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Black Heart Magazine’s latest issue, THE LOLITA ISSUE, is available for purchase now! Enjoy pieces on the subject of forbideen love from the dirtiest minds in literature, including AV Flox, Chris Reed, Will Dawson, Don Bapst, Heidi Kentwood, Ann Ward and Laura Roberts, along with photography by David Findlay, Ask the Geek Productions, Nick Rudnicki and more.
This issue is available ONLY as a downloadable PDF. Read it on your computer, your c****Berry, or print it out for a full-colour read on the metro, in the bedroom… or anywhere else you’ll get a filthy kick out of our kink!
Makes a great XXXmas gift, and no need to worry about the hassles of shipping; instantaneous delivery to all the special someones on your list!
Smut: The final frontier. A portal to virtual realities, a playground for fantastic characters, a narrative told in impossible destinies. At the border of human and other, which basic s**ual elements turn you into a ticking A-bomb? This issue, Lickety Split asks you to slip out of that mortal husk and into something more… Existential? Divine? Synthetic? Beastly? Vegetal?? We’ll be waiting in the other room, mixing ourselves a c***tail and adjusting our tailfeathers and blowholes (hee).
The Beyond Human Issue includes work by Matt Forsythe, Sherwin Tjia, Farah Kahn, Nick Cabelli, Astria Suparak, Steven Lawrence, Omar Rahman, Darell Smith, Mark Harris, Kim Bastien & Lauren Kingsley, Eric Hanson, Jonathan Stewart, Noam , Robby Reis, Max D., and more!
More colour pages than ever! Shimmery gold and pink covers! Richly saturated black and white images! Great writing! Naked people! FSC-approved printing process! Self-actualized smut!
!!!!!VOTED #3 Maga(zine) in the Montreal Mirror Best Of Montreal 2008!!!!!
“Since appearing in 2004, Lickety Split has been dedicated to tenting your pants, wetting your undies and pressing a nerve.” – Sacha Jackson, The Montreal Mirror
“It seems that every marginalized group wants its own version of pornography – punks, g**s, lesbians, straight indie-rock chicks. But for those who want all of the above, there’s Lickety Split.” - Amber Drea, Venus Zine
Lickety Split #6: The R I S K issue includes tons of daring new work exploring the chance-y, dark and playful with photos of s** in public and needle play, an essay on being queer in prison, profiles on Lamda Instanbul and Sharing Is s**y, “Dangerous Ladies” pulp fiction pin-ups by Andrea Hausmann and lots more!
Featuring work by Sarah Beall, Nick Cabelli, Jeremy Edwards, Christina Foisy, Eric Hanson, Farah Kahn, Dayna McLeod, NOMRYN, Bill Puzstai, Omar Rahman, Nora Rohman, Ina Wood, The Prisoner Correspondance Project and Matt Jones, Neetzie, RoByn, Zo, triangles stuart, Noam and Earl, Jordan A with Mikiki and the Mystery Top, among many others. Our perrennial cover artist Sherwin Tjia (Slow Dance Night, The Hipless Boy, Pedigree Girls) has once again designed the cover art and Jesse Purcell printed them.
What they’re saying about Lickety Split smut zine:
“Since appearing in 2004, Lickety Split has been dedicated to tenting your pants, wetting your undies and pressing a nerve.”
- Sacha Jackson, The Montreal Mirror
“It seems that every marginalized group wants its own version of pornography – punks, g**s, lesbians, straight indie-rock chicks. But for those who want all of the above, there’s Lickety Split.” – Amber Drea, Venus Zine
***Please note that the adjusted price reflects higher production costs including a newly adopted environmentally-conscious printing values and paper, more colour pages than ever and increasing costs of everything else in this day and age. Thanks for your support and understanding!
