Magnises

Right now, RL Grime is on top of the game, having produced some of the industry’s most original and refined re-mixes for Benny Benassi, Chief Keef, Shlohmo, and Jamie Lidell. His sound is darkly seductive, covering the entire spectrum of electronic music: one second he’s melding elements of acid-trap and dub-step with breakbeat builds, crooning pop samples, and trancey flourishes, and the next he’s getting totally funky with low-key screaming and synethesizers hyperventilating like airplane turbines. It’s taken the better half of a decade for the LA native to craft such a distinct and recognizable sound, and subsequently become one of the most sought-after names on the electronic music circuit. Currently on tour promoting his debut album, VOID, themed to deep sea claustrophobia, we called him up to discuss the rave scene, the artistic process, and the similarities between DJing and sex.

M: What are some of the secrets to making a great remix? I like remixes that display the artist’s own style and have a lot of their own element, not just reconfigurations of the same track. It’s more of putting your own touch to it so it sounds like there’s a common line between all the work you put out. I think finding your own style to a remix is the most important thing.

M: Nowadays, everyone has a laptop and everyone wants to DJ clubs and they want to put out tracks. In a marketplace that’s become so diluted, how does an artist such as yourself stand out amidst all the noise and create music that is both original and palatable? I’ve been doing this for a while now. I first started making music back in 2009 and I’ve only been happy with the music I’ve made in the last couple years. It’s been a long time developing my own sound and voice. I think it’s a process of time and once you finally groove it comes pretty naturally.

M: When do you think you first started coming into your own element? Winter of 2011 was when I first started getting really happy with the stuff I was making. There was emotion and identity behind my projects.

M: You went to Northeastern and NYU for college. How did going away from California to these institutions on the East Coast infuse into your foundational approach to creating music? I think it totally changed the way I was listening to music and making music. Growing up in L.A., raves and big electronic music festivals were so accessible, even when I was in tenth and eleventh grade. So I was able to go see Justice and MSTRKRFT and all of those guys in very intimate venues and very early on. I think I was exposed to clubs at a very young age, but moving to New York kind of presented a different way of looking at things because I was meeting new people and listening to all this new music and it was changing the way I was creating.

M: How so? I was exposed to all this new electronic music. I was hanging out with Shlohmo and Groundislava and all those guys. Just hearing their music and hearing what they’re into, we all sort of had very similar influences very early on. It was just cool to vibe with people who had similar vision.

M: Who then were your influences? Like I said, I still really, really love Justice. Their first album definitely changed my life; just listening to it, I’d never heard anything like it. I was really into Crookers, and Boys Noize was a really huge influence. Nowadays, it’s more the down tempo stuff that’s influencing me, a lot of slow R&B. I’ve been getting more influenced by a lot of rap stuff.

M: There’s definitely been a resurgence of higher production value in rap that goes hand and hand with a lot of contemporary electronic music. Oh, yeah. It’s cool to see because nowadays whenever you see a new track, it’s the rapper, the title, and who it’s produced by. It wasn’t always like that and it’s really cool to see producers shining now, especially in rap music.

M: What are your thoughts on the current electronic music and rave scene? It definitely has been over-saturated. Like I said, I’ve been pretending, or being a part of these shows for six years now. I feel like I see a lot of the same names on the lineups. I feel like people are getting burnt out of seeing the same thing over and over, but a lot of festivals get the big names but really make an effort to let more of these unknown guys shine. That’s something that’s going to become more important in the festival world: booking new talent.

M: In regards to the commodification and monopoly of the electronic music industry, how do you think America ranks against other countries in Europe? For two decades European techno was considered light-years ahead of America, and still today maintains more of a cultish club vibe to it. America’s electronic music continues to remain rooted in capitalism and whatever is trendy at the time. I think that’s always going to happen though. Even in the hair metal era, there’s always been rock stars and I think in America that’s bound to happen with such a big industry. But even in Europe, it’s becoming more like that now. A lot of people are trying to keep the underground alive out there, but especially in Holland there are all these Dutch DJs who are icons out there and it’s the same way in America.

M: What’s been your favorite venue to play? I really like U Street Music Hall in D.C. It’s always a good party there. I like how dark it is and that it’s underground and very intimate. That’s a great club.

M: Tell me a little bit about your debut album, Void. It’s featuring a few artists who I’ve been a big fan of. It has How to Dress Well, Boys Noize, and Big Sean. It has 12 tracks. 

M: How does Void differ from what you’ve done previously? A lot of the tracks are things I’ve always wanted to make, but have never had the proper format to put them out. I’d make an interlude or a ballad that wouldn’t make much sense if I put it out on SoundCloud. It would have no context, but since I was doing an album I was able to try some stuff I’ve always wanted and have it in the proper album context so it makes sense.

M: What’s the album’s theme? When I was thinking about the album, it was all based on a lot visual identity stuff, which I worked with my art director with. The theme is deep sea and deep sea creatures. I really like the whole aesthetics of deep sea stuff so I tried to make an album that lives in that world. So it’s dark and there are moments of beauty and emotion. It’s definitely a dark chord that the album has.

Some snapshots of our members living large at our beautiful new penthouse space at Hotel on Rivington! 

We celebrated this past Fourth of July weekend in true American fashion, enjoying the fruits of our labor throughout the pristine beaches of Montauk, knocking back cold ones and networking with Manhattan’s leading influencers.

On Thursday, our friends Ben Watts and Rassi Mazdack threw a once-in-a-lifetime blowout at Gurney’s with Milk Studios. Dubbed Shark Attack, this party was like something torn straight from the imaginations of Leonardo DiCaprio and Yves Saint Laurent. Thousands of young, beautiful socialites flocked to the resort’s beachfront as DJ Cash, Ollie Benz, and Zen Freeman all spun sets, working the crowd late into the night. A dozen or so Magnises members rolled through and sipped Coronas as the sun set over the ocean. But Ben and Rassi didn’t just stop there; they also busted out smoke-machine guns before sending hundreds of inflatable sharks flying into the audience. When the party ended with Journey’s Don’t Stop Believin,’ synced to dozens of fireworks, everyone lost their minds and welcomed in the weekend with laughter and applause. Afterwards, everyone swarmed the upper decks of Gurney’s for the official after party, before scattering to various bars throughout the area.

The next day, Montauk’s Surf Lodge debuted an art installation by the infamous Ron English. Ron’s work can currently be seen on the mural by E Houston Street, for all our members looking to check out some art in the Lower East Side after an evening at the penthouse. Curated by Red’s sunglass wear, these pieces drew inspiration from Warhol and played with darker themes within contemporary pop culture. Floral deer, Charlie Brown bursting out skeletons, and the incredible Hulk as a baby were just a few eye-popping sculptures that will surely stick with us. Later in the evening, The Growlers performed outside, a beautiful orange sunset falling behind their stage. Guests sipped Bacardi out of coconuts and partied at Surf Lodge until 4:00 in the morning.

