So magazines are dead are they? Don’t tell that to Luis Venegas, founder, Editor and Creative Director of two of the most exciting and beautiful magazines to have emerged in the last few years. Coming out of Madrid, Fanzine137 and Electric Youth! clearly demonstrate that the art of the magazine, or magateen (in the case of EY) publishing is far from dead. If anything its getting hotter and cuter.

Anyhow, don’t take it from us let Luis explain.

Richard: Please describe yourself in 137 words.

Luis Venegas: Wow! Love this question! I’ll try the best I can in my not-too-good English.

I’m a Spanish guy who lives in Madrid. Everybody tells me I look like a child when I shave, but I’m 32 years old. I’m not too tall, not too fat, not too thin. As many other gay guys in the world, I studied fashion. Later I became freelance Art Director, and in 2004 I started my own magazine, Fanzine137. Recently I’ve launched a new magateen called Electric Youth! I love magazines in general. I contribute with texts and photographs to some of my favorites around the world. I guess the things I like are the ones that better describe me: tv series, handsome boys, my family and friends, Christopher, singing, kissing, movies, New York City, laughing, Marvel comics, haute couture, Jake Gyllenhaal, biographies, orange juice. I would like to live with the guy I love.

R: When did you start Fanzine 137, what was your initial inspiration and how did you come up with the name?

LV: My endless love of magazines since I was a child. I’ve collected special magazines since I was twelve years old. From Vanity Fair to rare issues of Avant Garde, for example - so it was my dream to make my own special magazine, and hopefully earn money doing it! I’m almost obsessed with numbers, and 137 is a number that’s always brought me luck. I use it often everyday. I mean, for example, if I’m waiting for someone who’s delayed I think “I’ll count to 137 and if he doesn’t come I’ll leave”. I also love to look at the clock and see that is 1:37 - I take it as a good sign. Those kind of stupid things have become very important to me. So I thought it was nice to try to bring that extra luck to my magazine.

R: Editor, Creative Director and Publisher - it must be an extremely hectic life being Luis Venegas. What do you do to relax, unwind and escape?

LV: Well, lately my life is pretty busy, yes, but I enjoy what I do a lot, so I don’t ‘need’ to do anything specifically to relax. Anyway, I love to do the same things that everybody does to relax: watch tv, go out at night, dance, sex, travel, music…

R: So tell us what you did last Saturday night?

LV: I received the visit of a nice, handsome friend at home. After he left I watched episode 12 of Lost season 4 that I downloaded from the internet. I can’t wait to see episode 13 next week - the end of the season!

R: You have an amazing roll-call of contributors for the magazine - how do you select them, or do they pursue you?

LV: Usually I contact them. I show them copies of past issues and they usually like them. Most times that’s what convinces them to get involved.

R: You have published six issues. Which has been the most rewarding, personally?

LV: Always the next one. At this moment I’m finishing it. It will be called ‘Ladies & Gentlemen’ and it will be about people with long-time careers. I prefer to look forward, and rewind as little as possible. That’s why I always like the ‘next’ issue.

R: A little bird tells me you are a huge Barbra Streisand fan. What are your favorite Streisand tracks, and why are they so special to you?

LV: I love ‘Guilty’, ‘Putting it Together’ and ‘The Way We Were’. I love Barbra! I know it’s a cliché, being gay, but what can I say? I simply adore her, how great she makes me feel, all she does - but I really can’t explain why exactly. Love comes from the most unexpected places.

R: Do you have a dream?

LV: I have too many to tell you here. The good thing is, little by little all them are coming true. If you ask about an impossible dream, I would like to have Spiderman’s superpowers.

R: You have recently added a new super hot title to to house of Venegas - EY, Electric Youth! Tell us about it, and why you started it.

LV: Because I felt I needed to take a step forward, and do a magazine very different to Fanzine137. I wanted it to be lighter, even more funny and as sexy as possible. I love young guys and all the excitement around them, so I decided to put it all together.

R: You describe EY as the new cult magateen. Who or what is this cult celebrating?

