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July 12 2014

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10 posts tagged "The Kills"

Summer Friday: How Two Top Music Publicists Spend Their Afternoons Out of the Office

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Like the George Gershwin song goes, “Summertime, and the livin’ is easy.” Especially if your workweek is cut short thanks to “Summer Fridays.” The extra hours go a long way in making every weekend seem like a holiday. If you’re short on inspiration for your own Summer Fridays, just look to our new season-long series in which we ask industry people with cool jobs to share how they’ll be spending their free afternoons.

Chances are at least one of your favorite bands is repped by Press Here Publicity. Linda Carbone and Chloë Walsh, who started the full-service public relations company ten years ago, have worked with everyone from full-fledged icons to up-and-coming artists. Their current roster includes Blondie, Yoko Ono, Depeche Mode, Phoenix, Yeah Yeah Yeahs, Bat for Lashes, The Kills, and Blood Orange, among others. Since the duo work out of opposite coasts—with Chloë based in L.A. and Linda in NYC—they shared with us two very different takes on how they’ll be spending their Summer Fridays.

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Chloë: I’m still in awe of the variety L.A. has to offer. From the office it’s about a fifty-minute drive to Topanga Canyon. It’s my favorite of all the canyons because it’s the greenest and reminds me the most of Europe, where I’m from. Looking down at the ocean, surrounded by olive trees, it feels very Mediterranean. There’s far more foliage on the hikes there, so it’s possible to walk mostly in the shade, unlike the other canyon hikes. Topanga is just a few minutes’ drive from Malibu and the best, wildest beaches. I’m always impressed by the surfers, and after a long week in the office, there’s nothing more relaxing than watching the sun drop down beneath the water.

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Linda: Starting around 3 p.m. on a Friday afternoon, I shake off the stress of the week and take a wild ride with my silver slip of an Italian greyhound, Lulu. I shut down the office, turn off my phone, jump in the car with the windows wide open, turn up the volume (old vocalists Louis Armstrong, Ella Fitzgerald, swing, Benny Goodman, Django Reinhardt), and breathe in the great gushes of sea-salty sun-drenched air.

A rabble of good friends and dogs unbundle at the house in East Hampton, and it’s bespoke margaritas, Marco Polo in the pool, and food. Lots and lots of good food! Grilling organic salmon, local handpicked veggies, and homemade Key lime pies by the dozens. After morning brunches and afternoons of shopping (often spending too much money), we arrive home to find the dogs waiting for a game of catch. Some evenings we meet up with friends at their houses, or go to dinner on the water and watch the sunset. Sometimes we head to the beach at dusk to sit on the rocks with a few bottles of wine, to tell stories under the moonlight while making plans for the future. Many evenings are spent falling asleep to old movies with the wind rustling in the trees above us.

Jamie Hince Talks Music, Photography, and Shooting His “Annoyingly Beautiful” Wife, Kate Moss

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jamieblog2When they’re not perfecting down-on-love indie rock as The Kills, Alison Mosshart and Jamie Hince are quietly prolific in their individual art careers. Mosshart, who dropped out of art school to pursue music, devotes her extra time to painting, while her bandmate, Hince, photographs their adventures on the road. Up until this year, their nonmusical passions have remained mostly private, but now, two months after Mosshart’s debut painting exhibit, Push It, where she showcased her work alongside twenty other female artists, Hince will have his first photography exhibit, dubbed Echo Home, at the Morrison Hotel Gallery in NYC, opening tonight. While gearing up for The Kills’ tour in Nashville, Tennessee, Hince took a moment to talk about the differences between his music and photography; if fashion photography is in his future; and shooting his supermodel wife, Kate Moss.

Do you have anything special planned for this tour as far as the visuals and what you’ll be wearing?

We always put a bit of time into thinking about what we’re wearing—not like we want to present a new outfit, but it’s quite difficult touring in the summer because I’m not a T-shirt-and-sneakers kind of guy. I hate it when it’s really hot and all you can wear is a T-shirt, so I have to find cool, lightweight shirts and jackets that I can wear. As far as the visuals, we have a new light show.

Do you try to keep your photography and music separate?

Music takes up a lot of time, makes me really nervous, and gives me all of this fear about being ordinary. The other thing doesn’t take up any time at all. Clicking my fingers is like blinking my eye. I’ve never taken photography seriously. I have an aesthetic that’s not based on technicality; it’s based on what I think is beautiful. I feel like photography isn’t about technique anymore. It’s just a window into someone’s life. More and more people want to be in touch with some kind of authenticity, and photography is a way to do that—I mean, everyone’s a photographer now, aren’t they?

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You’ve been doing photography for so long. Why finally have an exhibition now?

I’ve never really had any ambitions for it. I started taking a lot of photographs on our first tour. I felt like I might never go back on tour, Brazil, or the Chelsea Hotel, so I took photographs as a way of remembering the time. I was documenting things that were happening to me, and I took my camera everywhere. There are a lot of pictures of parties. Ironically, since I met Kate, I take pictures in a much different way because there’s so much privacy in that world that I don’t take my camera to parties anymore. My pictures have changed.

Alison has talked about how her paintings similarly function as a snapshot of where she was at that moment. Do you give each other feedback on your art?

Yeah. Art has always been a big part of our lives before The Kills and during The Kills. When you go on tour and you’re moving a lot, the way you make art has to change. The things you do have to be done quickly, pretty much in one setting because you’re on a tour bus. I think that’s why I switched to photography and that’s why Alison rarely takes more than two hours to do a painting. We definitely give each other feedback. It’s kind of difficult because I love everything she does. I think she’s such a fantastic painter. I’m really envious of the way she paints. She never paints anything and throws it away. There’s never anything bad, which is pretty amazing.

