Sophia Elaine Hanson hasn’t yet graduated college, but she has topped Amazon’s list of Young Adult Steampunk bestsellers. In case you didn’t know, the category is a mix of science fiction and fantasy, with elements of technology woven in. Basically, if you’ve read The Hunger Games and Divergent and are craving another dystopian world, you’ll want to read Hanson’s Vinyl trilogy.
The final book in the series, Siren, is set to be released in May. It’s set in Revinia, a world where the government ensures loyalty via The Music, a type of mind control that dulls emotions and passions. In an Instagram post, Hanson tells her 4,600-plus followers to expect “steampunk cities, ride or die squads, queer ships, and plot twists.”
Aside from the two previous books in the series, Vinyl and Radio, Hanson has also released a collection of poetry, and her second one is due out in April. We spoke with the 21-year-old NYU junior about her writing process, the merits of indie publishing, and more.
In the past year, numerous men in the entertainment industry and beyond have come under fire for their sexually abusive behavior. In attempts to save face or mitigate their impending PR crises, many of the accused have issued public apologies for their wrongdoings. Lauren Maul, a New York-based comedian and performer, was struck by the tone of the mea culpas, which range from ridiculous to horribly misguided. Inspired to create an album of musical interpretations of these statements, Maul constructed songs around the public apologies issued by men like Harvey Weinstein and Kevin Spacey. With accompanying music videos for the catchy songs featuring the apologizers as singing paper dolls, Maul hopes to bring a little bit of levity to what has otherwise been a sobering time.
Maul’s album “Apologies for Men” is now available for purchase on iTunes, Amazon, and more, with 100% of the proceeds going to RAINN, the Rape, Abuse and Incest National Network. The album features the apologies of Weinstein, Spacey, Louis CK, Matt Lauer and others, with a special instrumental piece for the men who’ve been accused but haven’t yet apologized. Check out her video of Weinstein’s apology, fittingly called “The Culture Then,” below our conversation.
Image via Lauren Maul / Shark Party Media
I’ve seen some of your videos, from your Apologies from Men album, and they’re very DIY. They’re hands on, obviously, but they’re also really unique in their approach to this pretty serious subject matter. Why did you choose to make an album and videos with singing paper dolls? Did you immediately know that was something you wanted to do when you heard about these allegations and subsequent apologies?
When I was reading the Louis C.K. apology, I was like, “Ugh, this is so gross. But it’s also good that it’s coming out.” So then, I decided– I was at a concert– that I wanted to do a concert like this. Like a fun concert, with my friends onstage, singing and playing music. And I wanted to do it to this Louis C.K. apology. And then all of these other apologies came out, and I was like, “Oh, my god, it has to be a whole album. What did I get myself into?”
And then when it came to videos, I had just come off of making a web series [Amazon Reviews: The Musical!] that took a lot of people and a lot of crew, and just a lot of scheduling work, and it was just something I didn’t want to do again for a while. And so I decided I’d just make [the videos] all by myself in my office, and have them be paper dolls. So I can make them do basically whatever I want. And I thought it was fun to actually belittle these men, because they had so much power that they abused and took advantage of so many people. It was just a fun way for me to turn the tables. And I just wanted the men to really be the butt of the joke. I never want the survivors to feel like I’m making fun of them, I don’t take jokes about assault or rape lightly. People– like comedians and artists– have a big responsibility, that if you are going to talk about rape culture, you’d better do it in a non-triggering way. Because I don’t want to cause them any more pain. They’ve been through enough.
How can a more comedic approach to these pretty serious issues affect our discussion of them? Do you think that comedy can help us take a different look?
Yeah. I love that art is like the mirror you hold up to society– and comedy is the funhouse mirror that you hold up. It’s just that if you’re able to talk about it and laugh about it, then you can learn from it and heal. And also, it helps people talk about rape culture. For instance, my mom showed my grandma the Matt Lauer [apology] video. It’s like, would they even be talking about sexual harassment [otherwise]?