“Since appearing in 2004, Lickety Split has been dedicated to tenting your pants, wetting your undies and pressing a nerve…This edition, however, boasts slicker design and content, christening the dawn of a new LS era.” – Sacha Jackson, Montreal Mirror, November 2007
Lickety Split #5 Muliples Issue, with work by Anna, Sarah Beall, Seà±ora Braulina Bustamante, Nick Cabelli, Luna Maria de la Cruz, Sharon Davies, Gary d****on/Annie, Christina Foisy, Giddy Gelfling, Jess M Grosman, Eric Hanson, Philip Henderson, Lara Kaluza, Kathleen KR, Farah Khan, Kirsten, Sarah Mangle, Alex Megelas, Kai N., Elizabeth Pennington, Bartlerodd Phiggins, Omar Rahman, Robyn, *safe solventâ„¢, Michael Shu, Sherwin Tjia, Rick Trembles, Ty, Pierre-Luc Vaillancourt, Ina Wood and Yolanda/Jer.
This issue boasts our first ever color centerfold; a limited edition series with artist multiples; interviews with Sasha VonBonBon, Montreal South-West Skillshare and Hakim Bey; art by Rick Trembles, Kathleen KR, Sarah Mangle, Eric Hanson and Philip Henderson; writing by Ina Wood, Christina Foisy, Jessica Grosman and Kai N. as well as all girl, all boy, all queer and all hot photo spreads! Also: s** ed tips for the masses, how to throw an orgy, fidelity issues, the Highly F*ckables List and more!
This is the continuing interview with Christine Bellerose and Virginie Mangin from Homonumos magazine. Homonumos is a multi-lingual, multi-disciplinary, art, science, beyond real classifications journal. It aims to incorporate elements of the human condition into a classy, easily accessible magazine that is for earth, literally.
They are seeking submissions so get in touch and be involved.
Read part.1 of the interview.
Christine entwined in an Homonumos Christmas
From issue no2 Perspective, Qui Suis-Je by Gautier Battistella, voice Isabel
Macklin
I remember when you, Christine, told me that the French speaking community in Montreal didn’t really have a vibrant art scene. Why did you think this and do you still?
Christine: I’ve been living outside of Montreal for a decade at least so I can’t say for now. Though coming from a separatist nationalist background in the early 90′s in Montreal, I felt somewhat surprised that the English community was so much of a get-up and go vibe compared to the French community who seemed to indulge in self pity. Now I realize that the English community included much more than the locals. It merged naturally with the expatriates and the visitors to form the scene that is so vibrant in metropolises around the world. It’s not, I hope, a language issue, though the communication is in English, an international language. (Could it be replaced by Chinese?) But because when people from all over the place get together on it, candles turn into dynamite. That said, I’m still pretty proud of my French Canadian background. It’s an unconditional identity.
What is it about China that you would take with you if you were to leave?
Virginie: Living in China has made me understand that Europe is not the center of the world (though I knew this in theory it is a very different thing to experience it). It has given me a bigger and more global approach and understanding about the world. Living here puts things in perspective and when I leave I hope to take all this with me. I will most probably leave before the end of the year to London.
Christine: Leave anger behind. Wow am I ever so very often angry here. But it’s the “don’t worry let the anger go” (suan le) that I think keeps them looking so young! Also sharing food. We do that in Quebec. Unconditional friendship. Pure joys. And like Virginie said, the very real experience of daily dealings with a numerous variant of rights and wrongs – culture shock.
What are your attitudes about working with people that are far-flung across earth? What are the drawbacks for you with this and what are the positives?
Virginie: The positive side is to have the opportunity to (virtually) meet many different people. Sometimes here I feel a little cut off from the rest of the world and writing to people in Europe or the States is a nice way to stay connected with home and my culture. The drawback is that I never get to physically meet most of the people and I prefer to work one on one rather than write emails. I guess I am not very 21st C in that sense but I prefer a more human approach to work.
Christine: If I could communicate with my “ayi”* (maid, dog baby-sitter, personal assistant) by email I would. I never have time to meet. I eagerly await the “beam me up” technology. I don’t see a difference between emailing Virginie (Beijing) and emailing Josh (Montreal).
What have you been doing to promote the magazine?
Virginie: We promoted the first issue during a big art festival here (Dashanzi International Art Festival-DIAF). We improvised some street theatre happenings. We also rented a small theatre for an afternoon and did some poetry readings/art performances. I also organized a debate open to the public in a book store. At present, unfortunately, we have done little promotion worldwide. I hope to distribute the mag in a few bookstores in London and Paris later this year. The upside about being in China is you can just improvise performances, something unthinkable in London or Paris.
