I think it'd be fantastic to see some of you folks in our fabulous SG gear. Take a snapshot, post it here, and each week, we'll choose our favorite pic and send the winner an item from the SG SHOP. Make those pics look fantastic and they may even end up in the SHOP! Happy snapping! more

I think it'd be fantastic to see some of you folks in our fabulous SG gear. Take a snapshot, post it here, and each week, we'll choose our favorite pic and send the winner an item from the SG SHOP.

Make those pics look fantastic and they may even end up in the SHOP!

Happy snapping!

Am I crazy or does nothing beat a sexy girl reading? (image) Aw.... Trinidad So what could be better than an SG pic thread dedicated to this niche love of mine? Go on... Indulge me!

Some SuicideGirls have been modeling for the site for 5, 6, 7, 8, 9, or even 10 years. We thought it would be fun to show you a look back and some of the SuicideGirls throughout the years.

 This week we bring you Eden! Eden has been a SuicideGirl since 2007 and she has 11 strikingly sexy photo sets. more

Some SuicideGirls have been modeling for the site for 5, 6, 7, 8, 9, or even 10 years. We thought it would be fun to show you a look back and some of the SuicideGirls throughout the years.



This week we bring you Eden!

Eden has been a SuicideGirl since 2007 and she has 11 strikingly sexy photo sets. Enjoy this gorgeous look back at the stunning Eden…



From her first photo set Viva la Vacation shot in 2007 by Brooklyn:





She gets wet with Riae in Car Wash shot by Vitriol in 2008:





In her set Constellation shot by Pulse in 2009 she says, "No creature on earth has the capacity to change their looks as much as humans: take advantage of your superior powers.”







She's smokin' hot in Vanilla Kush shot by P_mod in 2010:





Eden says, Eat my Dust in this stunning set shot by P_mod in 2011:





She's elegant and beautiful in Yesterday Tea shot by Dwam in 2011:





Eden gets her London Love on with Riae in this sexy set shot by Alissa in 2012:





She's Looking for her Phone in this set shot by Dwam in 2012:









She's soaks in the bath in Roman Venus shot by Sawa in 2012:







Eden is fresh faced and stunning in Pure Morning shot by Alissa in 2012:







Hope you enjoyed the lovely look back at the gorgeous SuicideGirl Eden! Be sure to keep an eye out for a new set coming soon to member review!

 Become a member TODAY for only $4/month (if you sign up for a year) to see all 11 nude pin-up photo sets of Eden - http://suicidegirls.com/join/


Our THIRD hardcover book, Hard Girls, Soft Light is now available in the shop!! Over 200 pages of beautiful SuicideGirls. It's everything you dreamed it would be. (image) more

Our THIRD hardcover book, Hard Girls, Soft Light is now available in the shop!!

Over 200 pages of beautiful SuicideGirls. It's everything you dreamed it would be.

A.J. Focht It’s been an exciting year for nerdy movies. Some of the nerdiest movies of the year were also some of the best movies of the year and will be looking at Oscar nods. This however, is our Top 5 Nerd Movies of 2012 countdown: (video) 5. Chronicle (Josh Trank) Writer and Director Josh Trank... more

A.J. Focht

It’s been an exciting year for nerdy movies. Some of the nerdiest movies of the year were also some of the best movies of the year and will be looking at Oscar nods. This however, is our Top 5 Nerd Movies of 2012 countdown:



5. Chronicle (Josh Trank)

Writer and Director Josh Trank made a shocking big screen debut with Chronicle. Since the movie was released back in February of 2012, many have put it out of their minds when talking about the year’s best movies. However, Trank’s brilliant script and Dane DeHaan’s excellent performance as Andrew Detmer have earned both of them places in future upcoming geeky flicks: Trank will be writing and directing the next Fantastic Four and DeHaan will be playing Harry Osborne in Amazing Spider-Man 2.



4. Batman: The Dark Knight Rises (Christopher Nolan)

The Dark Knight Rises was a fantastic ending to Christopher Nolan’s Batman trilogy. The exciting conclusion tied up the storyline nicely and wasn’t the letdown many feared it could be due to the trilogy curse: a curse that has caused all other comic book trilogies to end with a less than worthy film. While The Dark Knight Rises was more than acceptable, for many the second film in the series will be remembered as the high note, tho Dark Knight Rises may even get an Oscar nod or two.



3. Wreck-It Ralph (Rich Moore)

Rich Moore’s Wreck-It Ralph was the surprise treat of the year. Featuring a slew of the most memorable video game characters in supporting roles, Ralph and his companions earned their place among the classic cast and in the hearts of nerds everywhere. Wreck-It Ralph will likely get a nod for the Best Animated Feature, but it has some fierce competition with Brave.



2. The Hobbit: An Unexpected Journey (Peter Jackson)

The return to Middle Earth we have all been waiting for since the epic conclusion to The Lord of the Rings. Peter Jackson’s first Hobbit movie was a thrilling adventure that fans wanted, although it seemed to be a little much for critics. While the nagging critics complaints weren’t enough to dissuade fans, it is unknown how the Academy will respond and whether they or not they will get any Oscar nods.



1. The Avengers (Joss Whedon)

The Avengers was a groundbreaking movie that successfully combined four different films series into one marvelous adventure. The Iron Man, Hulk, Thor, and Captain America all teased the upcoming Avengers Initiative. When the Avengers finally assembled, the result was one of the highest grossing films of all time. While Whedon’s Avengers storyline was epic, it’s the visual effects in the movie that are more likely to get nominated for an Oscar. But Oscar or no, this is one movie nerds will hold in high esteem for a long time.

Like his name would suggest, Aesop Rock is a storyteller. But instead of shrouding lessons on morality within recycled folklore, the hip-hop emcee cuts to the chase, illuminating the human condition through unfettered observations on the strangeness of people and the shape-shifting worlds we inhabit. more

Like his name would suggest, Aesop Rock is a storyteller. But instead of shrouding lessons on morality within recycled folklore, the hip-hop emcee cuts to the chase, illuminating the human condition through unfettered observations on the strangeness of people and the shape-shifting worlds we inhabit. Born and raised in New York, Aesop has never lacked for subject matter. One could say that the city chooses her storytellers, and not the other way around. Aesop's refined staccato raps eloquently around even the harshest of big city truths, and when he zigs before he zags, the wordplay is nothing short of spectacular. His detailed, non-linear narratives explore the tension that exists between innocence and the sordid aspects of human nature; the self-inflicted identity crisis that exists when one dabbles in role play -- when the virgin taunts the whore, or when the pornographer becomes the ice-cream man. As Aesop puts it, his attraction lies in what happens when "fluffy meets evil."

Aesop sat down with SuicideGirls to talk about life as an indie-rapper and about his new full-length album "None Shall Pass," a collection of apocalyptic lullabies two years in the making, out August 28 on Definitive Jux.

Erin Broadley: Let’s start by talking about the “Walleyball” short you scored for one of the McSweeney’s Wolphin DVDs.

Aesop Rock: Oh cool.

EB: I thought it was amazing. What drew you to that project?