Both of these evenings were decadent, but it was the festivities on July 4th that really tied everything together. At Gurney’s, Magnises members attended Bacardi’s Limonade Beach Party, sipping on complimentary cocktails all afternoon as DJ Mel Debarge spun sets. Afterwards, attendees dipped out to Surf Lodge and enjoyed a performance by EDM artist Chromeo. Throughout Montauk, fireworks erupted en masse, with Manhattanites and locals lighting beachside bonfires to welcome in another year of American sovereignty. This was one for the books. Until next year gang!  

When you walk through the doors of the Javits Center into The Summer Fancy Food Show, you enter a culinary void filled with food from every imaginable corner of Earth. It’s a breathtaking experience, and in many senses, an existential one: over 2,4000 exhibitors representing over fifty countries are packed tightly together, stretching for several miles across the convention center.

For over sixty years, The Summer Fancy Food Show has debuted some of the industry’s hottest culinary trends years before they hit the market. The convention has also helped launch such brands as Popchips, Honest Tea, and Ben and Jerry’s Ice Cream. Quite an impressive portfolio, especially given the influence each company has had on the industry as a whole. It only makes sense that we’d venture into the heart of the beast to give our members a taste of what the food industry has up its sleeve for the next few years.  

For starters, healthy eating took precedence this year, with many companies boasting alternative snacks marketed towards millennials’ adventurous palates. Chips made from quinoa, lentils, and chickpeas were scattered about the lower levels of the convention center, and are sure to grace the shelves of Whole Foods and Trader Joes come 2016. The entrepreneurs behind Pip Snacks, who you may recognize from last season’s Shark Tank, swept the award banquet, eliciting a visit from celebrity investor Barbara Corcoran.

Artisanal cheeses covered much of the top floor, primarily Midwestern and New England start-up brands. But it was California’s Point Reyes Farmstead Cheese Co. who earned the Specialty Food Association’s Gold sofi Award, dominating the competition for the third year in a row. 

Caramels were also a hot ticket item this year. In the past, they’ve mostly been limited to stale, Halloween candies delivered in bulk to waiting rooms across America. But this year saw a creative resurgence with the iconic treat, most notably through Vermont companies. Big Picture Farm, a small dairy in Townshend, infused raspberry rhubarb into goat milk caramels, winning them the gold for outstanding new product (the farm also puts out killer Goat Milk Chai Caramels). It should come as no surprise that several other Vermont companies lead the way with signature maple syrup-based products, one being bottled maple water.

All in all, bold flavors really were what defined this year’s Fancy Food Show, with many artisanal food start-ups infusing eccentric ingredients into traditional plates. Spreadable bacon from Philadelphia, wine ice cream, and iodized truffle salt were just a few products we added to our swag-bags, with many pieces of Korean candy to boot. Other notable trends included beets (seen in countless salsa, hummus, and snack bars), ethnic inspired convenience food (everything from Greek vegetable moussaka to Indian samosas is getting the microwave treatment nowadays for easy eating and storage), and exotic cocktails (mezcal being the standout). Without a doubt, this year’s festival was a flavorful cornucopia of food and culinary delight. Aromas of barbequed steak and sausage, cooked by legendary influencers like George Foreman and Guy Fieri wafted throughout the upper levels, as fingertips below exchanged tasting glasses of fine Italian red wines. It was a wonderful three days and we were honored to experience the very best of what the food industry’s cooking up.

This first month of summer, we had a blast with our new friends at Hotel on Rivington. We’ve entertained our members at weekly parties in the penthouse space, glasses of champagne glistening during evening sunsets. After events, we all descend upon Rivington Street to flock to our favorite local restaurants throughout the Lower East Side. Whether it’s the ultra sleek halls of Beauty and Essex or our very own Co-Op, we’ve all been enjoying late nights of camaraderie and fine dining. Here are some of our favorite community restaurant spots, as chosen by our staff and members. Enjoy!

  “Mission Chinese is the ultimate expression of why the New York culinary scene is the best in the world. Danny Bowein's whimsical "avant-garde" approach to fusion cuisine is genius. Brisket and Broccoli and Kung-Pao Pastrami is a must have.”

-Grant M. (VP of Branding & Marketing at Magnises)

“Sweet Chick is an extraordinary experience when it comes to chicken and waffles. Treating the palate to a new take on a classic with Buffalo/Blue Cheese, General Tso, and Chicken and Waffle Sandwich. They are not shy on pushing the limit on an old classic with drinks that don’t disappoint.”

-Ryan Y. (Magnises member & Founder and CEO at Young Palate)

“Momofuku Ramen has the best ramen and pork buns in Manhattan. Don’t listen to people who tell you otherwise: they’re wrong.”

-Naffi L. (Magnises member)

“Supper, Frank, Lil' Frankies, and Sauce are all within walking distance of Hotel on Rivington and feature exceptional old school rustic Italian dishes, with signature style wood fired pizza and homemade pastas. They’re all owned by Frank Prisizano, a thrill-seeker and eccentric with a legendary Instagram account to boot.”

-Caroline P. (Community Manager at Magnises)

“Galli Restaurant has amazing arancini and rigatoni bolognese. I love the outdoor seating, which is especially useful for people watching at night. On a slightly different note, Barrio Chino on Broome street boasts the best margarita I've ever had. Go for the watermelon or hibiscus ones!”

-Allie Z. (Marketing Manager at Magnises)

“Hotel Chantelle is a gem within the Lower East Side. I came here for the launch of Sunday Lobster Night. Good-looking crowd, great atmosphere on the rooftop, perfect place to unwind and prepare for the week ahead.  For lobster night, you can order the Lobster boil, which comes with lobster, mussels, clams, and potatoes all cooked together. The lobster was buttery, and seasoned lightly.  Everything else was just as good. I paired my dinner with a glass of white chardonnay and a vodka pineapple. After 11 p.m., the DJ downstairs plays some awesome music for an early 20's crowd.”

-Pergrin P. (Magnises Member & Director of Sales at Rational Enterprise)

“Dudleys is a great Australian restaurant with a variety of trendy dishes including smashed avocado, burrata, and roasted brussel sprouts. It’s a pleasant atmosphere with some terrific outdoor seating for the summer season. Great spot for breakfast lunch and dinner.”

-Arielle N. (Star Intern at Magnises)

“After a long day of work, I like to post up at Beauty and Essex and unwind with a glass of Bordeaux paired with chicken meatballs and lobster tacos as house music echoes all around me… monologues blasting through my head about time and the nature of life and death. But then the oysters arrive and I forget what it means to be human altogether, suffering an identity crisis as I try to comprehend the Angel Dust melting in my mouth.”

-Davis R. (Head of Content at Magnises)

Let’s be honest: craft beers taste delicious and also make a statement about what kind of drinker you are. A Rodenbach Original inspires images of polite fireside discourse, while an Allagash Curieux hints at an outgoing character. Craft breweries are also popping up left and right, with our favorite drinking spots offering a plethora of expertly crafted brews. Recently, we’ve been working with our favorite companies to give our community a taste of the very best beers out there on the market.

