The computer has given all of us the ability to travel, explore and learn from the entire world, (which is a major dream come true for me).

Not to speak about how easy it has made it for all of us to create and edit all sorts of content. I do all my editing for both videos and podcasts, as well as my website work and I love doing it!

I’m fascinated by your popularity in Japan. Was it because you’re a beautiful Italian woman whose funny and can cook or something else? What’s the origin of that?

My career in Japan had nothing to do with my cooking skills (although I did enjoy starring on their major cooking shows on television). I was given a nickname there by which I was introduced many times when I appeared as a guest on TV or live events, which perhaps explains some of my success there. Sometimes I would also use it to introduce myself, it goes like this: Yokina musume no Ada desu. I was the cheerful, bright Italian girl who loved Japan, was fluent in Japanese, outspoken and funny.

My ability to improv have confidence in front of a camera and a large audience, along with my people skills, moved me quickly to stardom. Most of all, I think I just loved Japan, the people and the culture so much, that they just loved me back! I worked on many popular shows, one of which was the longest running daytime comedy show in the world wide history of television. It aired on Fuji Television; Another one that played a strategic role in my career was a Japanese version of the American SNL, which aired on Tokyo Television. What I loved about my work there is that in Japan, if you classify in the “maruchi- tarento”

"I took Crista's Master Class and it was absolutely awesome! I highly recommend anyone who wants to sell their art sign up now!

-Lon Levin/The Illustrators Journal

Eat, Laugh. Learn. What is that concept all about?

Eat-Laugh-Learn is based on the concept that love is the ultimate powerfood for a delicious and truly fulfilling life. It is my way to share my philosophy and my understanding of the brain, heart and body connection in the healing of our physiological and emotional issues.

Surprisingly, how we think and relate to food can teach us enourmously about ourselves and how we feel about life (you have to come to one of my events to find out more haha!).

I believe in expressing and relying on our individual creativity to cook simple, but delicious and satisfying food (rather then someone’s else recipes), just as being our true self (rather than following the crowd), simply leads to a delicious and fulfilling life. I use food concepts and metaphors to talk about all the major ingredients for a happy life, from confidence and self esteem to human connection and intimacy; from spirituality to parenting skills and sex. EatLaugh-Learn is a live group talk show in the setting of a home cooking experience!

Does living in LA give you a certain tone to your work that living elsewhere wouldn’t?

Yes, without a doubt. LA is a life gym, a bit like New York, it has inspired and fueled a lot of my work and continues to do so. It is a a city where my message truly resonates with people and has been received very well.

What’s does your process entail?

Start to finish. Can you give us a short step-by-step?

Eat-Laugh- Learn is like a big party and celebration of life sometimes

shared among guests that already know each other and sometimes among new friends. It is a naturally bonding experience because cooking and eating together creates an immediate organic connection.

Shyness or unconfortability does not survive in an atmosphere of welcome-ness, yummy food and fun. I open with my self-introduction and then we quickly move around the room for each guest to share a bit about their lives, background and food background. Everyone (that wants to) gets to also mention what they wish to get out of this experience in terms of their view of food, how it affects their life, and what they wish to improve or change (both in the kitchen and in life). I interact as the facilitator and host throughout the process.

We then enter the cooking part of the event which is a lot of fun because everyone gets to choose from various ingredients and participate in creating a menu on the spot, from appetizers to dessert that we can all agree upon. We then prepare, cook and finally eat — simple, easy to make but thoroughly scrumptuos food! All throughout the event I use food concepts and metaphors that relate to life and incorporate food related cultural wisdom from both Italy and Japan. (I even use a bit of both languages just for fun, which everyone seems to really enjoy). My goal is to demonstrate that confidence in cooking comes, not following a recipe, but through practice. We learn to create what what we wish to eat, so it’s more about imagination and exploration, curiosity and experimenting than about following a step by step recipe. The goal is to undo some of the fears, blocks and false beliefs about cooking and food, which helps us to undo some our fears, blocks and false beliefs about ourselves and life. We do literally eat, laugh, and learn together. It is a perfect event for the holiday season, as not only it is fun, entertaining and everyone

gets to eat amazing food (made with the highest quality organic ingredients), but it inspires fresh thinking and a new perspective. It is the perfect Italian way to welcome the new year and make personal resolutions with joy and enthusiasm.