AR: I had done a benefit for McSweeney’s that was a children’s creative writing fund and workshop here in San Francisco. I was a fan and I just walked in and said, “I want to do a benefit show for you.” So we did that and then I let it be known that I was down to get involved in whatever they wanted to do. At the time they were just starting that Wolphin series which is their new DVD magazine of short films.

EB: I saw the one with the short film where Dennis Hopper tries to blow himself up.

AR: Yeah, when I walked in that’s the first thing I saw. I walked in and this guy was like, “Look at this weird Dennis Hopper thing!” I was down with it. Basically one of the guys that runs McSweeney’s was like, “Well, my donation is this movie called ‘Walleyball’. We just got back from filming at the border.” He showed it to me and I go, “This is fucking nuts.” He explained to me that technically when you hit the volleyball over the [California/Mexico border] fence you’re importing and exporting goods illegally from Mexico. I thought it was so great. He was like, “Would you like to do some music? You would have to do it by tomorrow.” It was very quick and I said, “Yeah, I can whip up some volleyball playing music if you want.”

EB: [Laughs]

AR: I just wanted to be a part of it. I tired to make something that sounds like goofy volleyball music.

EB: Right, something a little beach-y.

AR: A little beach-y.

EB: A little scary, maybe. The narrator talks about how there are motion sensors and it’s a militarized border and all that shit -- it kind of takes the fun out of prancing around barefoot on the sand.

AR: Right! I felt like if I did goofy volleyball music it would weirdly compliment that.

EB: Are the challenges different when it comes to making songs for an album versus making music for McSweeney’s or the song [“All Day”] you did for Nike?

AR: I’ve aligned myself with independent labels and it’s allowed me to do whatever I want basically. Which is this gift and curse because on one hand it’s awesome; it’s kind of like what everyone wants. On the other hand, if you run out of ideas you don’t have anyone to blame beside yourself. Occasionally I’ll get these side gigs, like the Nike project or the stuff I’ve done with Jeremy Fish; they come to me with an idea and it’s basically more of an assignment. Like, “Can you pull this off with this little? We have a starting point; the starting point is this fisherman.” Usually I’m into it as long as they’re not steering my hand all the way through. I liked Nike’s idea of, “Hey, can you do music for athletes to train to?” I sit here and go, “Well that’s the weirdest thing anyone’s asked me to do.”

To a degree it’s refreshing for someone in my position to get a little bit of direction. Sometimes when I’m working on Aesop Rock material, if I have writer’s block I’m like, “Fuck.” You know, it’s all on my shoulders and if I don’t come up with something soon then everyone’s looking at me. Whereas [with Nike and McSweeney’s] if they have an idea it takes away some of the hard part and it turns it more into this puzzle that you have to figure out. Like, “Yeah, I can do this volleyball music.”

EB: What’s the story with the song you did for Nike’s “Original Run” series? I never heard of it until I found out you were involved.

AR: It’s a series they’re doing now but they had only done two --one with LCD Soundsystem -- up until they asked me. The basic idea was 45 minutes of continuous music. They wanted mostly instrumental stuff.

EB: I’m surprised they didn’t want you rapping over the music like, “Run the fuck faster. Don’t stop asshole.”

AR: Yeah [laughs]. It would have been fun to do that.

EB: Are you a big runner?

AR: No. But luckily my wife is. She was very much a lab rat during the whole process. Any project that comes to me that’s odd or that I don’t understand why I’m being asked to do it, I’ll usually do.

EB: Sure, it’s the odd requests that pique your interest.

AR: Exactly.

EB: How are things going with the preparation for the None Shall Pass release?

AR: So far, so good. I’m swamped but it’s better to be busy than bored. I’ve got two videos that are both started but not finished. We finally finished booking the tour. I’ve got more going on now than ever before which is good but it all hinges on whether or not people like the record. It’s all up in the air. Right now I have more little groups of people that I’m working with at one time than I’ve ever had. It’s nerve racking because I’m a bit of a control freak and I like to oversee everything. I have this chip on my shoulder where I need to be in charge. I have to figure out a way to trust. I know I drive everyone I work with completely crazy. I run myself ragged a lot and then I’ll be like, “Well, you know, I’ve got to loosen up because I’m going to make enemies this way.” Especially this time around, just because there are so many little projects going at once, I think I have to take some Valium or something.

EB: Don’t we all?

AR: [Laughs]

EB: Well, when discussing your past albums, reviewers have mentioned your ability to stand out because of your vulnerable storytelling style, as opposed to the tough-guy MC role. Do you have any thoughts about whether or not this kind of battle-culture mentality has taken hip-hop to a place where it’s more about machismo than music?

AR: Well, it’s hard to say because a lot of hip-hop does sound more like machismo and acrobatics and, to a degree, there’s nothing wrong with it. That kind of competitiveness gets people involved and increases skills at writing faster but that being said, there comes a point where you just say, “Okay, I can’t do this anymore.” There are only so many albums where I can talk about me and be braggadocios. There comes a time when you just need to talk about something else or you need to just take all these things you’ve learned and go in a new direction. A lot of people have a hard time digesting that. It’s weird because I get all these labels of being sort of “out there” or being left field.

EB: Yeah I read something that described you as an indie-rap surrealist.

AR: Yeah, yeah. It’s just so easy to be left field in rap because it’s such a small box. There’s not very many people doing something that’s hot. Everyone keeps doing a slight variation of the same thing and it’s been like that for 30 years. At some point, whether you’re going to get criticized or not, you’ve got to do something or it just gets boring. So at the risk of getting a bunch of hate, I just take things into my own hands and try something different. Whether or not it fails is up in the air but I just can’t talk about myself anymore. The way that hip-hop has grown, it’s done the opposite of what a lot of genres have done. As it ages, it gets more refined and what you’re “allowed to do” gets to be less and less. Whereas other genres kind of can…

EB: …They can leap all over the place.

AR: Yeah. Rap music gets criticized a lot for doing anything that’s against the grain or out of the mold a little bit. Like I said, it doesn’t take much to go out of the mold because rap is so self-conscious and everyone’s so aware of what the definition of hip-hop is and whether or not what you’re doing is okay within the genre. It’s stupid and there are definitely a lot of people that are pretty close-minded and consciously sort of trying to hold back what should be a natural evolution. It turns into what we have now, which is a bunch of people doing second and third rate versions of stuff that already existed 10 or 15 years ago. It’s just laziness.

EB: How does this record fit in with your previous work? What new directions did you step into, if any?

AR: When I wrap a record, over the course of making these random songs something will click and you make a discovery and you’re like, “This is the first stepping stone into what I do next.” It’s hard to put into words but there’s definitely a different overall sound. I want to be talking at people less and I want to be talking with people more. I’d rather be engaging. I want people to be pulled into a record rather than be sort of preached at or talked at. Those were conscious things that I wanted to do. I don’t know if being on the West coast changed it as much as the fact that I was out of New York. I’m not out and about as much in this city. I’m in my comfort zone in New York. I’d been there so long so moving and pulling myself out of that was a pretty major thing for me.

EB: How long have you been in San Francisco?