This past Saturday, we partnered with our friends over at Tail Bus to provide members a round-way bus trip to Blue Point Brewery’s Boatyard Bash and Music Festival. Guests enjoyed complimentary mimosas and LIQS Cocktail shots there and back, and definitely drank their fair share of Blue Points at the festival. What better way to kill an afternoon than taking in live music in good company, drinking some of the finest craft beers in the northeast?

That same day, Magnises Head of Content, Davis Richardson, took a plane from LaGuardia to Michigan, to check out the annual Founders Fest. Hosted by Founders Brewery, Founders Fest is a legendary beer festival in Grand Rapids where thousands of attendees are treated to craft beers that haven’t hit the market yet. Davis received a backstage tour of the actual brewery from the company’s co-founder, Dave Engbers, getting a firsthand peak at some of the newest production facilities in the works. By next year, the company is planning on shipping out over a million barrels of their signature beer, with most being Founders session IPA.

Tomorrow, we have a networking happy hour over at our new neighbor, No Fun. On Thursday, we’re following this up with a beer tasting at Viktor and Spoils in Hotel on Rivington. Cory Bonfiglio of Proletariat, a hidden East Village bar known for its truly exceptional craft beer selection, will lead us through a tasting of four different microbrews paired with hors d’oeuvres. So far, we couldn’t have asked for a better summer: we’ve all been enjoying beautiful skies, warm weather, and of course, some of the finest craft beer in all of North America. Cheers guys!

When he’s not working as Head of Strategic Partnerships at Breather, Magnises member Lee Moulton is helping rebuild war-torn countries through his nonprofit organization, Youth Action International. He’s also a regular at our penthouse who loves exploring the best NYC has to offer. We sat down with Lee to discuss his involvement with Breather, his nonprofit, and Magnises. If you see him around, make sure to say hello and find out ways to get involved with Youth Action! 

M: How did you get involved with Breather?

After working at Goldman Sachs for almost six years, I decided that is was time for me to try something new. I had always been interested in joining a start-up that was trying to solve a problem that I believed in. At Breather, they were looking for someone to source and structure partnerships with the real estate community. I had sales and business development experience so it seemed like a perfect fit. I also thought the app was beautifully designed and the spaces were something I would enjoy using.

M: Describe your key to success in one word.

Relentlessness. You have to be able to face hurdles and road blocks and keep pushing, keep growing and keep learning. If you just keep going and keep trying and pushing towards your goal, success will surely come.

M: What do you consider your greatest achievement?

To date, my greatest achievement has been being a Founding Board Member at Youth Action International, a humanitarian non-profit that I helped create while in college at Amherst. Youth Action International's mission is to help rebuild war-torn African countries by engaging and mobilizing young people to take a stand against violence and war.  We recently celebrated our tenth year of operation. To date, 100,000 youth benefit from YAI’s youth empowerment programs, 10,000 pre-primary school children receive education materials through YAI’s early childhood development initiatives and 800 single mothers have received micro-loans to build local businesses and trades. I am very proud of what we have accomplished and looking forward to doing much more in future.

M: If you could go back in time, what advice would you give yourself 5 years ago? 

Trust your instincts more and be fearless. I didn't trust my instincts and was way to eager to please others around me. I would tell my younger self to take more risks and make more mistakes and trust that it will all work out in the end.

M: What’s your best-kept secret in NYC?

The rooftop of the Liberty Hotel in Midtown. No one seems to know about it but it has a cozy feel with a beautiful classic design. They have great cocktails and a friendly staff. Perfect summer hideaway for drinks and entertaining friends in the city.

M: If you were a professional athlete, what would your walk up/out song be?

The Show Goes On by Lupe Fiasco from his Lasers Album. That song just gets me focused!

M: If you could trade places with someone for the day, who would it be?

I would love to know what it is like to be Tom Brady. The guy seems to have the perfect life!

M: What’s your favorite part about being a Magnises member?  

The Restaurant Perks. There are so many choices of where to dine and grab drinks in New York City, with new options cropping up every day it seems. I really enjoy having a curated list of places that Magnises has structured relationships with that I know will be a quality experience. Even though I don't have the most refined dining tastes, Magnises does, and so I don't have to worry about it.

Backstage in a converted dressing room at Montauk’s Surf Lodge, Wayne Coyne is wearing a gray T-shirt with pants made out of neon duck tape and Hawaiian flowers draped around his neck. Not even 15 minutes ago, the Flaming Lips frontman was skedaddling around the venue clutching enormous inflatable rainbows from Miley Cyrus’ Bangerz tour, avoiding anyone trying to speak with him. Totally scatterbrained, Wayne’s pushed back our interview three times for sound check purposes and I’m starting to wonder if traveling all the way up here from Manhattan was a mistake.          

Just as we’re about to get started, someone from Surf Lodge rushes over. “We need to gift him the guitar first.” My PR contact, a promoter who once rolled with the likes of Bret Easton Ellis and Jay McInerney, tries to intervene, but it’s evident this photo-op trumps all.        

“I thought I was getting the red one,” quips Wayne as he’s gifted an all black D’Angelico, numerous bottles of Stella and Jack Daniels scattered on a table behind him. Everyone glances at one another, not sure how to respond, before the resort’s concierge smiles and takes the red one off the wall, handing it to Wayne with a flourish.

“Much better,” he smiles, fingering the instrument’s strings with his thumb. Later in the evening, Wayne will perform in front of hundreds of young Manhattan socialites, the sun setting behind him as giant chromatic balloons reading “F*#@ Yeah Montauk” sway in the wind. He will sing happy birthday to a seven-year-old girl, hold a turtle towards the sky like baby Simba, and dawn the infamous inflatable bubble he once used to crowd surf over thousands of concert-goers in Central Park.

But for now, he turns towards me and grins.

“All set?” the iconoclast asks, leading us outside to discuss God and Miley Cyrus, the ocean sparkling in the distance.

M: What do you think of Montauk so far?

Well, I’ve been to places like this. Have you ever been to Hangout Festival? The one on the Gulf Shore? There are a lot of party, festival things that happen on beaches; people love beaches in the summer.

M: Of course. We were in Seaside Heights last night and it gets chilly in the evening. Down in, say, Houston and Galveston and Alabama and shit, it’s hot. At four in the morning you’re still out there…

M: Sweating. Yeah. It’s a little bit more that you party and not worry about it as much. Here, it gets kind of chilly, for me, but it’s certainly beautiful.

M: Where does a song come from? I think it changed over time. Technology and shifts in the industry have helped us along. When we started in 1983, we didn’t really know how to write songs; we would read things and we would ask people and we would play chords trying to figure out melodies. It wasn’t too long after that we got recording devices, these little four-track things you could do at home. I don’t see how anyone, unless you’re an absolutely perfect memory writer, would remember all the little nuances that you come up. You have to be able to record. Now, when we’re at home, we probably record every day. The way I would describe it is that we come up with really cool sounds and then just put words to it.

M: You mentioned music’s evolution and the way it’s changed. Yeah, but I think to people who love music, all that stuff just helps you. For me, I’m not really a musician. All these beats and new sounds, are fucking cool. There’s definitely emotional music [where it would be] difficult if you didn’t have some understanding of composition.