Homonumos issue #1 The Norm
From issue #1, The Norm, The Drowning of Adolf Bliss (excerpt) by Joshua Hinck
Christine: The Norm no.1 came out during the month long DIAF performance. Broken Not Broken launched homà´numos at timezone8 (THE English language art bookshop in 798 and Beijing) The Subterranean Poets & the Beijing Actors Workshop joined effort, and it was an in and outdoor performance which gathered more people than any other street performance (they are forbidden or at least really controlled) I’ve seen in 7 years here. That is important because I wanted the first issue to be promoted with the creators who participated in homà´nunos. Bob Marccacci read/performed and so did you it was amazing because I wanted just that. To have those creators use homà´numos to get publicity. Lois and Seth recorded much of the performance. Lois put hers (pre pod and post prod) on her web site. During DIAF we had 8 shows in 5 weeks. Then I burned out. Falling asleep on my bicycle, on a red light, in the middle of 3rd ring road and Dongzhimen, with a sandwich in my mouth. So I had to slow down. Now we’ve decided to keep DIAF annually. We want to be at the Hong Kong art Festival in March so I’m working on it. Otherwise we have two blogs, main blog and other blog. We’re getting help on making it real. No.2 (Perspective) we had a show in France in December and January and were showcased as an art magazine amongst pretty well known and solid competitors in Bourges. (The Box. A presentation of doc**ents on contemporary art, magazines, reviews, websites, press releases) + works by Davide Bertocchi and Julia Varga From 18 December 2006 to 13 January 2007). Then I am entering the Biennale in Portugal, 2007. I aim to place homà´numos as a manifesto of cultural fusion and multicultural manifestation. Literature philosophy and science. Let’s see if they take our zine as a piece of art.
Have you been using and trying different promotional tactics in the various regions of the world?
Christine: We will have to. According on the different ways we are tagged as a publication. USA: avant-garde literature and poetry. Europe: art zine.
Could you tell me about the process an issue of the magazine will go through before it gets into the hands of the reader?
Virginie: First we select the texts and edit them. Once we have an idea of what will be published we start sending texts to the graphic designer. Even if it is not the finalized version she can start working on the layout. Once everything is ready we sit down w/ the graphic designer and finalize the layout. Then comes the printing which is a very long process here. We meet a couple of firms, negotiate prices and then decide where we will print. Complications about compatible software normally occur at this point. We first order a sample to make sure of color etc… if this is what we want then we print…
Christine: Even though homà´numos is mainly 2 people (I started the zine on my own, and Virginie joined in, Anna our art director is on contract), I still separate the files into departments: Department advertisers and sponsors, department blog and web, department coordination, department distribution, etc. etc. Promo is the wildest department because it contains our mission, our PR, our influences and our shows. If it were only one issue, it would be this: mission/theme, team recruit, call to authors, selection, layout, final selection, editorial credits, advertisers/sponsors, final layout, print etc, distribution, PR, mailing, visit to distributors, events PR, collecting money, refueling the zines at distribution point. Update on the blog. But then, it’s collecting money for the latest released issue, creating the issue coming out, and the call to authors for the next issue. It’s wild. Multi-tasking doesn’t even begin to explain it all. Then we have to consolidate our vision, me and Virginie, and move along to the next issue. By the way, topics just come in my mind. I write the editorial draft and then decide it’s going to be a good topic for the zine. Then I do some research on the topic to buff my letter from the editor. To avoid “peter de la broue!” (fart bubbles: being meaningless and boasting at the same time.)
The grasp, reach and attitude of this magazine and web-presence is definitely not meaningless nor bubbles of any kind.
Read part.1 of the interview.
- euphoreador -
contact me josh (at) indyish (dot) com
I thoroughly enjoy meeting and working with people that are doing something to bring the various faces facets of the human condition/experience to light. I like people that really take the extra steps to make what their ideas are into something tangible and real. Not just thinking that the ideas are the end but bringing those ides into the physically palpable. If you throw in a very eclectic and multidisciplinary approach as well, you’ve got something unique and very worth checking out, well you also have Homonumos. I wanted to get to the bottom of the magazine and to help it in the ways that I can. So I got in touch with the creator Christine Bellerose and the Editorialist Virginie Mangin.