What do you do to promote yourself and get more work?

Word of mouth, friends telling friends, social events that I attend to (when I can) in Los Angeles, and of course social media.

What’s the future hold for Ada? Any ultimate goal?

The future only God knows, but if my plan is His plan, I would like to produce my Eat-Laugh-Learn as a worldwide Internet-streamed show. I believe it can bring hope and inspiration to many. Speaking of Inspiration, my podcast: Joy of Inspiration will be out on the iTunes by the time this gets released. It is called JOI because its purpose is to be a jolt of joy and positive energy, a spiritual and emotional boost. I could have called it “jolt of hope” because where there is hope there is joy, and I believe joy is the energy we need the most in life.

Cheers & Love!

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Rohan Eason Rising Star They were brought in one day to the heads office, with my art teachers, and the discussion, was as to what i wanted to be, an artist or an illustrator.

The idea I couldn’t be both didn’t make sense to me, that there was even a difference didn’t seem something I would ever concern myself with. To be an artist was my dream, it was the poetic journey through torment and discovery, love and hate, as an artist I could make illustrations or artworks, they were one of the same. Its an age old argument, and I think I will always think of myself as an artist first, but the work I make professionally is illustration, and thats the difference.

What kind of kid were you? Where did you grow up? What were your influences?

When did you first think about art as something you wanted to do? Were you encouraged or discouraged by family, friends, teachers, mentors?

My Parents are both artist, my grandad was a sign writer and my uncle was a Royal Academician, so there was certainly the seed of an idea, that art was something inspiring and imaginative, something I could delve into even from a young age. I remember in primary school I was drawing fully formed figures and faces, while the other kids were still not joining the sky to the ground, and that was because I was so interested in looking and recreating what I saw. I remember my teachers at High School never knew what to do with me, which way to steer me.

I was born in the industrial city of Middlesborough, on the same road as the football stadium, Ayresome Park Road. It was a great community, everyone knew everyone, doors were open all day. Then we moved to a small town in Lincolnshire, and everyone said I talked funny. I got very quiet and introverted, and didn’t really enjoy the whole school thing. I think most kids are bullied, and i wasn’t any different, bullying comes in different forms, and I just happened to be the sensitive type that couldn’t really deal with the constant push and pull of friendship circles. My parents both worked so I would often not go into school, instead staying home and drawing or reading, anything to not face a school day.

From Rocker to Artist, how did that happen? And how did you progress?

But those days made me more interested in looking at life from a removed viewpoint, in a way there was no other way I could look at it, as I had removed myself. When i reached art school I had already decided that there were two ways to live your life, take part, or take notes, my artworks were my notes. A constant running dialogue, a description of what the other people did, but not what I did.

When I left University with an art degree, everything fell apart, life came flooding back in, and I couldn’t cope. The idea that I would go on just making art, came crashing down, when I couldn’t afford food or rent. Music got me through this time, companionship with my band mates helped me find a structure and drive again, and I was finally creating something that related to my life, while I took part in it.

It was around 2002, I was playing lead guitar in a band called Cyclones, having left University with a BA HONS in Fine Art, and having not really done much artistically for a while, other than I would sometimes do a quick sketch. The girlfriend of the lead singer, Rina, saw a drawing one day, and suggested I come see her boss, who owned a high end fashion boutique in Notting Hill. The owner Annette Olivieri, decided I had a little something, and chucked me a bag in white kid leather, “tattoo that” she said. So I found pens that would work on leather, and I tattooed the bag. The drawing was black and white, and involved very detailed flowers and hair. Annette was impressed and gave me a leather jacket to do, so I did, this time with a horned girl, feather wings and flowers centre back.

From there I went on to create fabric prints and artworks for Annette’s label for the next 2 years.