AR: Almost two years -- a little over a year and a half. Being out of my comfort zone was something I was scared of forever. Then once I did it I was like, “Ah, this is actually kind of more comfortable in a way.” I don’t know that many people here and I kind of like that. I don’t have as many distractions.

EB: It’s kind of an anonymous freedom.

AR: Exactly, I can just kind of get lost. I have to MapQuest going to the grocery store.

EB: [Laughs]

AR: Yeah, it’s fun. It’s sort of this strange land. Everything I feared almost turned out to be refreshing. I still have a bit of an East Coat mind state and I still struggle. The whole idea was to come out here for a while and then move back to New York with my wife at some point. That’s still the plan but for now I’m just on this extended field trip. There’s a lot of art and culture in San Francisco specifically. I’m just sort of walking around in a foreign place every day. It’s cool but everything I’ve known and learned is from the perspective and attitude that comes from New York and Long Island. When you’re in New York you’ve got this “I’m never going to leave” attitude. It’s comfortable and you think, “This is it for me. I’m here and I’m going to put my flag here.” Then something happens and you either build up the courage to leave or because of whatever turn of events, you get out of New York. Now I almost understand New York more because I’m looking at it from the outside. When I do ultimately return there it’ll almost be more meaningful. Now I know what it’s like to be elsewhere. I’ve traveled so much -- I’ve been around the world but I’m never in any one place for more than one night. So this is sort of kind of interesting.

EB: I think there are people in all cities with that “I’ll never leave” mentality. I know people who will probably live in Kentucky for the entirety of their lives.

AR: Yeah, you feel this sort of kinship with your home territory. But then there are also people who are constantly on the move. I think there’s something wrong with those kinds of people.

EB: Damn gypsies [laughs].

AR: Yeah. People that can’t stay planted for more than a few months, they’re definitely running. It takes a special person to live like that; usually they end up being tour managers or something. They’re a special breed. Someone that can stay on the couch for a couple weeks and then pick up and go on tour and the day after that tour ends get a job on another tour. It’s the weirdest job to ever have probably.

EB: I don’t know anybody that says they want to grow up to be a tour manager.

AR: No, it’s kind of something you fall into. I know a guy who’s been saying, “This will be my last tour,” for the last three years.

EB: So, Jeremy Fish, the visual artist you collaborate with a lot, also lives in San Francisco. He did the None Shall Pass artwork and you guys also collaborated on a short story called The Next Best Thing, a children’s book of sorts, right?

AR: Yeah. When I moved out here I was a fan of him but I didn’t know he was a fan of me. We have a friend in common and basically he got in touch with me because he got the opportunity to pitch a cartoon to Disney and he said, “Hey, do you want to do some music for this if it ever were to go through?” I was like, “Fuck yeah, that sounds crazy.” I was like, “And by the way I’m moving to San Francisco next week. So why don’t we meet up?” So, long story short, the cartoon bounced around in TV land for a while. The pitch still exists but we’ve since moved on. In the meantime we became really good friends. He’s one of the only people I actually know and have become close to since I moved out here. It just became really natural for us to work together regardless. So the first thing we did was that book and record, which is similar to those old Disney books and records that used to come out where you sort of played the record and turned pages along with the record. I was interested in trying to think of different ways to bring visual arts and music together more often. It’s kind of a crime how little it happens these days.

EB: Yeah, Jeremy’s stuff is great. Did you by chance pick up that Lost Girls series that Alan Moore did?

AR: Uh-uh.

EB: It’s a set of graphic novels about, like, what really happens with all of the female characters from children’s books like Wendy from Peter Pan and Alice from Alice in Wonderland and Dorothy from The Wizard of OZ. It’s very pornographic -- an adult book -- but there’s this children’s element as well. It’s like using these children’s stories as a vehicle for adult content. It’s fascinating. Next time you’re in a comic shop you should check it out.

AR: Right, right. I’ll check it out. That was interesting, what you just mentioned. With Jeremy’s stuff and my stuff, we both work in this little world of trying to mix cute and evil together. I’m trying to describe this evil situation using fluffy terminology or I’m trying to describe a fluffy situation getting kind of evil or pornographic. And Jeremy’s signature is this skulls-and-bunnies thing where it’s fluffy meets evil. I tend to be attracted to that stuff. It’s finding good in every amount of evil and finding a little evil in all the good, and describing any situation like that.

EB: I understand you have a visual art background as well and studied painting in college. What are some of the differences or similarities between collaborating with someone on a visual project versus in the recording studio?

AR: It’s a similar process. I only like to collaborate with people that I’m comfortable with and share a similar vision [artistically] or have a friendship. Someone like Jeremy I just knew would work because I felt his stuff looked like a visual representation of what some of my music felt like. He agreed with that so it worked out. Musically I’ve somehow aligned myself with people I was a fan of before I knew them. When it comes to a lot of my friends, I’m just fans of their music anyway so it’s easier to trust these people. I have a hard time trusting. The people I trust most are the artists that I collaborate with where I can say, “I need you to do this with me. I need it to be kind of like this but I want you to put your spin on it and I need it by this day.” I trust that they’ll pull it off. I guess the whole idea with collaboration is that you give the other person some leeway.

EB: I came across a Dutch documentary from several years back on Def Jux in general and there was one part where you talked about the rough time you were going through at that point in your life…

AR: Yeah, that was a bad era for me.

EB: You talked about shutting down and bottoming out emotionally and feeling like you weren’t able to function. I think most artists can totally relate to how you felt at that point. Do those feelings still threaten or affect your creativity? Or have you put them to bed for the most part?

AR: Yeah, I don’t know. Everyone is different. Some people can go through every day with a robotic shield up and some are more affected. It’s hard to say, but that [documentary] was a testament to a way more turbulent time with what stuff was going on for me. I was very uncomfortable with the fact that my music was making noise. I had achieved this slight degree of success and I didn’t know what to do with it.

EB: Right, people coming at you from all angles.

AR: Yeah. I just didn’t know what to do. I’m not good at receiving that kind of attention. What I do is always kind of based in the art side of things. You know, I went to school for painting…

EB: Right, which is a very solitary art form.

AR: Yeah. The fact that I was making music in this indie way was very much based on the fact that I didn’t want to talk to anybody. I like to create shit -- I like to stay up at night and create things and make something out of nothing so that when I wake up I have something to show for yesterday. That was how I always did everything. But then, before you know it, someone takes notice and it’s cool, but then more people notice. It’s a little weird because before you know it, it’s really strange and you don’t know how to react. Because you’re like, “This is just what I do.” I still have those ups and downs all the time. I guess I’m just predisposed to being that kind of person.

But I’m more grounded right now than I’ve ever been. Probably my marriage has something to do with it. That combined with cutting certain things out of my life that were negatively affecting me -- trying to grow up a little and realize that I’ve got to be accountable for my actions and in doing that, I have to focus on certain things and make some decisions. You don’t want to grow up but once you do it you realize that your life gets a lot easier. I became a little more focused on what I needed to do. I’m still uncomfortable with the publicity aspect of all this but I like to make music so I can try to find some sort of balance.