I’m assuming that’s kind of what you’re hoping people can take away from your videos, right? This idea of entering into a conversation about sexual assault, because it’s being portrayed in a different light than what we’ve seen in the media previously. Is there anything else you’re hoping people will take away from your approach to this?
Yeah, I just wanted it to be very accessible. And that’s why I did it very handmade, to show that you can also do this at home, too. It’s not rocket science. I want people to feel like they can make their own art in response to difficult situations. And also I want this project to sprinkle a little joy in an area where there was formerly no joy.
The album and the videos definitely take a pretty unorthodox approach to all of this. What would you say to someone who– maybe they’re a sexual assault victim, maybe they’re not– thinks that maybe this isn’t the right avenue for comedy? That maybe these crimes are so heinous that they shouldn’t be treated in such a lighthearted way?
I would just say that, first of all, I never want to offend someone who is a survivor. I would never make them the butt of the joke. So far, the only people who have been offended are like, straight white dudes. And that’s fine. If I’m offending them– they’re not my target demographic. I would say that’s the role of comedy– to turn shit into glitter. And I’m trying to do a service by turning a terrible situation into something that we can talk about, and even laugh about, but laugh at these men. Because they did something wrong. But yeah, it is touchy. And that’s why I try to be very thoughtful with what I do. Of course I can’t not offend everybody, but there’s this great Ricky Nelson song that’s like, “You can’t please everyone, so you might as well please yourself.”
So what are your boundaries? What is something you feel like, it’s not my place to make jokes about this, or include this in a bit?
Well, one of the apologies that I did not include was the Olympics doctor [Larry Nassar], just because the magnitude and the sheer number of children he assaulted. Maybe someday someone will be able to make a funny musical about what a creep he was. But right now, his victims are still kids. And so, it’s like, I can’t– someone else may be able to go there, but I personally could not. It’s like, oh boy, this is too much. And plus, I have to really dig in to write these songs– I have to read the apology a lot, and do a lot of research on these men. And they all gross me out. But some of them, I’m just like– nope, can’t even touch, don’t want to go there. Too gross, too scary.
I watched the Harvey video earlier, and I think the contrast between his “apology,” if you could even call it that, and the DIY, eye-catching visuals is great.
Thank you! It’s so funny how he just goes off the rails [in his apology]. Like, it makes no sense at the end. Each time, with each video I edited, I’d get to a point where I was like, “Yeah, this is done,” but with the Harvey one there was never a point where I was like “This is done,” because it was just always like, “This is too weird. Is it done? I think it’s done enough.” It’s just so off the rails.
The fun part was making his little childhood bedroom. Because [for the video] I just pictured him moving back into his childhood bedroom after all this– his wife left him, he’s just moving back. And I put these posters of infamous creeps on his wall– like Phil Specter, O.J., Jimmy Page. Like, yikes! So it’s kind of like, here’s his heroes. And here’s how well that worked out for him.
This interview has been edited and condensed for clarity.
If you’ve ever wanted to know what life is really like for a sex worker, then Andrea Werhun’s Modern Whore is definitely worth a read. The 28-year-old University of Toronto graduate, who spent a few years escorting while in college and after graduating, shares her experiences and insights in the new book, which features fine art photographs by collaborator Nicole Bazuin. Werhun, who also writes for Playboy, is candid about her clients and the stigma she’s encountered, and hopes her new book will change perceptions of sex workers.
Life after sex work has been busy for Andrea; in addition to writing, she’s also acted in several films, and, with Bazuin, cofounded the multimedia production company Virgin Twins, which is responsible for the release of Modern Whore. The New York book launch and reception will be held from 6 to 9 p.m. on March 3 at the Jefferson Market Library in Greenwich Village. In the meantime, here’s our conversation with Andrea. Discussing everything from noteworthy johns to the #MeToo movement to her current endeavors, she proves that there’s no such thing as a stereotypical sex worker.