I did private commissions, one was sent to Vogue editor Anna Wintour, and later created my own glove collection, with the first pair of dress leather gloves going to Yoko Ono. Two shoe collections followed and a spattering of other commissions, but I believed my career lay in fashion. This didn’t last long, fashion is not the nicest industry to work in, and I quickly felt like I was back in school, the bitchy back stabbing, the creative theft,

and the broken promises, left me a thoroughly broken man. The upside was the pens I used for the leather, Rotring Rapidograph became my pens of choice, and the style I developed in this period with it's intricacies and magical detail, and obsessive qualities became my illustrative style. My first children’s book came soon after I quit fashion, a collaboration with the great writer Geoff Cox, and music mogul Stuart Souter, saw a wonderful return to children’s books of old. Dark and frightening, with a psychedelic undertone that resonated with the peers around me, Anna and the Witch’s Bottle was critically acclaimed, released through Blackmaps Press, it was a beautiful cloth bound hardback, and it finally brought me attention for my artwork.

You do a lot of dark whimsical art work. How did that happen? Do you prefer workinging in B&W or color?

My Aunty had a wonderful treasure trove of house in deepest Sutton, Surrey. She had worked for Lord White, and entertained Frank Sinatra, Marylin Monroe, David Niven etc, so visiting her was like visiting an aladdin’s cave of wonder. In her downstairs bathroom were several black and white prints

by Aubrey Beardsley. I was completely hooked on them, they were incredibly rude, giant penises and fucking, but they were also simply beautiful.

The quality of the line, the craftsmanship, the composition and balance were just mesmerising, and Iwas transfixed. During my A’levels I did my thesis on Aubrey’s Work and life, and visited the Victorian Albert Museum in London, where I was lucky enough to paw through hundreds of his original prints in giant cloth bound albums. The effect was deep and resounding, Black and white felt the purest way of describing an image. No dusty shading, or rainbow water-colour techniques, just simple beautiful crafted line. The effect on me was so great, when i first went to draw commercially for the fashion label, that aesthetic just tumbled out.

Colour is something I have dabbled with in many different forms, I’m not sure I’ve found the right method yet. In a way its similar to how I always played my guitar, without effect, no pedals, just the pure sound of a beautiful instrument.

Has the computer affected your work?

For the majority of my professional career I held true to my artistic values. My aim was to be the very best

craftsman, that my line was the truth, and no augmentation was allowed. When a final piece went wrong, just a little, I would tear it up and start again. The computer was only ever a tool to get my work into a format for reproduction. But as I grew in popularity, and projects were coming thick and fast, my ability to keep up became less of a joy and more of a struggle. My work ethic began to hamper the depth of creativity in my work. Working to tight deadlines for tight budgets meant I could waste a weeks work on a simple slip of the nib. I am now willing to use the computer to correct mistakes and on occasion, depending on the value of the project, even move an element here or there to better exercise an aesthetic requirement. What the computer is incredible good at is at the sketch stage. I can create a drawing, and then play with it endlessly on the computer, until I’m really happy with how it looks, then print it, and use it as a base for a new sketch, before I go to final. This speeds the process up no end, when I first started I would sketch and re-sketch endlessly, and every time the new image would be very different, with its own merits and flaws, it was an infinite loop, which I would inevitably have to stop at some point.

What’s going on in your head when you work on a piece? Your fears, anticipation, confidence , etc.

How do you know something is finished?

Something I learned, actually from being in a band for 15 years, was the moment of joy and clarity you get, when your connection between instrument and mind is fluid and seamless. When the hand has been so well taught, you no longer need to consciously move it, but instead free yourself to wander amongst the music, you become part of the music, intuitive, open and alive.

I know when I draw and that feeling happens, when the lines just flow from my pen without any intervention from my conscious brain, that I am creating something good. These days I can spend weeks at my desk on a single project, so I use audiobooks to occupy my mind, I listen to the same stories over and over, they become a comforting background babble.

In a way the voice works to occupy my conscious brain, which allows my subconcious brain to take charge of the drawing.As a professional illustrator its important to have a very high level of quality control. Simply I know when its not good. I rarely believe its really good, but I always know when its not good enough, then its for others to judge, as long as I know its my best.

I’m not sure I’ve found the right method yet. In a way its similar to how I always played my guitar, without effect, no pedals, just the pure sound of a beautiful instrument.

Your work is reminiscent of Beardsley, Steadman & Silverstein to name a few. Is that intentional?

Does their work influence your work?