EB: Are you ever worried that at a certain point -- for example if this album were to truly blow up -- do you ever worry that the attention will make you take a step back and not want to release future albums?

AR: Yeah, totally. I don’t think that’s going to happen, but yes, I would, in a second, step back. I’ve already almost stepped back a few times. Some days it’s almost not worth it to go through the industry side when all I want to do is make some jams. I always tell this to my girl too, I’m just like, “Look, there’s going to be a day where I’m just going to snap and be like fuck all this shit and I’m going to get a job at Starbucks up the street.”

EB: I could see you in a green apron. It’s a good look for you.

AR: Thank you. There are times where I’m like, “You know what; the stress that I’m experiencing right now is quite simply not worth it.” But somehow I get talked through it all the time; I have people around me that are like, “Hey, don’t worry man. It’s going to be fine. You’re making a good record.” I’ve got this little cheerleader squad that helps me out. I’m not going to lose friends or relationships over this shit. I’m not going to fucking deal with people critiquing my lifestyle.

EB: Yeah, forget it.

AR: If it ever delves too deep into that territory, it kind of loses its fun and I’m more than happy to just step out of it. Either that or I’ll just release all my music for free.

EB: Sure, or you could just host open mics at the Starbucks you’re going to work for.

AR: There you go…I think you’re onto something [laughs].

For more information and tour dates, go to www.myspace.com/aesoprockwins or www.definitivejux.net.

It’s December 25th 1986, and Nikki Sixx is alone in his mansion, crouched naked under his Christmas tree with a needle in his arm, scribbling in his diary about watching his “holiday spirit coagulate in a spoon.” He writes, “Merry Christmas…it’s just you and me, diary. Welcome to my life.” This... more

It’s December 25th 1986, and Nikki Sixx is alone in his mansion, crouched naked under his Christmas tree with a needle in his arm, scribbling in his diary about watching his “holiday spirit coagulate in a spoon.” He writes, “Merry Christmas…it’s just you and me, diary. Welcome to my life.”

This is just one scene from a particularly harrowing chapter in Motley Crue bassist and founder Nikki Sixx’s new memoir “The Heroin Diaries” -- a collection of riveting entries from his personal journals spanning one year from 1986 to 1987, a year he considers the height of his downward spiral into drug addiction. It’s a story about drugs, depression, and the train-wreck of self-destruction -- but ultimately it’s one man’s story about survival told with unflinching and unapologetic honesty.

Sober now for 6 years, Sixx is the founder of the charity Running Wild in the Night (a fundraising program for the Covenant House) and will donate part of the proceeds from the book to help troubled kids get off the streets and away from drugs.

SuicideGirls caught up with the original glam-metal bad boy to chat about his darker days and why the future looks so bright…

Erin Broadley: You’ve never really been shy about talking to people about your demons and your past. But at what point, if there is a point, do you ever worry about the risk of feeling overexposed?

Nikki Sixx: Well, no. This is a different thing. It’s me throwing myself under the wheels of the bus so that I can show what the outcome is. For me to be able to find the journals, get the commentary from everybody else and then write the overview kind of helped me to see my own past clearer, which would be great for people who read the book because they’ll experience that arch that goes from adolescence to adulthood…we all make mistakes. We all fuck up. We all do whatever we do in our lives but I can see where mine became a downward spiral. I’m not saying, “Don’t do drugs, don’t drink.” I’m not.

EB: You’re not up on any pedestal or soapbox, for sure.

NS: I am so against that. You know, my friends drink. I don’t care. My friends do lots of stuff that I don’t do. And I’m sure I do things that they don’t do. We’re all individuals on this planet. So you know, I’m just one guy [and I] happen to have a spotlight on me. If I can show that experience and it can help to sell the project, which will donate money for [the charity] Covenant House. This is for the at risk kids, you know, it’s one year of my life of giving back and I’ve had so many years of gifts.

EB: In your diaries, on February 13th, 1987 you wrote about heroes and whether or not people idolize others for their music or their lifestyles. You say for you it’s both. Do you think it’s part of the quandary the entertainment industry is in where heroes are built out of excess and fans end up falling into that themselves?

NS: You know it’s such a touchy subject for the fans. I would like to come out of this where a girl looks at me and goes, “That guy’s fuckable.”

EB: [Laughs]

NS: And a guy looks at me and goes, “That guy looks like he could kick some ass.” People in general would go, “Wow, like he’s not fucked up anymore. He’s even fucking better. He’s even a better musician.” If I can come out like that for people, maybe it’s setting a new model for what the tattooed, crazy, rock and roller can be like, you know, but I’m not straightedge.

EB: Right. Well that’s a whole other level of extreme that I find just completely alienating in its own right.

NS: Yeah. Oh yeah. You know, I’m very at ease and comfortable in my own skin. I just want people that are around me to go, “Wow, that guy’s just on his own journey. He doesn’t preach at us.” I’m really good if you want to ask me what my experience was with something like, “How did you deal with it?” Well this is how I dealt with it. I don’t tell them that’s how they should deal with it and that’s kind of like what the book’s about.

EB: The book reads very much more like a dialogue and a conversation than a manual of regret, especially with the outside commentary. Does that make sense?

NS: Yeah. I won’t apologize for any of the wrecked cars, destroyed hotel rooms or broken hearts.

EB: [Laughs]

NS: I don’t regret any tattoos. We are a combination of all the things that we’ve done. That experience is who you are today and I don’t know what I’ll be like five years from now. I’m sure I’ll be on a pretty similar path because this is the most comfortable path I’ve been on. I’ll still be a photographer, a musician, a producer, a writer and it’s just kind of where I’m at. I don’t think I would have ever got here if I hadn’t exorcised those demons. Not the addiction, we know that would kill me, we have proof.

EB: At one point, you know, in your diary you write, “I’ve been up to no good again but it’s given me a killer idea for a song.”

NS: [Laughs]

EB: I feel like it’s a really tricky situation when the things that are hurting you, are not healthy for you, also happen to be so intrinsically tied into what you’re getting paid for and the lifestyle you’re getting paid to live. You mentioned that a lot of people didn’t yell at you for fucking up because you were the cash flow.

NS: Right.

EB: Can art and stability co-exist?

NS: It is interesting because, you know, they say Dali was mentally insane.

EB: Right. His mustache sure was.

NS: Well, his mustache definitely was insane. They definitely should have committed that mustache.

EB: [Laughs]

NS: So, what would his artwork have been like if he’d been put on antidepressants and psychosis medications? I mean, nobody will ever know. You know, Johnny Thunders had to die to make it the end of that story and so did Sid Vicious and so did Bon Scott and some of these amazing painters and poets and guys like William Burroughs. They carried the needle right to the end. I don’t know where my story ends. I don’t know what a different soundtrack my life would have been if I would have done something different.

EB: At another point in the diary you write, “The drugs are ruining the show and we’re all scared to death”. At what point did that thought really first materialize for you with Motley Crue?

NS: You know, it’s interesting because there’s a part of me that knew I had a problem probably even before Motley Crue. It’s like I was destined for the outcome. It was just interesting. I looked back and I was so full on. I remember like 17, 16-years-old taking elephant tranquilizers. I mean, why? Why? I had to do much soul searching to try to find an answer. Part of it was just straight up being young and who I surrounded myself with. When you’re unhealthy, you don’t really surround yourself with healthy people. When you don’t have role models that are healthy, who are you going to get your feedback from?