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Do you have a favorite photographer?

He’s not very well-known. He’s an old Russian guy named Nikolay Bakharev. A few years ago I got in touch with him about doing a project together. We were going to go on a train—he lives about eight hours from St. Petersburg—and we were going to work out what the project was going to be on the journey. Maybe he’d take pictures of me and I’d take pictures of him. It didn’t happen. But he’s an incredible photographer. He took a lot of mood pictures of very brutal-looking people who look like they spent a lifetime in prison. He kind of makes the ugly look beautiful.

You’ve worked with fashion brands before like Equipment. Has anyone approached you to shoot a campaign for them?

I’ve done a couple of shoots for magazines but not campaigns. I shot Alison for a French magazine. But no, I’m open to the idea, though. [laughs]

Is Kate a muse for you?

Yeah, she’s annoyingly beautiful. Jack White was telling me that when Kate did a video for The White Stripes’ “I Just Don’t Know What to Do With Myself,” afterward he said, “Can I have a picture with you?” They took the picture and he saw it was just like, “Wow.” He needed twelve shots to get himself looking good, and in every shot she just looked like this icon. It’s really, really easy taking pictures of Kate.

Has she given you any tips?

She’s interested in it, but she doesn’t give me any guidance. The thing about Kate is that she’s a free spirit. She doesn’t care about technique or any way you should be doing things. She’s really aesthetically open-minded. Sometimes a shot will come back that will be completely wrong technically—out of focus, wrong exposure—and it will be the most beautiful shot of the lot.

Photo credits:

Photo: Kate Moss, Alison Mosshart & Archie, Alison Mosshart, all ©Jamie Hince / Courtesy of Morrison Hotel Gallery

Saint Laurent’s Hedi Slimane is Music’s Main Man

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Bruno Mars in Saint Laurent

If the Super Bowl XLVIII halftime show didn’t solidify Saint Laurent’s place as the official fashion house of the music biz, we don’t know what will. Creative director Hedi Slimane has long dressed (and been pals with) mega pop and rock stars. If you’ll remember, Courtney Love, Marilyn Manson, Beck, and Sky Ferreira have all starred in campaigns for the brand. The Kills’ Jamie Hince and Alison Mosshart are Saint Laurent front-row fixtures come fashion week, and Slimane has crafted custom onstage outfits for the likes of Daft Punk and Keith Richards. The label’s latest stint in the spotlight came yesterday evening, when Bruno Mars and his band wore custom metallic Saint Laurent jackets, skinny ties, and black trousers during their performance. Looks like the Grammy Award-winning pop prince has officially been inducted into the SL club of cool.

Photo: Courtesy of Saint Laurent

Alison Mosshart: Killin’ It For Eddie Borgo

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Eddie Borgo first met the Kills front woman, Alison Mosshart, through another one of his friends and muses—Kate Lanphear. “She came to a dinner I hosted in Paris, as a guest of Kate’s,” he says. When he saw Mosshart on stage, he was sold on the thoroughly modern-day punk woman. “I was completely taken when I first saw her perform. She is a poet, a writer, a performer, an artist, an intellectual, and a musician,” he tells Style.com. “She is a bona fide rock ‘n’ roll star.” And now, she is a bona fide Borgo girl, too.

Mosshart, whose book Dream & Drive with her band mate Jamie Hince just came out last week, is the newest in a lineup of fashion rock stars who have fronted the designer’s ad campaigns. “I’d loved all his previous collections, their inspirations, and what they stood for. It was wonderful shooting the campaign, learning how meaningful all the pieces were to him, watching his creative mind spin, hearing about his ideas and processes,” she tells Style.com. “I think of his jewelry as sculptures designed with one final angle in mind, us, the moves we make, the turns we take, the rambling bliss of the body in human traffic.” Style.com debuts the Fall 2012 campaign, lensed by Paul Maffi, exclusively here on Style.com.

Photos: Courtesy of Eddie Borgo

Preen Back On The London Scene, And More of Today’s Top Stories

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Preen by Thornton Bregazzi is headed back to London. After showing in New York for five years, the label’s co-founder Justin Thornton feels the time is right. “We originally left for New York because we wanted to expand the business and grow internationally,” he said. “Today, London is a very different fashion week to what it once was, and it’s a great place for us to show.” [WWD]

Alison Mosshart and Jamie Hince of the Kills are looking back on ten years of touring. To mark the occasion, they have reinterpreted the Fleetwood Mac classic “Dreams” for their new album Just Tell Me That You Want Me: A Tribute to Fleetwood Mac. Catch a decade of photos accompanied by the duo’s rendition of the song on Nowness.com today. [Nowness]

Care to see the results of Swedish electronic king Avicii’s collaboration with Denim and Supply? Ralph Lauren has finally released images of his first-ever ad campaign, which was shot in New York by Mark Seliger. Avicii is front-and-center showing off the collection’s earthy palette of flannel and leather. [Rolling Stone]

Valerie Steele is toasting gay fashion designers. The Museum at FIT director has announced plans for her latest exhibition, entitled Queer Style: From the Closet to the Catwalk, which will highlight gay designers and their influence on the industry. Dior, Saint Laurent, and Versace are just a few names on Steele’s list to be included in the showcase that is slated to open next year. [Vogue U.K.]

Photo: Courtesy of Preen