…and an amazing friendship to Virginie. We met on a street corner for about 30 seconds. After one email. If this isn’t destiny…I’m loving homonumos. -Christine-
Homonumos cover #1 by Lydia Kibiuk
Human Unlimited by Christine Bellerose
How is your magazine different from others?
Virginie: The concept was to unite people from all backgrounds and from all humanities/arts, to have a sculptor for instance meet a scientist on a given subject, to break barriers most magazines have set themselves. The idea is to develop a worldwide network of people around the magazine. The mag is totally globalized and does not belong just to one city as most mags do.
Christine: It merges literature philosophy and science (applied, social, abstract). It is a platform to develop ideas
ted issues. And Chinese people famous for their art, portray a China that they haven’t suffered. I’m not saying we are the truth. I’m saying, multicultural is encompassing. And excluding the worth of what living in China does to my foreign head, transforming my perspective, yet still I keep my identity. This is a facet of “Asia” that is not media-cized at all.
Avant-garde in this way, is to go forward with coming out of the closet as an Asian-North America mind (Asian-European for Virginie). And it hasn’t been done before.
By using many different languages are you trying to gain a wider audience or what is the reason for this?
Virginie: There are several reasons. As I said writers come from all over the world and we wanted them to express themselves in their original language. A lot of the work i.e. the graphic texts, cannot be translated anyway. We try and offer when possible a translation in English as that is the common denominator so that a maximum of people understand the texts. This choice is in no way connected to gain a wider audience. Another reason is that the mag was launched in Beijing and our readership is mostly expatriates that come from all continents.
Christine: People think in a given language. Often the mother tongue. Since the magazine is about ideas, I’m looking for the essence of it. Not to shun translation. Translating prose and philosophy is an art.
I enjoyed your idea of the ‘pillars of truth‘ on your blogspot page, is this your personal philosophy and/or an excerpt from the magazine?
Christine: My brother Pierrot died a sudden death. To cope with (avoiding) grief I fabricated memories of our existence together. 8 years later my best friend Louise fought against cancer. While she was dying I had time to adapt to the finality of our relationship. In preparing for her death, I started to re-live my grief for Pierrot. Talking about it to my mother and Louise’s mother. I realized (without ever talking about it to my family) that I had manipulated the memories of my brother, those of us together, to attenuate the pain of the loss. I’m going to skip the details. But the only memory I can trust for a period of 16 years having anything to do with Pierrot are the pictures from our family album. I can only trust if they relate to a photo that I remember. Otherwise, my memories aren’t “true.”
Since we program our decisions based on experience, since we hurt in order not to repeat mistakes, since we learn from mistakes. Since our judgment is affected by the conclusion of our past adventures (a part is of course programmed by society-identity), then if the memory of my experience is X, I’m going to adopt X as a future behavior if experience X was satisfying. And not adopt X, rather take Z, if I didn’t like what X procured me. But what if X was in fact W, or L. Then I wouldn’t be living truly according to my experience. Still, my conviction wouldn’t be changed. This made me realize that pillars of truths are invisible, flexible, in temporal, multi-dimensional.
Living in a different culture, interpreting the other using my language to explain it, there’s no way in hell I can even come close to its reality. Like I said in my note from the editor (no.2, Perspective. The oak and the bamboo). “it depends”.
Trademark Face by Yiren
I Titled This Poem by Bob Marcacci
Do you find that having a publication that is distributed internationally makes it easier or harder to find interested people to purchase the magazines?
Virginie: At the moment it is harder : it is difficult/impossible to find advertising and distributors in Paris are not that interested in having a mag which is not all in French. (The French library in Beijing turned down selling our magazine. They didn’t like it.) But in the long run I think it will be easy to sell. There is something universal about the mag which is very appealing.
Christine: Funding is hard to find because I don’t have time to look for it. What Virginie says is true and incredible. Capitals who flaunt their multiculturalism are in fact quite stiff about mono-culture. Now that we have an ISSN number we can distribute through the internet. I’ll be setting up on Amazon and pay pal pretty soon. Those so far having invested in homonumos face similar difficulties as we do. My heart goes out of its way to thank them, for their support. We are, I repeat, we are looking for a generous patron of the arts. In return? I can dance one mean tango…
I think I got beside your question. International distribution is just higher postal fees.
