It’s Official! Bohemian Society will be taking over The Million Dollar Theatre along with DubLab for the upcoming annual Artopia! May 15th at the Grand Central Market/Million Dollar Theatre!
Maya Murofushi is a woman and a girl!! She has the ability and character to be anyone she wants in quite a few languages- Japanese, French, Italian, and English. She is able to be a fast talking humorous and clever person one minute and a confident elegant chameleon when she is modeling or acting. It’s what she does and who she is- Pretty Fabulous. Her energy levels are infectious; her competence in communicating is lightning fast. She infuses her energy and willingness into all who work with her. We worked in Hikarie Building for a day, and it was the most fun I had during Tokyo Fashion Week. Maya is our model for the “BOHEMIAN SOCIETY” shoot, one of a group of brands from LA with the Los Angeles Fashion Council invited by Mercedes Benz Tokyo Fashion Week under the auspices of Akiko Shinoda, the director of TFW. TFW is expanding every season and having the Hikarie Building in Shibuya as its home base has given a new momentum and power to the event. Bohemian Society did an Installation and Fashion Show on the 8th floor on the opening day. MAXINE DIGITAL MAGAZINE did a location shoot that worked the area and the building as a film set. This issue takes the concept of Bohemia, which was a theme worldwide during Fashion Month (Milan, Paris, NY, London) Burberry especially used the “Bloomsbury Set” theme in London. Victor Wilde took Bohemia into a more Rock- Biker element that takes Maya from Romantic Bohemian to an Androgynous Vagabond wearing his collection Enjoy Enjoy.
Trailer of COLLAPSE, a post-ecological Requiem
World-premiere at Redcat Theater, 4/09/2014
Composed by Daniel Corral
Performed by Timur and the Dime Museum
Video design by Jesse Gilbert
Costumes by Victor Wilde and the Bohemian Society
Presented by Beth Morrison Projects
Edited by Sandra Powers
“a stage swagger worthy of Jagger and a stage wardrobe that out-Bowied Bowie (and had Stage Rows’ jaw down somewhere near our feet).”
Tectonic Issues of Our Stage
The Shocking Nature of Nature
For those of you that may not have noticed, the spring equinox silently descended on Los Angeles a week ago Thursday — March 20 at 9:57 a.m. to be precise.
In places like New York or Chicago, the date is greeted with a great psychic sigh of collective undress and the surreal spectacle of the populace instantly taking to parks and the streets in little more than tee shirts and running shorts, regardless of what the actual mercury reads. In Los Angeles, however, where such dress is a 24/357 phenomenon, determining the current season entails more than merely noticing bared flesh and a lack of snow.
Sometimes, however, nature gives us a gentle push. Like Friday’s magnitude 5.1 temblor that arrived around an hour past most curtain times. Earthquakes are the one authentic California production value about which New Yorkers can only dream.
Rocking REDCAT out of its Wits
We spent the critical moment in the subterranean surroundings of Silver Lake’s Cavern Club Theatre, waiting for the start of Homecoming Queen’s Got a Musical, Julie Brown and Kurt Koehler’s chronically ‘80s-damaged camp fest. Whether it was the Casita del Campo margaritas or the tectonic suppression of so much Aquanet and teased Dynel on one stage, we noticed not a wig out of place and thus passed the jolt blissfully unaware.
Over at REDCAT, however, the story was somewhat different. Timur and the Dime Museum were about a half hour into their performance of rock composer Daniel Corral’s Collapse: A Post-Ecological Requiem when the jolt sent a portion of the audience running for the lobby. The band, so our report goes, literally never missed a beat as unflappable frontman Timur Bekbosunov neatly covered by incorporating the tremor into the show’s apocalyptic theme.
Such coolness under fire does not surprise us. Stage Rows was among Thursday’s opening night’s audience and can testify that everything about Timur’s stage presence and Corral’s new tunes positively reeked of coolness. The requiem song cycle definitely marks a break with Dime Museum’s previous Kurt Weill-ish, cabaret leanings into something far more approximate to glam and even goth, prompting more than one post-show comparison of the poperatic vocalist to Queen’s Freddie Mercury or The Cult’s Ian Astbury.
In addition to Timur’s velvety pipes, inviting those comparisons was a stage swagger worthy of Jagger and a stage wardrobe that out-Bowied Bowie (and had Stage Rows’ jaw down somewhere near our feet). Opening the evening in a black, floor-length duster, Roman dog collar and funerary liturgical stole, the singer changed mid-set into a spectacularly glittering gold-brocade black suit with full jabeau and ruffled shirt cuffs, then performed the finale in a half-man’s evening suit/half-black tulle cocktail dress with an LED-lit flounce.
After the show, as we dove head first into Moscow mules courtesy of sponsor Tito’s Handmade Vodka, we bumped into L.A. fashion-art designer Victor Wilde of Bohemian Society, who owned up as the man responsible for both Timur’s new look and the band’s post-apocalyptic stage-wear. Wilde said that he and his Bohemian Society posse (including fashion publicist Tracie May-Wagner, her director-husband Philip Wagner, deejay-designer Payam Imani and producer Joshua Dutal) had just deplaned directly from Tokyo Fashion Week in order to see Timur put the to-die-for collection through its rock-star paces.