EB: Another thing you wrote is, “Why can’t I do drugs like normal people?”

NS: I can’t do anything like normal people.

EB: [Laughs]

NS: It’s just not possible.

EB: Well, it’s part of your charm.

NS: I love too deep. It’s unbelievable how in love I get about anything or anybody. I’m so passionate about everything. I’ve actually learned a bit of balance. I mean, going through this divorce and being single for the last year and a half has been real interesting where I’ve re-evaluated a lot of the things, like where you’ve made the mistakes in relationships with the people that you thought would be lifelong partners.

EB: Uh-huh, like redefining your definition of what a life partner is.

NS: Yeah, exactly. You know, exactly. So, this whole thing is a journey, a very interesting journey and hopefully one that still smells and tastes rock and roll.

EB: You wrote in February 1987 that, “Everybody thinks I’m so tough as nails, if only they only knew.” A lot of times people have a hard time keeping a private diary because they’re always afraid that somebody’s going to read it. It’s like, “Oh what if I do die and everybody reads it finds out all these things going on in my head and my insecurities.” You know, the whole diary keeping process is kind of a lost art form today because everybody’s blogging.

NS: Right, right, everybody blogs it. They blog and they spell check.

EB: Right, it’s not a diary if you spell check, asshole!

NS: Exactly. Especially if you re-read it and go, “Well that doesn’t make me look good.” I mean, just that relationship with the pen and the paper and my own barricaded world -- it was freeing.

EB: Yeah, barricaded in your closet.

NS: In my closet. I still do it today, not the closet but the writing. I have this weird thing that I’m always on the floor. I always have to sit on the floor and it freaks people out. Not like in restaurants or businesses, but if I go to someone’s house, you know, and we’re flopping in the front room, I’m like the first one on the floor.

EB: I do that too. When people are over at my house I always sit on the floor. I think it stems from very young party, social situations where we were just camping out on the floor, drinking or doing our business. Like a floor powwow situation.

NS: Yeah, it is. It’s very much like a powwow.

EB: The only people on the couches are the ones that are passed out.

NS: Exactly, the couch is more like a gurney.

EB: Yeah, exactly [laughs]. In the editing process of the diaries, did you have any moments where you were like, “I just don’t want to include that in the published version?”

NS: No.

EB: No? There was no censorship after the fact?

NS: Nope, absolutely not. It’s forbidden in my world.

EB: That’s great…I think that’s needed. Censorship, especially self-censorship has become so prevalent. I mean it’s everywhere and we don’t even realize it anymore. You know the whole phrase, “Think before you speak,” well, stop it already. There is no kind of stream of consciousness.

NS: Well, are we going to get shit for it? Are you going to be publicly ridiculed for it? If it’s in a text message if you don’t put “ha, ha, ha” or “LOL”, are they going to know it was sarcasm? Oh Jesus, and I’m guilty of it. I mean, I live on text messages.

EB: Uh huh, I’ve definitely sent out a few “LOL-s” in my life.

NS: I’ve sent a few out, and a lot of “ha-ha-ha-s” because I’m very dry. I’ll say something and I’ll get back, “Are you pissed?” And I’ll send back, “LOL.”

EB: With other drug-based memoirs like, I don’t know, my problem with books like the Basketball Diaries is that they still had too much self-preservation going on in the writing process, you know?

NS: Right, right. I mean I read them and I was like, “Looks cool to me.” [Jim Carroll] never really looked bad. Everybody else looked bad and he was kind of like a victim.

EB: Right, the tortured artist. You don’t veil your Jeckyll-Hyde personality in the Heroin Diaries at all. I thought that was interesting to read, especially from somebody who is as in the public eye and has been in the public eye for a long time. You’re not afraid of not looking cool.

NS: No, after being in Motley Crue, you’re not afraid of that. I got over that a long time ago. This probably isn’t a good book to send to a girl before I date her.

EB: [Laughs] Right, or maybe it is… just to get it over with.

NS: Get it over with. It’s like a deterrent. It’s like when girls wear a fake wedding ring. I’ll just carry the book around with me and give it to girls.

EB: Speaking of the Basketball Diaries, I had issues with the way different characters were portrayed, especially the addict-dealer relationship in that book.

NS: Yeah, yeah.

EB: You’re very frank about how you both loved to hate each other and hated to love each other. It’s just a very interesting dynamic.

NS: It must be very frustrating for a guy who has the same habit as me to be going to a mansion and I’m throwing down $1,000 at a time. And there are just $20,000 Persian rugs and antiques that are just destroyed. From his point of view I would be like, “Fuck you, you spoiled piece of shit.”

EB: You’re throwing it all away, but at the same time --

NS: He’s no better. I mean it’s incestual, isn’t it? It’s very broken. I remember sitting down over the cocaine, talking about how bad cocaine was. I mean, you know, its like, “This is really bad. We shouldn’t be doing this. Pass me the mirror.” It’s a very interesting, very weird life.

EB: In the forward of the book you mention there were people that wouldn’t get involved in this because they were afraid of tarnishing their reputation. Was that unexpected?

NS: Well, from the get-go there was a charitable piece to the puzzle and that was the thing is to talk to people. I said, “You’ve got to be honest if you want to do something charitable.” We didn’t need another fluff piece out there on this subject, on any subject, to be honest with you, and I have such a thing about telling it how it is. I’ll be honest with you, I tell it how it is, and sometimes a year later it’s not how it is anymore. People change, thank God. Things change and people don’t always like it when you change. And you don’t always like it as an artist when you change. I was an asshole. I’m not anymore but sometimes I can be. Yeah, “I was a dick. That was then, this is now either accept my apology or not.” You want to know who people are when you look them in the eyes. My experience is that people want to do the right thing. It’s fear, everything is fear based. The more I look, everything in life is fear based. Fear of everything. Fear of writing the right thing in your blog or the fear of, “Is the song going to fit the format?” Or the fear of, “Is my hairstyle in?” Fear of, “How come we’re called a shit metal band, or how come we’re called crap-rock band.

EB: Crack rock?

NS: Crap-rock, like when it was rap-rock then it got turned into crap rock.

EB: [Laughs] I was going to say, that’s a weird genre, crack rock.

NS: Crack rock that would be the opposite of straight edge. We’re crack rock, we just do crack.

EB: [Laughs] We just do crack and sing about crack.

NS: Yeah, every song is about crack.

EB: Butt crack and cocaine crack.

NS: Both cracks.

EB: Oh God [laughs].

NS: Oh my God.


"The Heroin Diaries" is in stores September 18th. For more information go to www.theheroindiaries.net, www.myspace.com/nikkisixx and www.nikkisixx.net

(image)(image)(image)(image) more

Hey guys! Every Monday through Friday I'll be picking two sets from the hopefuls pic section for your enjoyment and the winners will receive any two items of their choosing from the SG shop!! One set will be from a hopeful and one set will be from a current SG. Make sure to check this thread daily... more

Hey guys! Every Monday through Friday I'll be picking two sets from the hopefuls pic section for your enjoyment and the winners will receive any two items of their choosing from the SG shop!! One set will be from a hopeful and one set will be from a current SG. Make sure to check this thread daily for my picks of the day!!