M: Would you say the messages in your music have changed alongside the shifts in how it’s made? When we went to make The Soft Bulletin in 1997, that was the first time we were recording where a computer could remember all these little nuanced moves with E cues and panning directions and all that. I think that really helped us because I think we had gotten pretty frustrated. At the end of that time, there would sometimes be five or six of us on the mixing desk, all with our share of faders. I remember we counted, with the song “Unconsciously Screaming” in 1989, we mixed that over 200 times. You reach a point where if someone fucks it up on the 150th time, it’s like, “Godamnit.” I think if we kept having to do it that way we would lose our minds out of frustration.

M: Right. But what about in terms of the messages you were communicating? In the same way, because it got, not easier, but less time and energy being spent, we were freed up. I think with us, and with most artists, we don’t have an agenda with what we’re going to do. The best thing to do is to just do a bunch of stuff, knowing the trueness of what you are will come out. I think if you’re lucky, like I am, you’ll have people who will listen to what you’re doing and will have some kind of judgment on whether it’s cool, interesting, or boring. When you’re doing it yourself, I don’t think you really know; there are so many things you’re doing subconsciously. Singers don’t know; they come into the same place every time with their songs and jump to the same intervals, without even realizing it because there are so many things they do naturally. So for me, to always be writing with Steven [Drozd], it’s great because he has this unlimited perspective wherein I have somewhat of a limited one. I think it’s a great combination, but I’m always listening to what he’s doing and he’s always listening to what I’m doing. Of course, there are other layers of people that you can tell are either excited or bored. You just play it for your friends and if they’re like, “That’s great… let’s go party,” you’re like, “Fuck, they didn’t like that one.” [Laughs] Nobody ever wants to tell you they didn’t like it, but you try to gage where they’re at with it.  

M: How are the responses when you try out experimental stuff? I think that’s probably the thing we get the most joy out of, but the audience gets the most hell out of. I always make it a food analogy: people want shit to taste good and have a good texture, and if you’re fucking around all the time they’re going to stop [wanting it]. I think some bands and some artists stumble upon a thing and they just like to do it. For me, I don’t look at it is a good thing really; I get bored doing the same thing after a while and will want to try something else.

M: You obviously incorporate this type of thinking into your live shows as well.

We do it as much as we can. At the end of the day, I think you’re slightly confined to being a band up there singing your songs.

M: But you do it, and incredibly well. Even with tonight, you have all these gorgeous inflatable props and gorgeous set pieces. Thank you very much! Well, we like all that stuff. It would be torture if we were obligated to do this thing we didn’t want to do and not enjoying it. We just really love it. If you come to our house, you’ll see it’s how we live. I think that’s really the true secret to everyone’s super power; if you love it, you can just do it and do it and do it. But if you don’t, then you’re always looking for a reason to get out. You need to get off on it. Once you get off on it, others get off on it and it’s like this collective drive.

M: What’s your fascination with psychedelia? I think it’s open to everything, you know? Everybody’s influenced by stuff, and as much as we try to do our own thing, certain bands got zapped into us, bands like Pink Floyd and the Beatles. Part of it is that they’re singing a true emotional thing. If you have a desire to do that, and you’re not able to do that in music, you do it in painting or something else; you find a way to do it. For us, it’s psychedelia, but it’s more that it allows us to get to an emotional understanding. I think the things we like the best are the things that go to some unspeakable human emotion. Music has a way of crescendoing. If we get to do that, we’re more satisfied than if we hadn’t.

M: Are you talking about some deeper, spiritual truth? Not all the time. I think every fifth song or so should be from your heart, whatever that is.

M: Over the years, you’ve also been involved with a number of films. What are some similarities between the artistic processes of creating music and film? I think film, depending on what scale you’re doing it on, is too collaborative. It’s the most collaborative, but it also demands that someone is the dictator. There’s one dude who says, “Fucking do it again,” and they have the absolute say. It’s hard for everybody to see the big picture. Whereas when you’re doing music, everyone can hear if it’s working or not working and it’s everyone together. A filmmaker who has a vision and is dealing with writing, editing, acting, and special effects… I think it’s impossible. I don’t know why anyone would want to just make films, unless they’re your own and you’re driven to do it. The things I do, I just do it because it’s my shit. I don’t think I’d really do it for anyone else. I’m making music with Miley Cyrus but we’re kind of making our own music together. She’s helping me make Flaming Lips music, more than I think I’m helping her do Miley Cyrus music. I just do so much stuff. It’s like, if you were around me we’d mow the lawn, we’d do some music, we’d go to the store. [Laughs]

M: How did you two even start working together? 

I sort of knew, even from her late Hannah Montana years, we knew she was a fan. She comes from a really musical bunch of people. We would become aware she was a fan because she would tweet songs of ours. I think it was after the time she did the twerking on the VMAs, we became a lot more interested in each other. She seemed smart, crazy, and we really liking some of our songs. We weren’t letting her know, but when people asked me—I think this was around the end of 2013—who I liked, I would always say, “I fucking love Miley.” I didn’t even know her; I just thought she was so badass, honest, and fun than all the other mega-stuff that was going on. I think she probably knew that if she said hey to me, I would say hi back. I knew that she liked our music and she knew that we liked hers.

M: What was the collaboration process like with her? It depends. Sometimes I’m always writing songs and some of them I’m thinking, “Nope… this is going to be for her and we’ll have a little bit of it while getting her to sing on it.” I’ll usually come in with things as ready as I can, to say, “Here’s stuff and here’s melodies for you to sing.” But she’s very proactive and will sometimes say, “I don’t like those words.” Then she’ll change them into her own words and do her own versions of the melodies, just so we’re doing stuff. It’s impossible to sit down with people and tell them to make something up on the spot. It’s as collaborative as you would want it to be. Any more than that and you’d just be sitting next to someone while they think of ideas. I work probably every day honing things down and changing little things. It’s not really a production, but it’s building on the ideas we’re going for.

Last time we were out there, we had a song where we already wrote the lyrics and she was just re-singing and doing layers of harmonies off that. And there was a part of it that we simply just made up. We had a melody and fucked around for a couple hours working and changing the lyrics and putting things down. Now that we have it, we’ll change it because we really know where the little nuances are. There’s really not any way; some of it’s just dumb luck. You’ll be working on one thing and these things that you thought you were doing for one song turn into another song. It’s a lot like if you’re doing a sketch. If you’re sitting there drawing something with no agenda, it eventually starts to go a certain way and you just follow it. If you came in one morning and we were working on a song, you may come back in the evening and be like, “What the fuck happened with the song?” We just got on something else. We’re not really set to do anything, we just do what’s cool in the moment. But she’s really badass. If you say, “We’re going to go sing,” then she’ll sing all night. She’ll party and sing. She likes singing most and then she likes to party. You get both of those together and it’s pretty great.

Two questions left. They’re both pretty heavy hitters. Oh, good. [Laughs]

Do you believe in God? Not the way I think normal, gay-hating, religious people would want there to be a set truth out there. I think when we talk about what I think people refer to as God, they mean nature and the universe. It’s very difficult to know what that does to you. But I think as I’ve gotten older, I’ve accepted some ways that I am and tried to change some. I think when we were growing up, even though we went to church, my mother always stressed the importance of finding out shit for yourself. We were lucky that it was like that.