Whether you’re rooting for the Philadelphia Eagles or New England Patriots in Super Bowl LII this weekend, or just want to see if Justin Timberlake screws up the half-time show again, Mr. Throwback has the vintage sports apparel to give you the appearance of an authentic football fan. The popular East Village store, which boasts more than 92,000 Instagram followers and recently upgraded to a more spacious spot on East 9th Street, is the brainchild of Michael Spitz (aka Mr. Throwback). We spoke to the Long Island native about everything from getting fired by the Knicks to wearing Air Jordans at his wedding. He also gives his (somewhat offensive) Super Bowl pick.
Shortly after appearing to hit their stride, Brooklyn’s psychedelic garage trio CHAPPO were hit with band-shaking tragedies– three, to be exact. In short succession, the band separated from their drummer and producer; guitarist David Feddock and his wife lost their young son; and frontman Alex Chappo’s best friend committed suicide. After a period of mourning, Alex, David and keyboardist Chris Olson found their way back to each other, and began digging deeper into the joyous corners of their songwriting. They ended up touring with Flaming Lips and Mac DeMarco, and are announcing today that they’ll play more dates with Flaming Lips in March.
The opening scene of The Marvelous Mrs. Maisel, the new Amazon show starring Rachel Brosnahan as a ’50s Upper West Side housewife turned downtown stand-up comedienne, finds Midge Maisel delivering a giddy, champagne-tipsy toast at her own wedding. We soon learn that lack of inhibition is one of Midge’s defining traits, along with a talent for cooking brisket and a motormouth with a witty bite.
In the upcoming documentary The Problem with Apu, Brooklyn-based comic Hari Kondabolu explores what happens when a beloved cartoon character is also an offensive caricature for millions of people. The effect of the The Simpsons’ Apu Nahasapeemapetilon – voiced by Hank Azaria – was an ever-present reminder for many South Asians growing up in the United States of the lack of representation and power they held in the entertainment industry and popular media, Kondabolu says in the documentary he hosts and produced for truTV. Without other Indian characters with depth and substance in the media to challenge the stereotype, Apu’s distinct accent and best known line – “Thank you, come again” – became the basis of South Asian characters in American media for years afterwards.
Brooklyn-based photographer and filmmaker Jessica Yatrofsky has employed a sparse, muted, and– dare I say- poetic aesthetic that explores both male and female bodies and the gender politics that ensnare those bodies. Yatrofsky has previously released two photography books, I Heart Boy and I Heart Girl, that both utilized natural light, yearning gazes, and diverse body types to undermine traditional representations of masculinity and femininity.
Language has always been a part of Yatrofsky’s oeuvre, particularly in her video work. Her film Photography is a History of Masturbation was recently featured in the Museum of Sex exhibition NSFW: Female Gaze. In the video, an androgynous nude boy poses while a narrator, speaking in French, asks the viewer questions like, “Is all art beautiful?”
For a new poetry book, entitled Pink Privacy, Yatrofsky divorces herself from images entirely and gets lost in the written word. As with her visual work, the poems are sparse and direct. But in this medium, Yatrofsky relieves herself of the burden of her work being judged based on the bodies of her subjects. “With photography, I feel more guarded because it [depicts] other peoples’ bodies,” she says. “Poetry is just me. The snarky way that I look at the world.”
A few years ago, Graham Collins landed on a GQ list of 10 artists to watch when he bronzed pedestrian items like toothbrushes and potato chips and showed them at Art Basel. Some of those works are now on display at The Journal Gallery, along with others that are substantially more monumental.
“Unmeltable Antebellum” is a striking giant. To create it, Collins took strips and segments of nearly a hundred found paintings and meticulously arranged them and stitched them together. It’s one of many similar pieces, created over several years, that will be on display through Nov. 4 as part of the artist’s latest solo show, “Western Shade.”
If you missed the Cigarettes After Sex show at Baby’s All Right in January of last year—right around when Rolling Stone called them one of “10 New Artists You Need to Know,” or at last October’s show at Webster Hall, their next shows for a hometown crowd are coming up. And they’re sold out.