Todays picks are:

Candee - Hard Candy


micheleshell - It's Electric


Congratulations, ladies!!

Dan Epstein has a quickie interview actress Anna Paquin. Dan Epstein: Spike Lee mentioned that you two have a rapport because you directed Anna in a play. How did that help you two out? Anna Paquin: There was a part of me that enjoyed that because I had all the power over him. DE: Anna how was it playing... more

Dan Epstein has a quickie interview actress Anna Paquin.

Dan Epstein: Spike Lee mentioned that you two have a rapport because you directed Anna in a play. How did that help you two out?

Anna Paquin: There was a part of me that enjoyed that because I had all the power over him.

DE: Anna how was it playing this character?

AP: It was a hell of a lot of fun to play someone that upfront about how they are with their personality right out there. Very chatty, says whatever they are thinking and wears whatever she wants to wear without every filtering that for anyone's benefit. That's not how I interact with people. I don't have the guts to go argue with someone about a grade and then use the fact that I'm only wearing half an outfit to manipulate them.

I'm not conservative but it's not how I deal with people.

DE: Anna, how was your experience on X-Men 2?

AP: It was good. Those kinds of movies are so different than any other film you'll work on because so little of the time you spend on set has anything to do with the job an actor does. You're waiting a long time for things to be set up. There's always going to be glitches along the way and all these things I don't know anything about. It's very long hours but there is also a lot of fun stuff to do. I have some pretty cool stunts that I trained for three months but I can‚t tell you anything about them because they would give stuff away. I do all this wire work.

DE: How difficult was it replacing Brittany Murphy at the last minute?

AP: I came into the film like three days before any of the rehearsal. I found on Friday I was supposed to read on Saturday then start shooting Monday. It was actually kind of blissfully short between auditioning and getting the part. It's actually kind of an actor's dream not to be left dangling for three months.

In the past few months I’ve spoken with a number of incredibly talented and iconic musicians including Mike Patton, Les Claypool and Page Hamilton. All three of these men have made their nut and name with super cool yet somehow popular music, oftentimes carving out their niche by paying for their music... more

In the past few months I’ve spoken with a number of incredibly talented and iconic musicians including Mike Patton, Les Claypool and Page Hamilton. All three of these men have made their nut and name with super cool yet somehow popular music, oftentimes carving out their niche by paying for their music themselves. Frank Black definitely ranks right up there with these unique performers. Black first cracked the music scene wide open with his preeminent band, The Pixies. In addition to making music with The Pixies, Black has had a exceptional solo career. His newest album, Fast Man Raider Man, is a bit more chill than previous endeavors, but it is certainly no less dynamic.

Buy Fast Man Raider Man

Daniel Robert Epstein: What are you up?

Frank Black: I’m just driving my son Julian to camp.

DRE: How old is he?

FB: He’s eight.

DRE: Does he know how cool you are?

FB: Yeah he does [laughs]. He likes to be around sometimes when the press is involved especially photographers. I think he might have ambitions of his own.

DRE: Does he play music yet?

FB: No, we’re going to drama camp today just to give you an idea. He dances and stuff but he is in the Pixies movie.

DRE: I was really surprised when I popped your new album in and found out how mellow it is.

FB: What do you mean? I’ve done mellow before.

DRE: Sure, but I was just surprised that every track seemed mellow. Not in a bad way or anything.

FB: I don’t know, I mean, I’m just, I just feel that you. Well you know…you’re right, it’s mellow. It’s mellow [laughs].

DRE: Did you just not want to put something on there that wouldn’t be as recognizable as a Frank Black song?

FB: No, it doesn’t really work like that. I just write a bunch of songs. The Nashville guys rock more like the Rolling Stones than they realize. But the difference is that they’re all of the same vintage, the same generation. Heck we had Ian McLagan who was almost a Rolling Stone himself. But a lot of these guys, especially the American guys, play with a certain amount of restraint. It’s just the way they play rock music as opposed to people like the Rolling Stones who play things a little more blown out, a little more amped up. So if I like something a bit more restrained or a bit on the mellower side, I think of that situation as extra restrained or extra mellow. But to generalize what they’re actually playing I don’t think it’s dainty or anything like that.

DRE: Right, it is not going to be played on any soft rock stations if that’s what you thought I was saying [laughs].

FB: It is that end of the palette. It has a certain je ne se quoi. Pick something from the really rock end of my career like the record Doolittle. In reference to those records, yes there are songs that are played in an up tempo aggressive style but mixed in among those songs are also mellow songs and songs that are downright silly. So your observation is right, there are not any heavy rock songs on this album. Maybe except a song like Johnny Barleycorn or something but to me a song like End of The Summer is more of a Leonard Cohen-y vibe. Those kinds of songs are truly the heaviest of all. Leonard Cohen doesn’t have to yell at you to get his point across. He just has to say it very calmly and very coolly. It’s macho in a much different way.

DRE: Do you feel like you’re less aggressive personally?

FB: One would hope. One would hope that as a person when you’re 40 years old that you don’t have the same knee jerk spontaneous stupid reactions that you had when you were 25. So hopefully you gain some worldly wisdom and that’s why when you meet an older person and when I say older I mean someone 50 years old and they’re flying off the handle and aggressive and intense, it’s extra awkward [laughs]. You just go “Wow, what’s up with that dude?” If you’re at the mall and you run into some older person who has got all this aggression it feels wrong. As opposed to some younger doofus who belongs to a fraternity. You cut him a lot of slack because you just go, “There’s a guy who doesn’t know a thing about life.”

DRE: For your next project will you swing the other way and do something more aggressive?

FB: Well I don’t have a lot of vision. I just write songs and they come out the way they come out. But I suppose that there might be something in the air before I start to make a record. I might go, “Yeah, I think it’s time to rock out a little bit” or “I think it’s time to not worry about whether or not it’s going to rock and let these dudes play what they’re going to play.” But you don’t necessarily just sit around and make a concentrated effort. You don’t analyze everything that far, you just do it. It’s still rigid and music is still rubbing the muse so you don’t want to pigeonhole the muse.

DRE: I read that you recorded this album in Nashville. Was that important to get certain people to play on the album or did you want a Nashville mindset?