God, as defined through nature. I think that’s really what God is, if you’re open to experiences and if you’re searching for the truth. But if you’re not and just want to know all the answers, that’s why people gravitate towards the Bible and all those things. But my life hasn’t been very difficult. My parents didn’t die when I was six years old so I can’t speak for someone who had that happen to them. I think if believing in a God or a Jesus gets you through that, by all means do, so long as you don’t hurt anybody.

Final question for you. It’s heavy.

I don’t think they’re heavy. I think they’re great!

What do you want as your legacy? I don’t care. You know what I mean? A long time ago, we stopped worrying what people thought of us because life’s just too short. When people started getting tattoos in the mid-80s, my first response was that our records are our tattoos. They live longer and more than we can ever speak for. I think when you make music and stuff, if you’re lucky, something gives you some feedback as to the way you’re perceived in the world. I think even with our song “Do You Realize?,” it’s better than we deserve. It speaks to people in a way that none of us could have ever crafted and done. Sometimes, just through sheer popularity, something has more power. I think if that had happened to us when we were younger, it wouldn’t have been real somehow. We get to sing it and be the ones who said that in the world. It’s a powerful thing. I run into people all the time, even today, who tell me that it had been played at their brother’s funeral. If you’re lucky, that’s the only brother who dies, but it’s still a big deal.

It’s powerful to be associated with something that heavy in someone’s life. It’s an honor, really. It is. When you hear something in a song and you feel like it’s helping you and getting you through, it’s like, man. And to just have a couple of our songs that have done that for people is humbling. Luckily, we don’t know how to do that. We just write songs and do what we like. As it goes, maybe we’ll get a couple more, but who knows. I don’t think about it too much.

Interview conducted by Magnises Head of Content, Davis Richardson

This past Tuesday, master photographer Ben Watts debuted a bold collection of photographs at Milk Studios. The exhibit, titled Montauk Dreaming, featured a portfolio of beautiful models shot throughout the upper tip of the Hamptons. “It’s close to New York, the best city in the world, and it’s the best resort town in the world, in my opinion. I went there at night and woke up in paradise,” laughed Watts when we caught up with him at the show. Guests enjoyed complimentary drinks, as well as a DJ set by Chelsea Leyland. Afterwards, everyone dipped out to an after-party at Edition Hotel, where Scott Lipps and Jus Ske made appearances. Other notable guests included Dianne Van Furstenberg, Thierry Guetta, Anja Rubik, and the Winklevoss twins.

Once the pupil, Leigh Whannell is now the undisputed master of horror. After conceptualizing, writing, and starring in the entire Saw franchise, the aficionado would later go on to create Dead Silence and Insidious. Quite an impressive portfolio, considering many of these titles are some of the most iconic horror films produced in the past two decades. Leigh treats horror as a forgotten art, digging deep into the crevices of his mind for stories involving paranormal elements and intense psychological manipulation. Every time, he delivers in giving us something unexpected and utterly terrifying.

His newest flick Insidious: Chapter 3, marks his directorial debut. It’s a fun supernatural thriller that acts as a prequel to the Insidious franchise, taking viewers on an emotional rollercoaster as a young teenager, played by the coy Stefanie Scott, is plagued by a demon from Hell following the death of her mother. We caught up with Whannell to discuss filmmaking in Hollywood and the challenges of making a great horror movie.  

M: Previously, the Insidious franchise had been handled by a different director. What goes through your head when you’re taking over something that someone else already has worked with?

Well, I know James [Wan] very well, so I felt like I knew a lot of the thought processes that went into his decision-making. I felt really comfortable with that. I also wrote the first two films that gave me a suitable authority over the world. So, I didn’t really have a lack of confidence going into this particular world. I think taking over the Batman franchise, I would have been shitting bricks, but with Insidious, I had the confidence to board the ship and know that whatever decision I made was the right decision-- you know? Really, the only thing that was going through my head during the making of the film was making a new film. I put all my energy towards that. I tried not to focus on what James would have done or what the fans wanted to see. I just wanted to make a great stand-alone film.

M: How do you go about making a great horror movie? What is the thought process involved in making a great stand-alone like you’re talking about?

Being mysterious is what makes a great horror film. There’s really not an exact science; it’s a little more ethereal than that. All I can do is make it original and unexpected. You want the audience to think they know what’s going to happen and then flip that world on them so they’re terrified. It’s the scares that come from behind, the ones that sneak up on them -- that’s what I’m always aiming for. It also needs to be original. Horror fans are starved for originality a lot of the time because the genre seems to be a genre that eats itself. It goes in circles and regurgitates itself. It’s a strange little corner of the filmmaking world. I try to make things better and original in a sense that people will go out saying, “Wow, I’ve never seen that before!”

M: As you said, with a lot of horror movies, most of them seem regurgitated. Why is this the case?

I don’t know, I think horror as a genre has been marginalized for a long time. I think in the home video era from the early 80s through the mid 90s it was a genre that was produced a bit cheaply. It led to a lot of slasher movies that everybody referred to as “B-movies” and it became marginalized. There was a time in the 70s where horror films were taken very seriously and one of them was even nominated for best picture, so it wasn’t always that way, but somewhere along the way the genre got cheapened. I think a lot of people have made horror films that don’t really care about the genre. What I’m seeing now are directors coming into horror who really love and respect the genre. They have a huge knowledge of it and a lot of respect for it; respect is really where great films start. You can’t make a great film unless you respect the genre you’re working in. I’m seeing that more and more, so I’m actually really excited about the future of the genre.

M: To some extent then we are seeing a return back to that type of filmmaking, but what else do you think Hollywood needs to change with horror films?

I’m not sure it’s Hollywood that needs to change. I think it’s the filmmakers that need to change. The more great horror films that get made, the more Hollywood will take the genre seriously and the more other filmmakers will be attracted to it. I think it’s just going to take a whole bunch of filmmakers making these great films. If I think of someone like Adam Wingard who’s made films like The Guest and You’re Next and is such a fan of the genre, he really takes it seriously and makes very artful films. When I watch something like The Guest I can see the artfulness and the thoughtfulness that’s gone into it. Then I watch a film like It Follows and I see the thought and the artistry behind it. I really want to keep seeing that! I want to keep seeing that kind of artistry. If that keeps happening, that will be the thing that changes everything.

M: How do you think that someone could take lessons applied to directing drama, and apply them to horror?

I think the lessons of a horror film or the lessons of any film are that you want it to be engaging. Maybe the one particular element that you would take across to a drama if you had directed horror films previously and were moving into the drama world, I think you would have this in-built metronome that lets you know when a stab of excitement of excitement or drama or conflict should happen so it would maybe keep you on your toes in terms of conflict. Even if you’re dealing with a husband and wife arguing about the bills you can still approach it with that same visceral sense of filmmaking that a horror filmmaker would. The sense of being caught off guard of the unexpected happening at the wrong moment, it doesn’t necessarily need to be a demon popping out from behind the bed. It could be a husband picking up a dish and throwing it at the wall and suddenly shattering the atmosphere of a home. That is something that you can take into any genre that you can learn from horror.