As for buying, as soon as people flip through it, they buy it. More and more people ask to subscribe. No matter what language they speak (We average 6.5 languages per issues) It’s a matter of distribution.
Who is your readership?
Virginie: It is very large. Our international status and the variety of the articles means that most people can find at least one article they find of interest.
Christine: So far, in the USA it’s been academics and ‘real’ avant-garde poets from yonder years. In Canada it’s been environmentally friendly and socially-conscientious, well traveled hippies. In Europe we stand in the category of art magazines. New Zealand we’ve had interests from movie studios. In Beijing the clerks in bookshops view homonumos as a very tiny zine (A5) good for tea-coasters. And the shop owners see homonumos as a design magazine. One woman in Beijing called me to have information on tango after having read the Spanish essay (by a Chinese French writer) in the zine. She then wowed that she had in fact contacted the editor of homonumos, thinking she was contacting a link for tango dance in Beijing. She sent me the contacts of her French friend in Paris, of whom she suggested should write for homonumos.
We go around.
My goal is to reach writers.
My secret dream is to become a source of hypothesis for scientists. (oops, I admitted my secret unbashful dream)
Will you make all or part of your magazine’s content available in an online form?
Virginie: Yes. A website is ready.
Christine: Ready to go. Webmaster for homonumos is a position that has yet to be filled. I love what you have done with yours. What with sounds and pictures and everything. I also owe to some of our writers to post their non-print creation collaboration/parallel efforts on line.
Check back for part 2.
- euphoreador -
contact me josh (at) indyish (dot) com
The Assembly is an Indyish film and music relay that we ran for the first time from February 10-March 10th, 2007. Scriptwriters wrote short scripts from a rock opera piece, filmmakers shot the scripts, and musicians made the soundtracks, each having a week to do their part. We screened the films at Friendship Cove on March 10th with bands playing their soundtracks live.
The Scriptbook includes:
Writing by Jack Oatmon, Louis Pearson and Tu-Linh, Sylvia Rich, David Schultz and Pat Buckley, Roseanne Harvey and Anurag Dhir, Benjamin Shingler, Jonathan Stewart, Stephen Taylor
Illustrations by Beth Frey, Tyson Bodnarchuk, Pascaline Knight, Carl Ruttan, G Blott, Mirela Zdjelaric, Greg Ryan, One Neck, Timothy Kasper, Donna Davis, Jennifer Barrett
Plus info on Indyish, the Assembly Project, and Celtx (the collaborative scriptwriting program used throughout the project)
Cover is in colour and insides are black and white. Published in 2007 by Indyish with Creative Commons Attribution 2.5
This issue of Lickety Split features interviews with living legend Annie Sprinkle, photos of the lovely Seska, Rick Trembles interview, our first man-on-man action, lots of action in general, unearthed coming-of-age diary entries and much, much more! Also, follow the simple directions in the zine and download the accompanying podcast (care of Andrew Rose) to enhance your Lickety experience.
Lickety Split is a smut zine that comes out once or twice a year. Each long-awaited issue is a handcrafted/collaborative /pans**ual/s**-positive affair with s**y silk-screened covers: a total labour of love and lust.
Go to Lickety Split’s website for more info.
Hey everyone, the 3rd issue of Worn Fashion Journal is in! This recent installment brings the history of Bakelite, the styles of Weimar Germany, Jim Jarmusch, ROM curator Alexandra Palmer take on current vintage, bark cloth, and Montreal designer complexgeometries.
Subscriptions are for two years, cost $20 (Canadian) plus shipping (see side bar). If you are one of the first 100 subscribers, you will receive a random Lickety Split one-inch pin the first issue.
THIS IS NOT CANADA ONLY!!! Please pick your shipping details when you place your order
Subscriptions will begin with the next issue following your purchase. Until then, you can order back issues here on Indyish. Please note that our printing schedule is a bit sporadic, but guaranteed twice a year. Thanks in advance for supporting indie publishing and d.i.y. smut!
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