LV: Maybe I’m not the most appropiate person to say, but if we agree youth is one of the greatest times of our lives, well, I guess that’s enough reason to celebrate, don’t you think?


R: Where did you find all the super cute boys?

LV: Most of them are friends of mine. I wanted “real” pretty boys, not the usual models. The ones that I didn’t know I found on MySpace.

R: EY is essentially about the YouTube generation. How do you think the internet is effecting what you do how we communicate and relate with one another?

LV: The internet is absolutely effecting all levels of communication. Luckily. I have no fear of this amazing change - it’s exciting. You and I are talking because of internet. I think in a 100 years someone will refer to the human story as pre-internet or post-internet.

R: I’d now like you to answer some of the questions you asked the 23 hot Spanish boys in the interviews you did for EY.

LV: Cool! I’m enjoying this interview very much! You should do the questions for the US issue of EY!

R: It’s a deal. So, what do you like to drink when you go out at night?

LV: Rum with Coca-Cola.

R: Do you smoke?

LV: No, almost never.

R: What’s the farthest place you’ve ever traveled?

LV: I don’t know which is farthest from Spain. New York or Buenos Aires? I’ve been to both places.

R: Definitely Buenos Aires. According to you who is the world’s best dressed person?

LV: How difficult. I hate that all the celeb men and women these days have a stylist, so it’s difficult to find real taste or originals. I guess Diane Keaton is a true original, and I also like the black simplicity of Grace Coddington.

R: What’s the most incredible nightclub you have ever been to?

LV: In Versailles, for the celebration of Dior’s 60th Birthday. It wasn’t a nightclub exactly, I know, but the night was unforgettable.

R: In what music video would you want to live?

LV: Any of the videos that Bruce Weber has done for Pet Shop Boys: ‘Being Boring’, ‘Se a Vida é’ or ‘I Get Along’.

R: And finally, what is your tip for the future?

LV: To have as much fun as possible. To keep the joy.

There are many grossly overrated DJs who jet from one continent to the other lugging their ‘anthemic’ tunes with them, and then there are those DJs who are more interested in developing a style, reputation and atmosphere in front of a weekly audience. Luke Howard is one such DJ. He began DJing in the late 80s and was the resident at London’s infamous Brixton-based QUEER NATION for over ten sweaty years. We caught up with him on his return from a long, hot trip to Rio De Janeiro…

Richard: Hey Luke, what have you been up to tonight?

Filthy Luka: I went to The Joiners Arms for a night called Macho City, a night of Hi-NRG. It was a lot of fun, just like being in a gay bar in 1985.

R: How did you come by the name Filthy Luka and when did she hit the scene?

FL: Well, I was working at another gay night on a Sunday and then Horse Meat Disco started and the other club didn’t want me to play at two gay things on the same night so I decided to have an alias and came up with Filthy Luka. So she’s been around since Horse Meat Disco began really.

R: How long have you been DJing? How did you get into it?

FL: I have been DJing since 1989. I started doing squat parties in London and then I got a warm up slot at a night at Dingwalls, and then Patrick Lilley gave me a try out when he opened Queer Nation in December 1990. He liked me, so I got the job and was resident there for 14 years.

R: Describe your DJ style in five words.

FL: Jumping groovy disco dancing songs.

R: And you also produce music and perform?

FL: I’ve done a few tunes over the years, mostly for Afro Art which used to be Ashely Beedle’s label, I had an electro pop project with Princess Julia called The Most, and we did a ton of stuff and had a record out on German label Beauty Case - one of our songs was used on the soundtrack of John Maybury’s feature film The Jacket. I haven’t been in the studio for ages but I’m just about to start a new project with Foolish Felix of Cynic records, so I’m looking forward to that.

R: You play at London’s Horse Meat Disco, which is at a boozer called The Eagle in Vauxhall. Over the last few years Vauxhall has become a new gay ghetto in London. What’s that all about, and how do you find it?