M: Taking something smaller things, and making them over the top

Yes, exactly! There’s a real rhythm to horror and I think you can take that to a lot of different genres. It becomes ingrained in you, that rhythm. And, I think it’s valuable to any type of film.

M: What horror movies were you favorite growing up that still resonate with you?

I loved American Werewolf in London. I didn’t get interested in hard-core horror films until later in high school when the local bad kid at my school introduced me to Friday the 13th and Hellraiser. But I think the horror film that stuck with me the longest, if we’re talking pure longevity would be Jaws. I must have seen that when I was like 5 or 6 years old. To this day, it resonates with me; when I’m swimming in the ocean, my subconscious drifts back to this movie. So, I think I have to give Jaws the trophy for longevity.

M: Horror is a bit harder to get into, but many filmmakers owe a lot to horror. How do you think that more people could get into the genre? What is the type of thing that makes it not that approachable?

I think a lot of people view horror as this cheap, tawdry genre and that it doesn’t rise to the grandness or occasion of drama or even sci-fi or action. It seems to be a genre that people are dismissive of in the same way that people are dismissive of heavy metal music. There are all these genres of music that are thought of as important and you know heavy metal is thought of as just this frivolous meat headed genre that is purely the pluck around of adolescent boys. But that’s not true, both for heavy metal and horror films; there’s a range of stuff being made. I look at the horror genre as a huge tree, and each branch represents a sub-genre. So you have zombie horror films and monster horror and haunted house horror and vampire horror films and all these different branches representing so many different things. The Lost Boys is horror and so is Cannibal Holocaust and those films are as far apart from each other as you can get. It allows a lot of room to move. I would encourage other filmmakers who are maybe afraid of horror to look at it as a genre with a lot of room, a lot of room for sub-text.

M: What specifically with Insidious 3 may have some subtext that a lot of people may not necessarily pick up on going into it?  

I think that a lot of the subtext with Insidious 3 deals with grief and loss and how that holds us back a lot of the time. The Quinn character has lost her mother and she’s at a crossroad in her life and the father really represents that black cloud of grief that follows her around. That really for me is the subtext of the film.

M: What do you want audiences to take away from the film?

Chemistry-inspired cocktails served in test tubes with dry ice. An art installation at Hoerle-Guggenheim. American Pharaoh breaking a 37 year-old world record. These were just a few spectacles Magnises members took in this past week.

In D.C., we’ve been hosting events every other night of the week while expanding our global network. Last Wednesday, a handful of D.C. members met up at the Science Club in DuPont Circle, receiving a firsthand taste of the venue’s bold new summer menu with beverages served in beakers and test tubes. The kicker was the dry ice bartenders played with, giving off a really sick vibe as members mixed and mingled throughout the four story brownstone.

The next day, D.C. members attended the Dream Big Party, where they enjoyed hors d’oeuvres, Fortaleza Tequila specialty cocktails, and an auction including Wizards courtside tickets. Admission prices served as sponsorships for student scholarships, and several of our recent members left with some serious swag bags!

Meanwhile in Manhattan, we celebrated our friend Carl McCrow’s art installation at the Hoerle-Guggenheim. The series, titled History Interrupted, features a collection of customized AK-47s to raise awareness for gun violence throughout the world. These AKs looked cool as hell, but more importantly, were layered with important social commentary. Several of our favorites were composed of black and white stripes, so when you scan them with a smart phone the gun’s make and model pops up on your screen.  

Great week? Yes -- but we took it a step further by partnering with Tail Bus to provide members a round-way trip to Belmont Stakes to witness history. Having won Pinewood Derby and Preakness, the racehorse American Pharaoh competed for the Triple Crown, blowing everyone out of the water by dominating the competition and subsequently breaking a 37 year-old world record. Members enjoyed complimentary mimosas there and back, with some even leaving with cash.

All in all, we’re busy as ever... expanding our network while cutting through all the noise to give our members thrilling experiences. Check out our interview with Carl McCrow about his exhibit History Interrupted below.

M: Where did the inspiration for the project come from?

Carl: I don’t know precisely. It’s a journey, and this is where I’m at now. I’ve been painting graffiti onto AK 47’s for quite some time now, but after a friend of mine lost three of his limbs in Afghanistan my perspective changed. I started destroying guns as part of my art and displayed them on my wall. These things are 100 years old, easy. Every one I destroyed helps with the problem. That’s one of the things I went into overdrive, I wanted to make a difference. 

M: Is there any trouble you face doing it legally?

Carl: Well any firearm has its own laws depending on what country your in. But after a while, after you keep destroying it, you reach a point where it because an inanimate object. It might look like a gun, it might smell like a gun but all of these pieces have nothing inside them. It really is just the shell of the gun.

M: The title of the show is called History Interrupted. Where does that title come from?

Carl: With History Interrupted, I’ve always felt that you think of the revolution of that weapon or the consequences of that weapon in terms of history. We believe that maybe a weapon like that can be destroyed and will save many lives. So that’s where the “History Interrupted” idea came from.

M: What do you want viewers and audience to take away from the exhibit?

Everyone knows the East Village is the bar capital of the world, but New Yorkers also have this awful habit of associating it with St. Marks. Filled with drunken NYU students and homeless punkers left over from the 70s, St. Marks is basically the East Village’s awful half brother who’s fun in small doses, but can really leave a sour taste in your mouth if you’re in each other’s company too long. St. Marks is also kind of like Game of Thrones, but instead of Houses competing for dynasty, it’s higher-end boutiques selling overpriced food trends you don’t want nor care about. On a side note, we find it extremely odd that the strip is packed with identical-looking smoking shops that haven’t quite yet managed to die, but anyways…

It’s Friday night in the summer and you’re with your friends and you want to drink in the East Village so here are our bar choices!!   

KGB Bar: Only in America could you capitalize off the remnants of a deplorable communist regime. KGB Bar boasts ultra low lighting and soviet style memorabilia to provide customers intimate experiences reminiscent of the late USSR. Sometimes there’s a crowd, sometimes there’s not, but rarely does the crowd ever change. Scattered about, you’ll find a plethora of edgy liberal artists who read VICE and listen to Rita Ora, but also enjoy Tolstoy, Praust, and classical music. Part of what makes this venue so appealing is the irony, but their poetry readings and other events also receive excellent turnout. Great for a first stop with friends or a nightcap with a date.

Cienfuegos: Located across from the beer-soaked halls of Niagra, and tucked away up some stairs next to a Mexican restaurant, Cienfuegos is a hidden gem that serves some of the finest rum cocktails in all of Manhattan. Plush white armchairs, and an authentic Cuban vibe, make it a must see for any New Yorker wanting to experience the best the East Village has to offer. Oh, they also have a drink called the Zombie – essentially a bastard drink from Hell mixed with absinthe, rum, whiskey, and fruit punch, and then served to you in a glass zombie skull. Limit one per customer, and with good reason.  