As mentioned before, Beardsley is most responsible for my work, others being Arthur Rackham, Gustave Dore, William Wallace Denslow, W.H. Robinson, to name just a few.

Inspiration lasts a lifetime, mine is a combination of so many things, not just other artists, but places, and times. My work now is quite different to how it was when I started, but the techniques and drive are the same, to make something beautiful and balanced, with a little magical wonder every now and again.

I’m curious about how you choose what to work on. What’s does your process entail? Start to finish.

Can you give us a short step-by-step?

I’m represented by one of the largest agencies in the world, so the vast majority of my work comes through them. They send me an offer of a project, and generally speaking, unless it offends my moral code, or is simply a bad project, I will happily take it on. It is our job as illustrators to teeze out the extraordinary from every project we work on.

First and foremost is research, all projects start with looking, and learning, seeing everything and anything related to the subject, product, story etc. Its important to understand what you’re working on in as much detail as you can, so when it comes to the drawing, the brain is full of all the possibilities, letting the hand get on with doing the real work.

I like to spend a lot of time sketching, there are so many elements to a drawing and so many combinations, its rare I hit on the perfect solution immediately. Sketching is the most fun aspect of the job, because its how I started, drawing for fun, with no limits or expectations. Once I feel I have a framework to go on, I'll scan it into the computer and do any reworking needed. The computer provides a good a level of separation from the work, an almost dispassionate viewers eye, things that may have not been obvious on paper, suddenly scream out on the harsh reality of a computer screen.

I will then print off the sketch, and sketch it again

using a light box, this is a great method of freeing oneself back up, but having the confidence of a defined idea to work directly on.

When I first started I would redraw free hand everytime, and never really move forward in the work, as the new drawing could never quite reproduce the first's freedom and immediacy. Even the great Quentin Blake use this method, so I’m in great company.

This process is repeated as many times as it takes to get the composition and any characters just how I want them, before I scan it back into the computer.

Next I print out a final black and white sketch of the final piece, before moving back to the light box with my final piece of paper ready to create the original artwork. Generally I will work straight on the paper with ink, on a good day, the new piece will almost disregard the sketch beneath, and the new work will feel like the first time all over again. On a bad day, or when working on something which doesn’t capture my heart completely, I may redraw in pencil, before taking the work to the desk, and inking under the desk light. When finished it goes back onto the computer, for the minimum retouch, and is made ready for whatever publication it was made for.

What do you do to promote yourself and get work? Have you worked for publishers in Western counties like America, England and France? If not would you want to?

Through my agency I’ve worked for projects in America, Germany, France, Italy, UK, China, Australia, Japan, and many more. The great thing about the job, is I can sit in my studio in London, and work for a brand in China, and my unique way of looking at things and my skill as a craftsman and artist are then just sent down the internet to the client. I can actually be anywhere in the world and work for someone anywhere else,...magic.

What’s the future hold for you? Any ultimate goal?

The wonderful thing about a profession in the arts, is I am always developing my practice It never remains still, if it did, I would bore, and my clients would dwindle. I don’t reinvent myself, but I try to get better at what I do, and bring new methods to my work, which can add to the aesthetics I have honed over the last 12 years of professional life. There are stilll a few books of my own I’d like to illustrate and publish, if I ever get time, and a few old classics I'd like to breathe new life into.

My main focus at the moment is the new studio I’m building myself in my garden, its been a long time in the planning, but I’m finally happy with the designs, and ready to build.

I am so blessed with this career, I get to draw all day if I choose, and produce work that makes people smile, its not a great service to the world, but at the least it makes people a little happier.

If you could meet anyone in the field you’re in who would it be and why?

I'd like to have lunch with Quentin Blake, I think he’s got a remarkable eye for movement and emotion.

r o h Coogie

B

like an artist,” she said. “So what do I do?” I asked.

She replied “Paint anything you like. Paint yourself.” So I did and it was a big mash up of colors hence the colors I use today. She came back and asked how I liked it. I replied, “When I grow up I’m going to be an artist.” I was never really discouraged. I only received support from loved ones.

The only discouragement is the state of the art world today. But I keep going because I love what I do, and nothing will dictate the flow of that except for me.

What kind of kid were you? Where did you grow up? What were your influences?