FL: Vauxhall is really a massive after hours scene, which I’m not really into. Currently most of the clubs down there are quite generic and I can’t do that up all night thing. However, boozers like The Eagle and the Royal Vauxhall Tavern are a lot of fun and add a bit of variety to things.

R: We hear you have spent the last six months in Brazil (lucky Luka!). Why Brazil?

FL: I just love it. I first went in 2003 and I’ve been back every year for a month but this time I decided to stay longer so I could improve my Portuguese. I really like the way things are down there. People are super friendly and know how to live in the moment and just enjoy life. I love samba and carnival and of course the weather is wonderful compared to winter in London.

R: Where were you? What did you do?

FL: I was living in Rio and I worked for a while making outfits for a children’s samba school. I had to make 120 outfits for the bateria (the drummers) of the school which took about ten weeks to finish. When they paraded there was a mighty thunderstorm and all the outfits were ruined in about ten seconds - feathers don’t like rain!

R: Tell us your finest daytime story and nighttime story from your Rio adventures.

FL: Daytime: One day I was jogging on Flamengo Beach and I met a Brazilian man who was my physical ideal - older, broad shoulders, salt and pepper hair, rugged-looking. We struck up a conversation and learned that we had the same taste in American female soul singers. He started singing songs by Alcione - this female Brazilian singer with a deep voice - which was very romantic. I was just about ready to marry him. I gave him my number but sadly never heard from him. His name was Eros, so if you’re out there reading this, I’ve got my wedding dress out of the dry cleaners…

Nighttime: After I had watched the carnival parade all night I walked down to this place called Elite which is a samba gafiera dancehall that goes gay at carnival. On the way there, down a darkened street, I could see a large group of guys standing at the side of the road. As I got closer I realized it was about forty guys, all having sex. Even I was stunned, as it was just a regular street with quite a lot of cars and people passing by. Needless to say I didn’t join in as I had a lot of money in my pocket, but it was quite a thrill stumbling across and outdoor group sex scene like that.

R: Nice! Very different than your home in London. How does gay culture differ in Brazil from the rest of Europe?

FL: Rio doesn’t have as much gay nightlife as São Paolo as it’s more of a beach culture. There are quite a lot of saunas though. In some areas of life gay people are very integrated into the mainstream, like samba, carnival and Candomblé (Afro-Brazilian religion). In samba school rehearsals there will be quite a lot of gay people and some trannies - they belong there as much as anyone else. In Candomblé most of the priests are gay, the participants are a mixture of straight and gay, and everyone is given equal respect.

R: what clubs or bars do you think an east village boy might find… rewarding?

FL: Unidos da Tijuca samba school have rehearsals every Saturday in the months leading up to carnival and it’s very gay there. Dama de Ferro, a club in Ipanema, is good for afterhours on Saturdays. And there’s a bear party called Encontro dos Ursos (Bear Meet Up) twice a month at Espaço Marun in Catete which is quite fun.

R: I hear Rio is all about the cruising - any hot tips?

FL: Parque do Flamengo at Flamengo Beach is quite cruisy once the sun has gone down, but I hear it can be dangerous. Rio can be quite cruisy everywhere and there are love motels where you can rent rooms by the hour if you get lucky - they’re better, and safer, than taking someone back to your apartment.

R: Name your three all time favorite tracks and why they mean so much to you?

FL: Not wanting to sound morbid, but I’d like these three played at my funeral:

1. Chaka Khan, ‘Love Has Fallen On Me’. I listen to this everyday and it always gives me a lift. Her vocal performance is stunning and the production by Arif Mardin is gorgeous.

2. First Choice, ‘I’ve Got A Feeling’. This is pure Philly Disco perfection. It has quite a melancholy feel, but is uplifting at the same time.

3. Labelle, ‘I Believe That I Finally Made It Home’. Nona Hendrix wrote the lyrics - they’re really powerful. It’s one of Labelle’s finest moments as they all take turns with the lead vocals.

R: Any tips for the future?

FL: Don’t try too hard to be anything in this over-competitive world. We all end up as dust anyway.

R: Are you a Speedo or short shorts boy?