Bar Virage: This is where you should eat prior to a night of drinking to ensure you don’t peter out halfway through. We’re not even joking when we say their mushroom stuffed raviolis, sprinkled with pecans and topped with basil, are more seductive than Ryan Gosling on a horse (inside joke for all our members who ever busted out a certain deck of playing cards at our Townhouse). Even better? The lamb sliders. Omg, yum. Pair with Sangria and prepare to do your night right.

Rue B: A down-to-earth Parisian bistro inspired heavily by the Jazz movement, serving some of the finest specialty cocktails in the East Village, at reasonable prices. Sophisticated, but unpretentious, with live music every night of the week.  

PDT: You go to Criff Dogs at the end of St. Marks and walk inside a phone booth and then add your name to a waitlist, knowing they won’t call you back-- if they do, it won’t be for another three hours. Unless you have a reservation placed three nights ago, the mentality of walking into Please Don’t Tell is kind of like, “Meh, screw it. If they don’t call back I’ll just drink at Cienfuegos.” Every “top picks list” like this one covers Please Don’t Tell, but rightfully so -- the animals on the wall are badass, and the craft beers are beyond exceptional.

William Barnacle Tavern: An underrated absinthe bar tucked away besides one of the few theaters in the East Village. They have a cool mariner vibe with some of the best absinthe cocktails throughout Manhattan.  

McSorley’s: Proceed with caution.

Summer is the perfect time for music festivals. Whether it’s Governor’s Ball, Bonnaroo, or Lollapalooza, music festivals provide the perfect opportunity to go crazy while seeing some of the best musicians in the world. 

Our recent expansion to D.C. turned us on to the legendary Sweetlife Festival, a  gem within the festival circuit boasting such headliners as Kendrick Lamar and The Pixies. To give us a better idea of what goes down there, we had our friend Matt FX (the genius DJ behind Broad City’s soundtrack) keep a journal as he played sets on stage, mingled with awesome people, and experienced firsthand some of the hottest talent in the music industry. 

Take it away Matt! 

(Matt chowing down on a taco) 

Hey. I'm Matt FX. I'm a record producer, DJ, and music supervisor, most notably known as the man behind the soundtrack of Comedy Central's hit new show 'BROAD CITY.' Magnises recently asked me if I wanted to share a bit of my professional life as a DJ with their blog, and I told them I'd be happy to! Now check it:

(Matt & his crew -photo courtesy of Daniel Leinweber of Razberry Photography)

Traditionally, the weekend directly following Memorial day tends to be a bit of a slump. Hell, the Hamptons consider it the quietest weekend of the season, and it's understandable why! While it's not quite summer yet, it can be muggy enough for you to wish it was. People are by-and-large party fatigued from a hungover work week, and in the case of NYC last weekend, the rain sure didn't help, either.

So I got outta there, and took a trip with the crew down to DC to DJ where the folks at Sweetgreen were throwing their annual music festival, SWEETLIFE FESTIVAL.

Now in their fifth year, the Sweetlife Festival is a food-and-music (and not the other way around!) festival located at Merriweather Post Pavilion, the giant outdoor venue inbetween DC & Baltimore so legendary that it inspired a highly-rated and (identically?) named Animal Collective album.

This year it was held between two days, July 30/31, and featured performances from artists such as Kendrick Lamar, Calvin Harris, The Weeknd, The Pixies, Billy Idol, Charlie XCX, and more. I'd actually been asked by the folks at Sweetgreen to perform at the festival, and was honored to have a chance to spin 'transition sets' at their treehouse stage on both days of the festival, as well as a solo set at their 'club-like' 932 stage.

My musical highlights on Sunday actually came earlier than later - the rapper Bishop Nehru's treehouse set was an under-attended favorite; check out his track with Disclosure, or his even more recently released EP with rap god MF DOOM, entitled 'Nehruvian Doom'. Charlie XCX's afternoon set was equally entertaining, with her all-female pop-punk band perfectly on groove. I was surprised to see how well her electro-pop hits lent themselves to a 'rock band-ier' feel - fun!

Alongside the transition sets on Sunday, I also got to spin a 45 minute set at Sweelife's '932 stage', described as their 'club' area for all things dancing and DJ's. Another pleasant surprise here - Sweetlife's crowd was one of the most energetic crowds I can remember in recent memory, and that includes both years of upstate NY's Mysteryland festival. Good job, Sweetlife.

(Photo courtesy of Daniel Leinweber of Razberry Photography)

Food-wise, after the well-fused options of Saturday, we were excited to find that the more traditional food options were also stellar - Jose Andres's 'PEPE' sandwich truck was straight fire, and judging on the reaction of my friend Max's face, the festival's fried chicken on donut sandwich seemed like it tasted worthy of it's artery-clogging properties.

And that was my weekend recap! As Magnises moves towards a larger presence in DC, I can't think of a better festival to recommend to it's members. Next year, when you're feeling slumpy after M Day, remember there's a better option, and don't forget to have fun!

- Matt FX

Thanks so much for sharing your experiences with us, Matt! Sounds like an awesome time. 

After establishing herself as a dramatic actress during a five-season stint on the underrated FX legal thriller, Damages, Rose Byrne has remade herself as a comedic powerhouse. It all began with her winning turn in Bridesmaids, and since then Byrne has burnished that cred with movies like Neighbors and as the villain in Melissa McCarthy's upcoming comedy, Spy. In her latest movie, Adult Beginners, Byrne stars opposite Nick Kroll and her real-life boyfriend Bobby Cannavale in a deliciously cynical comedy about a venture capitalist who loses everything before finding love with his sister and her husband. Thirty-two stories above Manhattan at the Trump SoHo hotel, we spoke to Byrne about acting alongside her partner, the lack of female directors in Hollywood, and the important charity work she's involved in.

M: What first attracted you to the project? The screenplay was so beautiful, and well written. I just really fell in love. I read it so fast and I was just like, this is one of the best things I’ve read in a really long time. It’s a quieter comedy then, you know, say, Neighbors or Bridesmaids or something.

M: You and Bobby Cannavale are together in real life. What’s it like working with your partner on set? It’s fun. We’ve done three jobs together now and they’re all so different. I think it’s really just an economic choice for the producers because they only have to get one car [Laughs].

M: Was Nick a third wheel at all like in the film? Nick was wearing a lot of hats. He was producing, he had created the story, so he was too busy to be worried about that. We were in small quarters, so luckily we all got along.

M: This year’s winter was absolutely brutal and you guys were filming in upstate New York. Did you face any challenges with that? That was intense. It was hard because they were trying to transition from winter to spring and it was just impossible, because this winter was the worst one in 20 years. The snow was relentless, and we had to shovel things around. There’s a sequence in the pool that was difficult because the pool wasn’t heated, and it was freezing, and it was freezing outside, so that was brutal.

M: You have a very diverse, very impressive resume of roles that you’ve taken on. Do you have a favorite to watch, and do you have a favorite to shoot? I just watch them all constantly around my walls; they’re just projecting me in all of my various roles. [Laughs] But I just finished watching Transparent and I really loved it. I just finished watching The Slap on NBC, which is based on an Australian novel, and I really enjoyed that. I suppose I’ve been watching more series lately, yeah.