FB: Certainly the engineers and the studios itself have a certain atmosphere which is different than say, LA, London or New York. It is not so much about city but it’s indirectly about the city. Making records is not about ambience. You’re in a room that has four walls and a roof. Frequently it’s an industrial space. In the case of Nashville there are studios in other people’s homes, which is not that uncommon these days, but whatever ambience is at Cowboy Jack’s place is because of Cowboy Jack not because it’s downtown Nashville. Maybe it would be different if I were in New Orleans or something. For me, making records is very much about work. Sometimes the studio will be prepare for your arrival and the assistants will roll out the oriental rugs and start lighting incense and be burning Jesus candles to try to create a vibe, an atmosphere. Some people like working in atmospheres like that but as soon as I arrive, I go “What the heck is going on here? Blow out all these candles and turn on some frigging lights.” I don’t want ambience, I want the ambience to be in my record and I need to see what I’m doing here so I can capture it with my microphone plus the incense dries out your throat. The mood is on the record. It is in the way the people play. It’s not external stimuli, in fact, the less external stimuli you have the better. The less drugs and alcohol the better, maybe some coffee but you don’t want to have lots of stimuli. The muse is a mysterious thing, but then there is also all the practical mechanics of using all of your muscle memory and your knowledge about the way that you play, about the way that the other people play and keeping that heightened. Long gone are the days where the band sits around and says, “Hold on we need another five minutes with the bong here before we can get in the mood to play our art.” That’s just a crock of shit.

So you start to have a more serious approach. A lot of people say, “Oh yeah, you’ve been recording in Paris. There must be something about that city that really helps it be creative.” I would want it to be that way like it is in the movies but truly when you arrive you could be anywhere. There’s the tape machine, there’s the bathroom, there’s the drum room, there’s the control booth so it’s got nothing to do with Paris. You got to be tuned into the record.

DRE: I read that you did the last Pixies tour to pay for Faster Man, is that true?

FB: No. well I guess in a literal sense, maybe. I make money from a variety of sources but I can’t say I’ve ever done a tour to pay for something specifically. You just try to run around and make as much as you can. Sometimes you have good years and sometimes you have bad years.

DRE: You mentioned the Rolling Stones before and very often it seems they will record a new album just to get out there on tour.

FB: They go through a tour to make money and they don’t necessarily need to make a new record. But if the Rolling Stones don’t put out a new record that maybe just a 100,000 people are going to go buy it’s symbolically bad because you’re not a viable premium band, you’re county fair. That’s what The Pixies have to do at this point, we’re at that junction where we’ve got to decide if we a creative viable force now or are we county fair. Right now we’re still getting away with playing a few gigs under the guise of a reunion. That’s worked great but it can only last so long.

DRE: Can you clarify whether or not The Pixies are doing any new work?

FB: The thing is, I can say things and people can interpret what I say however they usually have some preconceived notion that they want to be confirmed. So if I say “Gee, I don’t know if we’re going to make a record.” Then, The Pixies Will Never Record Again is the headline. If I say we might record then the headline is Pixies to Record a New Album. I’m not a politician or Kofi Annan but you guys or your editors, if you’re in the mood, will just make stuff up. Even if it’s not in the interview. It happens to me all the time.

DRE: I’m sure it does.

FB: The British are the worst of all. The other day I did an interview and they even had the nerve to print the interview in a question and answer format to give the illusion that this is what I said verbatim. They actually printed all my responses verbatim, which would be fine, but the clever part was they didn’t change what I said; they changed what the questions were. That cast my answers in a whole different light. I had been thinking about writing to the editor saying “Shame on you! I know I’m just some rock dude and you’re just some goofy rock magazine, but you’re giving everyone the impression that I’m responding to question x but you didn’t give me question x you gave me question y. You’re deceiving everybody. You could have just asked me the question and now you’ll never know the real answer.”

It could be termed as a “juicy question” but they didn’t say it to me in a really juicy way, they phrased it to me in a dull way. So I gave them a little answer when they could have had the juicy answer to the juicy question. Now they’ll never know because they didn’t have the guts to just ask me the question because they assumed that I would get all thrown in a tizzy and hang the phone up or something. That isn’t true. I’ve only hung a phone up once in my life on a journalist and I’ve never restricted a journalist ever from asking me anything.

DRE: Would you like to do more Pixies material?

FB: I would love to.

DRE: What do the other people in the band want to do?

FB: The main thing the band is wrestling with is that we haven’t put out a record in 12 years but the records that we did put out are held in fairly high esteem. They’re all still in print and you don’t want to mess with that necessarily. You don’t want to screw it up by putting out a bad record or even a record that’s really great but everyone says it’s bad. So there’s a lot of hesitation, if there weren’t a lot of hesitation maybe we would have made a record three years ago. But here it is three years into the reunion and we’re going “Yeah, I think I’d like to make a new record. Should we?” We haven’t had any reason to make a new record until about now.

by Daniel Robert Epstein

SG Username: AndersWolleck

by Laurelin (image) One of the perks of having an online column is literally being able to go back in time. Exactly a week, month, and year to the date your words are still there and you can instantly remember what was going on in that moment. So many times those memories are just… lost, and I realize... more

by Laurelin




One of the perks of having an online column is literally being able to go back in time. Exactly a week, month, and year to the date your words are still there and you can instantly remember what was going on in that moment. So many times those memories are just… lost, and I realize suddenly how lucky I am to write the truth, to write with honesty and more often than not, pain, because I can look back see how I’ve progressed. Tonight I look for last year’s post, and I am a bit squeamish. I have a sinking suspicion that nothing has changed. I don’t feel different. I feel… used up and empty. To quote Bilbo Baggins, “I feel thin, sort of stretched, like butter scraped over too much bread.”

On this day last year I wrote “Life Beyond the Bar Scene: Winter is Coming.” I was clearly not over my ex and I was using other people in an attempt to replace him. It wasn’t working. I remember feeling lost, confused, alone. Fast forward one year, and I have managed to actually get over the ex I was writing about. He and I didn’t speak for about six months, and while I think part of me will always look at him as the one that got away, they were the best and most needed six months of my life. Erased. Deleted from everything, hidden from Facebook, he quit working at my bar, simply… gone. I ached, and then one day I didn’t. Life goes on, what do you know!

He walked into the bar two months ago, after all that time, and I remember stopping dead in my tracks. I had almost forgotten what he looked like and that moment of recognition hit me like a wave crashing into a small vessel in a storm. I hugged him and said I was happy to see him, and for once, I was.

“I’m sorry I didn’t call you on your birthday,” he said. And I knew he had remembered it and had not called because it really didn’t matter.

“That’s okay,” I said. “I didn’t call you on yours either,” and my lower lip didn’t tremble when I turned away. I couldn’t believe it. I smiled, and when he left I waved, turned back to my bar and carried on. He was never really far from my mind, but it was almost like he had finally found a place in the archives, a place that didn’t hurt.

A new year is coming and I don’t feel any different, but I am. I think I only feel used up because I think I should feel that way. Looking back I’m suddenly pretty sure I just lived the best year of my life. I went on a ten day Caribbean cruise in January. I scuba dived shipwrecks, got over my fear of karaoke, and held baby monkeys in diapers. I danced like no one was watching even when everyone was watching and I screamed “Discount Double Check” and did Aaron Rodger’s touchdown move zip lining across the rainforest in Antigua.

I dated. I discovered dating was not for me and I discovered that while men can be mean and break my heart, I can be mean and break their hearts. And I was sorry, sometimes more than others. I got up on stage and I read stories naked for the first time in March and again in October. The first time I was so scared I could have just peed right there on stage and the second time I walked with confidence, read with pride, and now I can’t wait to do it again.