FL: I love Speedos. I have a bit of a fetish for them. It’s great in Rio as all the men wear them at the beach so I’m in heaven.

R: Prove it! ->

Hey boys, our first t-shirt is almost sold out! We’re sold out of large (thank you Germany, Sweden, Australia, London, LA, San Francisco and of course New York - everywhere really, xox), and extra small (thank you twinks all over the country, Tokyo, and the rest of the Pacific rim, extra special xox), but we have a few mediums and smalls left. Get one - when they’re gone they’re gone, but NOBODY PANIC we have a new design coming for the summer - though maybe not as cum-rag friendly.

And hey, nothing says love like a load on your chest.

EVB has never before had to issue an apology, but apologies in advance for the multiple equestrian references you’re about to endure.

Riding into town on their super-hung stallion James and Jim from London’s Horsemeat Disco bring their wonderful nosebag of disco delights to Club 205 on Tuesday night.

This will be the boys’ final gig in NYC (they were support DJs for Hercules and Love Affair on Saturday night at Studio B) before jumping back into the saddle and galloping (or should that be cantering) back to London.

Here at the EVB stud ranch we are all waxing our chaps and slipping on our stirrups for a right royal hoedown.

Come join us and the wonderful Horsemeat boys tomorrow night, May 20 at Club 205, 205 Chrystie St (at Stanton), NYC. If you bring a sugar lump, wear a rosette and impersonate a horny stallion at the door, who knows what might happen…

Ok, so I’m in Paris, and by the way I don’t know what’s going on but FUCK the boys here are hot. Long shaggy hair is in in in. Anyway, there’s a show that opens here tomorrow about my daily fantasy, Gael Garcia Bernal.

The show is called “Saint Gael” by Vincent Gagliostro, who was nice enough to give EVB a preview of the show, so check it out. Vincent, by the way, is originally from New York, was a founding member of ACT UP and the political art collective GRAN FURY. Gay politics, activism, and incredible art. AMAZING! So, if you’re in Paris check out the show in real life at Miss China Beauty Gallery, 3 Rue Francaise, near Etienne Marcel, 1er, May 15 - June 9. I’ll be there rocking my cum shot shirt so say hi.

Vincent’s coming to New York in June, so count on EVB catching up with him in person!

From the artist’s statement:
SAINT GAEL (RE-USED)
statement: 1. (with a predatory gleam in his eye): “heaven’s mouth” - I thought, tearing his image from the magazine. The most beautiful mouth I had ever seen - Gael Garcia Bernal - a new subject.

Further retrieving images from numerous official and unofficial websites, it seemed I was moving from my original focus on his beauty to an encounter with my surpressed voyeuristic nature. Predatory nature. Musical nature. Music, because what I seemed to be on to was a kind of “sampling” much like a DJ/record producer does when creating a work.

Studying his (GGB) film “Y Tu Mama Tambien“, I started re-sequencing the images, removing bits here, adding bits there. For example, in one sequence Gael is fucking the girl companion of the roadtrip. By cropping her out of the movement and re-using the images I could bring my subject closer to my world of sex, desire and politics–three ideas inseparable in my fag world. This project has led me to explore my nature and find perhaps a new willingness to turn the cameras on me and my culture, gay men.

We first fell for New York-based designer Tim Hamilton at his presentation last February during New York fashion week. We’ve been trying to pin him down since then, and somewhere in between visiting his factories in Japan and Italy, moving his home, selling-out his first UNIQLO collection, and getting nominated for a CFDA award for the second time in his two-year career, he squeezed us in. Personally, I think he’s destined to dress every East Village boy from here to Tokyo.

Weston: I understand the Tim Hamilton story starts in Iowa. How did that twist your early opinions about style?

Tim: I don’t want to sound cynical about my midwest roots, but if anything it made want to stand out in style, so I separated from anything that had any Iowa-style connection. I hated growing up in Iowa as child. As a kid I was always looking at fashion publications for guidance about what was going on in London or New York. I was rebellious in my own way with everything midwest.

W: So did Iowa have any influence on your style at all?