I was a crazy kid. A daredevil, a very adventurous type. I still am. So I live “the kid within” at times.

I grew up in Oceanside and Vista near San Diego.

The place has its ups and downs as does any city.

My influences back then up, until I started painting with spray paint, were comic book artists like Todd Mc Farlane, Rob Liefield, and Jim Lee; skateboard culture; and 80’s culture. Then, I explored the old masters like Salvador Dali, Michelangelo, and Gustave Klimt and contemporary masters of spray paint like Phase 2 ,Vulcan, and Riff 170.

"I was never really discouraged. I only received support from loved ones."

"Street Artists" are valuable to todays art culture.

Most street artists operate in the dark...literally. One that does not is Chor Boogie. He is a master artist who wields an aerosol can like Michelangleo used his chisel or Van Gogh his brushes. His works appears in museums and galleries from San Diego to Switzerland.

He is an American national treasure. - editor When did you first think about art as something you wanted to do? Were you encouraged or discouraged by family, friends, teachers, mentors?

When I was around 5 years old in Kindergarten my teacher said, “Do you want to play duck duck goose or do this activity over here…” I was interested in the activity. “So what is this activity?” I asked. “Painting

Your style is very unique. Did you work on developing a style or is that what naturally came out of you?

It was a little bit of both actually. It takes both nature and nurture in order to find out who you really are when it comes to originality, and then taking that creativity to new heights every time you create something.

You do a lot of “street art” that seems to now have gone mainstream, How did that happen?

Depends on what you consider mainstream.That actually could be a bad word within the genre. Even though I paint on the streets and on canvas, I’m even creative with my terminology when it comes to the genre of my artwork. Instead of “graffiti” or “street art,” I call it Modern Hieroglyphics, which is basically what this culture really is based off of.

"You are asking how did it go mainstream, and I’m just going to have to respond, “VERY CAREFULLY." We create stories, symbols, and images with meaning and context on any surface. Nothing wrong with the other terminologies, but as far as my work goes, that's where I push it. You are asking how did it go mainstream, and I’m just going to have to respond, “VERY CAREFULLY, it’s like playing a game of chess on this roller coaster ride called LIFE.”

Your “love visions” murals seem beautiful and chaotic at the same time. Is that purposeful?

There is a reason for everything and everything is naturally purposeful. They are like mind-body-soul explosions with that medium.

eyes, and I have many styles of eyes. Eyes are the windows to the soul. It so happened that I painted them in pretty much every major city, and it soon fell into a series aspect. Every city I created these eyes in is technically the eyes of that city and that environment.

What’s going on in your head when you work on a piece? Your fears, anticipation, confidence, etc.

How do you know something is finished?

I’m curious about how you choose what to work on. What’s does your process entail? Start to finish. Can you give us a short step-by-step?

When it comes to the process of what I do, I try not to let my mind get in the way of that creative process, but rather let it be a combination of things, MIND BODY SOUL. This makes sense to me when breathing life into creating something to be real. Nothing is ever finished. It’s all a continuum dialogue with every creation, hence it is one big story in the grand scheme of creative things.

Well sometimes I just go for it to see what comes out, and then I take it from there.

Can you explain to us about the “eyes of the street” series and what that means to you or what are you conveying to us?

The eyes of the street just happened. I love creating

Sometimes I use image references and distort them or make them fit with in my creative process. Either I use as many colors as I can, or not .

The rest is secret. A true master never gives up all his weapons in his arsenal.

What do you do to promote yourself and get work?

Social media plays a role. Media plays a role in general, but usually when I’m painting on the street that's enough promotion to get the job done. Going out networking and schmoozing is alright and helps to get involved in things, but I think I put my name out their enough to where the promotion comes to me. So it’s basically a two way street and we have to meet in the middle.

What’s the future hold for you? Any ultimate goal?

I live for today, my friends. I’m not a psychic. I know it’s bright though... Always has been, always will be.

Your sculpture seems to be more charged with satire than your paintings. i.e. the spray nozzles for nipples and the skull covered with what looks like lacquered money, etc. does the medium influence the message with you?

It’s fun, and I always look for new avenues to create from. I make music as well and entertain the possibility of being a renaissance man like my ancestors.

"A true master never gives up all his weapons in his arsenal."

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