M: When it comes to acting, do you have a preference? I loved doing Damages, because it’s like you’re in a novel, you know? You get to know the characters so well. It’s such an intimate relationship that you have with the character on television that you really can’t get in a theater.

M: Who’s your dream artist to collaborate with? I’ve always been a long-standing fan of David Lynch. I think he’s brilliant. I love Twin Peaks, and I love Mulholland Drive.

M: Recently, you also started your own production company with all of these great, fantastic, talented women. What inspired you to take on this project? I’ve wanted to develop stuff for a while, and it happened very organically with a group of friends from Australia who are all super talented and diverse, and we were talking one day and were kind of like like, you know what, let’s just do it.

M: What’s the ultimate goal? It’s a great thing to develop stuff that focuses more on women because we are underrepresented. That’s definitely a priority.

M: Why aren’t there more women filmmakers in Hollywood? Why aren’t there? I know, it’s very underrepresented. The statistics are pretty scary.

M: Why do you think this is the case? Like anything, Rome wasn’t built in a day. I think these things take time, and it’s just been a field very dominated with men, unfortunately.

M: Who are some current women directors we should be keeping our eyes out for? There’s so many: Lisa Cholodenko, Nicole Holofcener. I love Sofia Coppola. Jill Soloway is amazing—the writer of Transparent.

M: Are there any other particular causes or charity you’re currently involved with? I’m the ambassador for the Australian Theatre for Young People, which is a great theater program for young kids that I went to growing up, and just loved. And I’ve been working with the Public Foundation a bit the last year. I did a campaign in conjunction with The White House called “It’s On Us,” about ending sexual assaults on campuses across America, which is really, really great to work on.  

This weekend, we packed up our belongings from our Townhouse in the West Village and relocated to our new member’s space at Hotel on Rivington. To celebrate, we threw a party at the Penthouse, where guests played and mingled while enjoying complimentary champagne. Our friend Ja Rule even rolled through!

If you didn’t make it out, take our word for it when we say this space is gorgeous and a much-needed upgrade that will provide members better accommodations to relax and host clients. The Lower East Side is also a cultural mecca when it comes to art, dining, and nightlife. To give you a taste of what you’re in store for, we’ve put together an all-comprehensive guide of some of the best restaurants and bars in the region. Enjoy!

 The Backroom: One of only two speakeasies in New York City that operated during Prohibition, The Backroom boasts vintage 1920’s décor, velvet wallpaper, and low-hanging chandeliers, making it feel as if you’re drinking with the likes of Al Capone and Jay Gatsby. If you’re up for the challenge, call up the owners beforehand to get exclusive access to the hidden room of gorgeous copper ceilings and French-inspired memorabilia.

Pianos: A Parisian-style bar and showroom located in the heart of the Lower East side that busses in some of the hottest music acts throughout Manhattan. Enjoy a combination of upcoming alt-rock and $5 frozen margaritas. Why take the L when you can get the full Brooklyn-experience at Ludlow St? 

Beauty and Essex: Upon walking into a pawnshop, you immediately enter a void filled with sixties-inspired décor and beautiful Manhattan socialites. Pink Champagne flows throughout the ladies’ room, as signature cocktails and creative dishes exchange fingers on the upper levels. It’s really hard to go wrong when you’re staring at a menu boasting chicken meatballs, lobster tacos, and tomato soup dumplings, especially when polishing off Blueberry-brown sugar Bombay Sapphire topped off with Thomaso’s sour mix and prosecco.

Mission Chinese Food: First started in San Francisco, Mission Chinese Food experienced a number of complications coming to New York, but with a new location over in Chinatown, combined with advice from his mentors David Chang and René Redzepi (owner of Copenhagen’s Noma, arguably the greatest restaurant in the world right now), Danny Bowien, recipient of the coveted James Beard Award for Rising Star Chef, is back with a vengeance. With lines well out the door, Mission Chinese Food infuses punk rock into traditional Sichuan cuisine, creating a signature DIY taste that really hits home.

Katz Delicatessen: If you haven’t heard of Katz, you’re living under a rock. They make a legendary pastrami sandwich and have been referenced in everything from Seinfield to When Harry Met Sally. The lines inside are brutal, but if you’re willing to weather the storm, you’ll walk out having experienced one of the best breakfast sandwiches in all of Manhattan. A truly exceptional deli with an authentic history to boot.

Cata: An unpretentious tapas joint with a bold menu of tapas topped with oysters, fried quail eggs, and pumpernickel toast. Craving something heavier? Bring out the charred LaFrieda skirt steak alongside bomba rice, or, if your friends are feeling daring, a whole roasted suckling pig. Pair with one of their signature cocktails infusing globetrotting gins with flourishes like Thai Basil, star anise, and mint.

Scaramouche: A charming gallery off Orchard Street featuring collections of abstract art exploring space and structure. Black and white photographs, 3D sculptures, and paintings are just a few of the treasures you’ll find in this low-key hotspot.

The New Museum: The New Museum is light years ahead of the pack when it comes to showcasing contemporary artwork that implores technology and newer medias. Their previous installation, Surround Audience, was hailed an international success, exploring such controversial subjects as government surveillance, Internet addiction, and income inequality. The newest exhibit, The Great Ephemeral, just opened and is already making headlines over a collection of pieces criticizing globalization and capitalism.  

Lower East Side Film Festival: Over the past several years, The Lower East Side Film Festival has transformed into a powerhouse for indie film. On June 11th, the program will debut films by some of the industry’s hottest up-and-coming directors, judged by a panel including Mike Love and Orange is the New Black’s Laverne Cox. This is a fun one: give it five years and it will probably rival the Tribeca Film Festival.

From buildings to fashion, design rules all. That’s precisely why we had the renowned architect Inson Wood design our Townhouse. Inson knows how to transform a simple living space into a work of art, infusing modernism with exotic flare.  

Designers are the architects of our world, adapting their approaches alongside shifting trends in style, technology and media. To celebrate everything related to design and designers, NYCxDESIGN throws a yearly festival throughout New York City that includes exhibitions, installations, trade shows, talks, launches, and open studios.

We attended the launch party in Industry City, Brooklyn alongside several Magnises members, getting a firsthand look at some of the changes happening in design, and Brooklyn. Recently, Industry City’s warehouses have been converted into open studio spaces for companies and artists, resembling, in many aspects, a Brooklyn version of Chelsea Market, with dozens of restaurants and vendors ready to open in the upcoming months.  

Over 16,000 of NYC’s leading design influencers rolled through NYCxDESIGN’s opening gala, enjoying complimentary beverages as they checked out some of the installations on display; one of our favorites being a collection of furniture for juvenile detention centers designed by Brooklyn industrial design student Kai Lin.

The rumors you’ve heard are true. On June 1st, we’re setting up residency at the Penthouse and Lounge at Hotel on Rivington. With three stories, floor-to-ceiling glass windows, and 360-degree views of the New York City skyline, we’re stoked for what this change will mean to our company.