T: Iowa? No. I think to a degree my father influenced me my first few seasons. We battled constantly growing up, but I definitely appreciated his style. He was very much a blue-collar World War II vet kind of guy, but he definitely had this sort of chic-ness about him - the way he wore his workwear with sport coats and he made it sort of refined. I just hoped I could dress like that when I got older. But Iowa itself, no. If anything maybe it made my personality a little more laid back.

Also, I’m half-Lebanese, and we were constantly around my cousins, and my mother was well travelled and deep into things outside of the box. She was always reading these amazing novels, and she would make us read them out loud. She taught ballroom dancing and she was big into the the Hollywood starlets and things like that.

We grew up really poor so there was always this thing of not looking poor. We’d get pretty amazing hand-me-downs from our cousins, and with our last dollar we could buy a certain label and mix it up or go thrift store shopping. We really wanted to make an effort to look good - my whole family. We didn’t necessarily want to fit in, but we wanted to step out in style. I think that early on, how I put myself together, really defined how I looked at style.

W: Halston was from Iowa - did you feel like he was looking over your shoulder? Did you feel the debauchery of his Studio 54 days luring you to New York?

T: Before my time! Dif gen, thank you! [laughs]. Of course I knew he was from Des Moines and I do have a fascination with the ’70s in New York. I wished I was old enough to have been in New York in the ’70s and ’80s. I think one season I’ll do a tribute to that era. When the time is right.

W: Tell us about the infamous Iowa farmboys. Any adventures?

T: Ha. No I wish I could make something up. I couldn’t wait to depart from Iowa and no dalliance was left behind!

W: So you got the hell out.

T: Yeah, I used to call all these famous photographers when I was in Iowa - Steven Meisel, Herb Ritts, Francesco Scavulo, Bruce Weber - everyone told me at the time South Beach was the place to be, and that I should come for a few months. So I had saved up $500, and finally left in ‘91.

I stayed in Miami for a year and traveled around Europe doing the 21-year-old backpack thing. Finally made my way to New York and got a job in sales at RRL. They thought I fit the image - that look. It was great to get a job, but my goal was to study acting.

I was working with the corporate office at Ralph to do the looks of the store - work the whole Ralph image - but I always tried to push things by the way I dressed. After a year they told me “you should work in design, you should work in design”, so they gave me an internship, hired me three months later, and payed for classes at Parsons. They sent me to Japan, Paris, London, constant travelling to LA and Seattle, buying vintage, and building big concepts. It was kind of crazy to think you could get paid for something like that, so I gave up the acting thing.

W: So you started at Ralph Lauren, which is really not sexy, but you’re clothes are. You’re obviously not trying to do Ralph Lauren, but what are you doing that makes your take on ‘American’ clothes so much sexier? What are you doing that they’re not?

T: Good point. I don’t know. At my first few jobs, I felt at the time there was no one doing menswear in New York that was taking attention away from Europe. I felt like all the designers would attempt to do different things but it all kind of ended up as this ‘American wardrobe’. Everyone was doing their version of it.

I design for my vision now. I guess I’m at the point where I feel that if you are designing in in the US the press tends to trap you as American designer. I’m very proud to be in New York but I don’t like to be categorized as an Americana style brand. I feel I need to make some extreme risks and take on some risky themes to break that title. It’s always 100% me and my evolution. Editors always say American style is more casual and relaxed and it’s so boring to keep hearing that. I wanted to be true to my vision and if comes off as sexy then fine I’ll take that.

W: It definitely comes off as sexy. Super sexy tight pants, sequins, fur, patent leather tuxedo shoes - kinda glammy, non-traditional territory for a preppy look. Explain yourself Mr. Hamilton.

T: I never called myself preppy! The press may have in the beginning because editors need to label you. I came from strong preppy Americana workplaces which I never molded myself into. I just worked there. I think this season I went further into taking risks with the line. I wanted it to be a more conceptual and capture more mood. I added tailoring and that was more evening. It may seem like it’s not in the ‘traditional’ box but you can look at each piece and know they are just reinterpretations of classic pieces.