In April I ran my first Tough Mudder and it was a ten mile muddy uphill journey of insanity. I didn’t train much and when I got back, that was it. I started running. I joined a Crossfit gym and I vowed that I would no longer blame every aspect of my hectic life for the wobbly parts of my body I didn’t care for.

I got promoted at all of my jobs, I turned 30, my friends are brilliant and I still find time for the little things: cat naps, cuddling with pets, reading, movies, martinis, and the occasional misstep into romance, which as my readers know has yet to work out. Used up and empty is often a result of this; but it’s not all I am. It can’t be.

When you think about it, each day since that post one year ago is just that: one day. It’s just another ordinary day, when added up makes an ordinary week, ordinary month, and yet somehow… a totally extraordinary year.




Related Posts:
Life Beyond the Bar Scene: Picture Perfect
Life Beyond the Bar Scene: Tales of Heartbreak
Life Beyond the Bar Scene: I Almost Do and Other Nostalgic Melodies
Life Beyond the Bar Scene: Unanswered Texts, Missed Calls and Things That Glow in the Night
Life Beyond the Bar Scene: Rescued
Life Beyond the Bar Scene: Star Struck And Other Sly Tales
Life Beyond the Bar Scene: Dancing in the Rain
Life Beyond the Bar Scene: Almost Thirty
Life Beyond The Bar Scene: Just Friends
Life Beyond the Bar Scene: Contentment and Other Boring Possibilities
Life Beyond The Bar Scene: Last Friday
Life Beyond the Bar Scene: No One Nails the Cry Face and Other Tales of Woe
Life Beyond the Bar Scene: Of Lies and Half Truths
Life Beyond the Bar Scene: I Would Never Look Through Your Phone and Other Trust Issues
Life Beyond The Bar Scene: My Manager’s Pants Look Better On The Floor And Other Tales Of Responsibility
Life Beyond the Bar Scene: Blonde Ambition
Life Beyond The Bar Scene: Love is Better Soaked in Tequila
Life Beyond the Bar Scene: It’s Not You, It’s Me and Other Tales of Woe
Life Beyond the Bar Scene: Winter is Coming
Life Beyond the Bar Scene: Digital vs. Analogue
Life Beyond the Bar Scene: A Long December
Life Beyond the Bar Scene: Strobe Lights and Glitter
Life Beyond the Bar Scene: Fake It ‘Til You Make It
Life Beyond the Bar Scene: Apologies and Other Useless Utterances
Life Beyond the Bar Scene: Liquid Running
Life Beyond the Bar Scene: Anger and Other Mostly Useless Emotions
Life Beyond the Bar Scene: One of the Guys
Life Beyond the Bar Scene: A Case of the Crazies
Life Beyond the Bar Scene: Unsettled
Life Beyond the Bar Scene: Boys of Summer
Life Beyond the Bar Scene: Play On Playa'
Life Beyond the Bar Scene: How to Lose a Girl in Ten Minutes
Life Beyond the Bar Scene: Naked Laurelin Reading
Life Beyond the Bar Scene: Healthy Relationships are for Boring People and Other Mishaps
Life Beyond the Bar Scene: Letting Go
Life Beyond the Bar Scene: Does it Exist?
Life Beyond the Bar Scene: The Dating Game
Life Beyond the Bar Scene: After a Few Beers Everyone Looks Good and Other Love Stories
Life Beyond the Bar Scene: Getting Naked With Laurelin
Life Beyond the Bar Scene: Seven Days and Seven Nights of Sobriety
Life Beyond the Bar Scene: When it’s Time to Move On
Life Beyond the Bar Scene: Starting Over and Other Stupid Resolutions
Life Beyond the Bar Scene: He Broke Up with Me on a Post-it and Other Travesties
Life Beyond the Bar Scene: The End of Four Loko As We Know It
Life Beyond the Bar Scene: Boston’s Top 5 Dives

i have a new friend to impress and need suggestions on the best albums to put on repeat... so i'm asking: good tunes to fuck to and what kinda fucking session would it suit? (note: it doesn't count if there are ANY mood killing songs on the album!!) [Edited on Jul 26, 2004 by kittenbytes] more

i have a new friend to impress and need suggestions on the best albums to put on repeat...

so i'm asking:

good tunes to fuck to and what kinda fucking session would it suit?

(note: it doesn't count if there are ANY mood killing songs on the album!!)

[Edited on Jul 26, 2004 by kittenbytes]

A.J. Focht It’s been an exciting year for nerdy movies. Some of the nerdiest movies of the year were also some of the best movies of the year and will be looking at Oscar nods. This however, is our Top 5 Nerd Movies of 2012 countdown: (video) 5. Chronicle (Josh Trank) Writer and Director Josh Trank... more

A.J. Focht

It’s been an exciting year for nerdy movies. Some of the nerdiest movies of the year were also some of the best movies of the year and will be looking at Oscar nods. This however, is our Top 5 Nerd Movies of 2012 countdown:



5. Chronicle (Josh Trank)

Writer and Director Josh Trank made a shocking big screen debut with Chronicle. Since the movie was released back in February of 2012, many have put it out of their minds when talking about the year’s best movies. However, Trank’s brilliant script and Dane DeHaan’s excellent performance as Andrew Detmer have earned both of them places in future upcoming geeky flicks: Trank will be writing and directing the next Fantastic Four and DeHaan will be playing Harry Osborne in Amazing Spider-Man 2.



4. Batman: The Dark Knight Rises (Christopher Nolan)

The Dark Knight Rises was a fantastic ending to Christopher Nolan’s Batman trilogy. The exciting conclusion tied up the storyline nicely and wasn’t the letdown many feared it could be due to the trilogy curse: a curse that has caused all other comic book trilogies to end with a less than worthy film. While The Dark Knight Rises was more than acceptable, for many the second film in the series will be remembered as the high note, tho Dark Knight Rises may even get an Oscar nod or two.



3. Wreck-It Ralph (Rich Moore)

Rich Moore’s Wreck-It Ralph was the surprise treat of the year. Featuring a slew of the most memorable video game characters in supporting roles, Ralph and his companions earned their place among the classic cast and in the hearts of nerds everywhere. Wreck-It Ralph will likely get a nod for the Best Animated Feature, but it has some fierce competition with Brave.



2. The Hobbit: An Unexpected Journey (Peter Jackson)

The return to Middle Earth we have all been waiting for since the epic conclusion to The Lord of the Rings. Peter Jackson’s first Hobbit movie was a thrilling adventure that fans wanted, although it seemed to be a little much for critics. While the nagging critics complaints weren’t enough to dissuade fans, it is unknown how the Academy will respond and whether they or not they will get any Oscar nods.



1. The Avengers (Joss Whedon)

The Avengers was a groundbreaking movie that successfully combined four different films series into one marvelous adventure. The Iron Man, Hulk, Thor, and Captain America all teased the upcoming Avengers Initiative. When the Avengers finally assembled, the result was one of the highest grossing films of all time. While Whedon’s Avengers storyline was epic, it’s the visual effects in the movie that are more likely to get nominated for an Oscar. But Oscar or no, this is one movie nerds will hold in high esteem for a long time.