W: Your last collection was so bright and light and pop. Maybe some residual Miami influence? But this season I described as “ivy league preppy gone bad seed - or maybe trade”. All the better - it got super sexy, and a little trashy - in a really good way of course.

T: I can one hundred percent honestly say the color was not inspired by my Miami days [laughs]. And the new collection is nothing IVY at all, but I can see how you may perceive it to be because of my Ivy sounding name and work history.

I always start with fabric in menswear. Last season was about uses of color and keeping more electric. Surely most of the pieces where based of classics, as all menswear should be, but I brought in a lot of lightweight fabrics and yarns and made the proportions really playful. It has boyish-meets-man charm to it.

I had been going to Japan and Paris and London a lot. And for some reason I was with these kids in their early 20s and I was inspired by their energy. They don’t really have the money to go out and buy expensive labels, but they’re making their looks from Top Man, or vintage. They come up with these great looks that sort of look like high-end designers. I was very motivated by color. I was in an electric mode of color, I was looking at all these books from the ’60s furniture books at that moment so I brought that into my collection.

This season has more of dark mood story of looks inspired by theater, turn of the century romance and a hint a ballet. I had this great intern who was reading a book on Nijinsky, and I was looking at the ballet images and thought about the old world theater. What’s that guy wearing and how can you put some old world romance back into a menswear collection. I didn’t want it to be too glammed up. I wanted to take active silhouettes, but tailor them. The fabrics, yarns, and leather all have movement and are super refined. You can see in the pics and in the presentation. You really want to reach out to touch the clothes and feel and caress them - and of course wear them.

W: Well speaking of caressing, it’s a little off topic but lets talk models. This year they were obscenely hot.

T: Douglas Perrett COACD casting baby! He has such a strong passion for what he does with casting and his understanding of the clothes and concept were right on.

[interlude with Douglas Perret while Tim changes his outfit]

W: You chose models from several agencies. Obviously you were looking for something specific - beyond hot and skinny, what was it?

Douglas: I work with all the agencies and weed out every board trying to find my cast. It’s like a puzzle - you take in the designer and the stylist’s direction, marinate on it, and start thinking of options and suggestions. I’m always looking for something fresh, something to make me go “oh I didn’t think of that”. I want people to walk into a show, take in the casting, and regret passing on that model. It is always an interesting, unpredictable experience which is what makes my job so fascinating.

W: Was there something specific about the vision of the collection that you were trying to capture in the model selection?

Douglas: Clients always mention references, inspiration, their muses, etc. For me that is just all fancy fashion adjectives. I know when a client wants a name model, is willing to take a risk, or wants me to go out on the street and physically search for that raw face. For Tim it was all about dandy ballerinas, but I was apprehensive to be too literal. A perfect combination of balance, great body, powerful legs and the definitive profile. We make a few compromises but I usually get my way. Then again, getting 35 models to stand for free tights and sweater vests is not that easy.

[back to Tim]

W: At your presentation you could get up close and personal with the clothes (and the models). It was up front exhibitionism combined with shameless voyeurism. I loved it. Was it just fashion or is there something more to it than that? Was as it your idea that they stare back at the photographers as they shoot?

T: I wish there were a a whole creative choreographic story behind the set up but no, there isn’t. The stage wasn’t even finished! I wanted to do a pyramid stage but we ran out of time. The models had to jump on the platform when the paint was still wet. As for the models staring at you, maybe they just fancied you. [laughs - but I KNOW he meant it]. No for real they know how to work the camera and crowd and my heart goes out to them for getting pinned and fitted and hair and makeup done, then standing on the platform in the spotlight for an hour. They were all amazing!

W: What’s your soundtrack while you’re designing?

T: Oh boy it changes so much. I’m in a million different music moods in day. Nina Simone, LCD Soundsystem, Joy Division, old Gary Numan - it’s all there. I also have DJ friend who makes me a lot dub mixes from the late ’70s and early ’80s. I’ve also been listening to Sébastien Tellier, Hercules and Love Affair for my pop fix, and Brian Eno and MGMT a lot.

W: You were nominted for a CFDA award in 2006 (which we thought you should have won). Did that early recognition give you latitude to take more risks, or force you to join the establishment?

T: It made me see that you really have to be true to who you are and not confine yourself to the political fashion business hype. Why do it if your not true to yourself. I’m not doing it for money that’s for sure. Not saying I don’t need it but you know, I’m just saying…

I got to experiment and took more risks than ever with this season. I don’t want to do the same thing every season. I don’t want to be a Ralph Lauren. No offense to the Ralph world, and it obviously works for him, but if I can survive with what I do that’s how I want to live.

W: Well you got nominated again this year so you’re doing something right. I see Obama on your wall. One of your inspirations?

T: He’s definitely up there. I would love to dress Obama, but everyone wants it for free. People gotta spend money to wear my shite! But seriously, I think we are ready for a change and he is the man to do it.

W: What are you relieved I didn’t ask you?

T: About my days in Miami! Actually I’m, fine with being asked anything. I’m pretty open and laid back most of the time.

W: What do you wish I did?

T: How hung I am.

If you want some Tim Hamilton, go to Bergdorf’s, Jeffrey, and If.

OK, we’ve finally decided to clue you in about our favorite East Village rocker girls, Tall Black Girls. They’re totally East Village boys, except for the girl part, so lets call them our honorary East Village Boys of the month. At any rate, they’re all tougher than our twinky intern.

EVB: Describe your sound.
Julie Black: Totally metaclassifunkrocountrygospunk, but sexy.
Nurse Kelly Black: Dirty, sexy, trashy rock.
JenCharles Black: We are most certainly a sexy, dangerous good time. Loud, driving, unforgiving. Kinda like a really good fuck with a total stranger on a hot summer night… what are you doing later… oh wait, we should wait ’til summer. I don’t mind if you bring your boyfriend.
Kate von Black: Hmmm… getting busted on the walk of shame OVER AND OVER AND OVER AGAIN by everybody you’ve ever had a threesome with, only to find out they’re all friends and man do you look like an asshole.

EVB: What’s your take on Cock Culture?
Julie Black: I take cock… and what the fuck is “Cock Culture”?
Nurse Kelly Black: Are you askin’ if I strap it on?
JenCharles Black: My take? Well, I’ll take it anytime! Yea boys!
Kate von Black: More the merrier, bigger the better.

EVB: If you really were a tall black girl, which tall black girl would you be?
Julie Black: Nurse Kelly… or… Joan Crawford. She’s TOTALLY a tall black girl!
Nurse Kelly Black: Tina Turner - she’s the epitome of sexy, soulful, leg rock! RuPaul is a close second, ohhh yeaahhh, stilettos!
JenCharles Black: First of all, I am, and second, I guess I would have to be Kelly if I had to choose. Cuz I’ve always wondered what it would be like to be that short.
Kate von Black: Grace Jones? Tyra Banks on poppers?

EVB: What happened to your keytar player?
Julie Black: GOD, nobody ever tells the drummer anything!
Nurse Kelly Black: A semi-sad story really, we were forced to sacrifice her to Shetar Goddess of Hellfire for some cool, refreshing tequila water.
JenCharles Black: Um, you guys should really proofread these questions before you send them out, because you misspelled guitar. How embarrassing.
Kate von Black: You mean Kelly? Wait, whats a keytar?

JenCharles Black: Hey Julie, why are you such an asshole?
Julie Black: Because you are so much better than me. Hey Kelly, why are you such an asshole?
Kelly Black: Cuz u ladiEs 4 r such bitches… call u after i get my laundry [verbatim via text-message]. Who said I was an asshole, asshole! Hey Kate, why are you such an asshole?
Kate von Black: Cause I can be.

Tall Black Girls is playing Saturday May 3 at Lit, in NYC.
93 Second Ave between 5th and 6th.
10pm. $6 (cheap, of course). C’mon, that’s cheaper than a drink.