You have passion, you have ideas, all you need now are the guts to go for it! Anthony Bozza, former journalist at Rolling Stone and author of several influential rock autobiographies including “The Life and Times of Eminem”, tells us how he gained success as a writer by finding his voice, following his passion and most importantly trusting his instinct.

Anthony, how did you originally break into music journalism?

My first and only real job was at Rolling Stone magazine where I started as an intern in the now-defunct book publishing division, then I was a research assistant in the library. Yes, Rolling Stone has its own library, which is pretty cool! And finally I was an editorial assistant in the Music Department.

From there, I worked my way into the magazine by volunteering for any unclaimed writing assignments. Whether that meant writing captions, tracking down members of Sly and the Family Stone to talk about “Hot Fun in the Summertime” – not an easy, but definitely rewarding task – or interviewing bands of the week for the Charts page. I then graduated to writing and editing the “Random Notes” pages and finally got my big break writing about a white rapper that I’d been begging my editor to let me cover since the first time I heard him, which was about a year before he was signed by Dr. Dre. His name was Eminem.

What did you do at Rolling Stone to make yourself stand out from other writers?

I’d always tried to bring something new to whatever I did at Rolling Stone magazine. Growing up, I didn’t read the magazine regularly and I hadn’t been to a journalism school, so I think I approached writing for Rolling Stone a bit differently than my peers.

During my tenure as a research assistant I spent more time reading the frail, yellowed, original issues I found encased by plastic in ‘The Vault’ than doing what I should have been doing, such as compiling data for advertising sales representatives.

I wasn’t earning myself any gold stars in the eyes of my boss, the head librarian, but I did get a primary source education in magazine and history of pop culture writing. Rolling Stone really was the institution that started it all, bringing together the rebel energy and idealism of the hippie generation with the idea that politics, music, art, lifestyle and strong opinion should exist within the same pages.

Anthony’s collaboration with comedian Artie Lange, Too Fat to Fish, debuted at number one on the New York Times best seller list

Other magazines like Playboy had done this in a more mainstream way, but none had taken the Rock & Roll, counter-cultural stance at a national level before Rolling Stone. In those issues, the subject matter may have been dated, but the spirit was still inspiring. Reading Hunter S. Thompson’s “Fear and Loathing in Las Vegas” as it originally appeared in those pages was amazing. It was also incredible to read Cameron Crowe chronicling the 70’s, Chuck Eddy’s incendiary pieces from the 80’s, as well as Kurt Loder back when he was still a print journalist – something I hadn’t realized watching him on MTV.

It sounds like you thoroughly researched the magazine and really understood its history and point of view. Tell us how you made your mark on the magazine and what value you added?

When I got the chance to write my first cover story I wanted it to be as exciting as the articles were in the magazine’s hey day. When, as Cameron Crowe depicted in Almost Famous, reporters were in the thick of it. I’m lucky to have landed an assignment that unfolded precisely that way.

Anthony’s first book was Whatever You Say I Am: The Life and Times of Eminem. Illustration by Robin Boyden

I caught Eminem just at the top of the roller coaster, and we got on well enough for me to be able to report on the real Marshall Mathers, just as he greeted the world. My experience with him was great material, but I still had to put it out there for all to read. I wanted to do it justice and and in doing so, I took a bit of a risk – I turned it in without showing it to a mentor of mine who had up until then, seen everything I’d written for the magazine before I turned it in to my editor.

This mentor helped me get assignments and prepped my writing for publication but as I got more confident I started to realize that a lot of the changes this person was making weren’t so much to suit the magazine’s style because they were tailored to read as if they had written it, not me.

Anthony joined forces with Mötley Crüe drummer Tommy Lee, for his autobiography Tommyland.

How did you deal with the pressure, especially as this was your first major assignment?

The week I wrote my first cover story was harrowing to say the least. I went right from my time in Detroit in the freezing cold, to covering the Rock & Roll Hall of Fame Induction Ceremony in New York City. That night is a story that deserves its own chapter. In the issue where my first cover story appeared I also wrote an extensive feature on the ceremony as well as Random Notes, meaning that I was responsible for about half of the full length articles in the magazine that issue.

Paul Rosenberg Eminem’s Manager, David Saslow from Atlantic Records, Dennis Dennehy Eminem’s publicist and Anthony Bozza

I was scared because it was more pressure than I’d endured and more writing than I’d ever produced for print in so short a time. As nervous as I was, I was also determined to succeed on my own. So rather than show my mentor or anyone else my first cover story, I turned it to the music editor exactly the way I wanted it. And, aside from some minor tweaks, that is exactly the way it was printed. It was a huge success and if I had to choose one moment that made my career, that would be it.

I remember Rolling Stone founder Jann Wenner coming out of his office with the issue in his hands and coming up to my desk, saying, “You’re Anthony right? This is the kind of story we need more of. Excellent work.” He said it loud enough for the entire department to hear, which was completely embarrassing but awesome at the same time.

I’ve written in many styles and in many other people’s voices since then, but that moment taught me to never, ever doubt my instincts when it came to writing.

You’re now a very established writer, what has been the most important factor in developing your writing skills?

The most important lesson I learned was finding my own voice. I think it’s the most important facet of any creative art. There are some artists who come out of the gate knowing exactly what they want to do and how they want to do it, but that isn’t typically the case.

A young Anthony Bozza

Back in school I started to realize that, unlike many of my friends I really liked writing essays and I liked reading whatever was assigned even more. I’d also write for myself, mostly in journals, which piled up as I got older. I still have a few boxes of them and if I ever need to be reminded of the importance of honing your craft, I can open any one of them to any page.

So once you discovered your voice and started developing your writing style, how did you overcome the fear of ridicule, in order to publish your work?

I’ve only taken one creative writing class in my life. It was a continuing education class at New York University. The class I joined was taught by a man who had published a number of paperback mystery novels. I don’t remember the story I wrote but the observations and pointers he and my class mates gave me, as well as the writing shared by my fellow students, obliterated any fear I may have had.

A number of them had been published and although my work was more or less torn apart, I knew that no matter what they thought of it, considering what I thought of their writing, I should have no problem getting published. It made me feel that there must be somewhere out there for everyone in publishing. It was definitely a good exercise to have my work dissected in front of me, in this case, by a room of people I didn’t feel that I had much in common with.

Click here for Part 2 Of This Interview where Anthony describes quitting his job as a journalist, setting up on his own and writing his first book. He shares his thoughts on the impact of the internet and the benefits we can gain by using it effectively. Plus he gives us even more details on this cut throat industry, including getting slapped in the face and having a fire lit under his ass!

Check out Part 2 Now…

Photo by Man Alive!

Are you fed up of working in an unfulfilling job, being told what to do by a boss who doesn’t appreciate you? Do you want to pursue a creative career and work with people who share your vision? That’s exactly how Peter Hook felt when he decided to form a band called Joy Division. Hooky also realized that you can keep control and publish your creative work without signing away your rights…

Joy Division, inspired by Do It Yourself punk.

Peter Hook made his success as a prominent member of legendary band Joy Division who developed a sound and style that defined the post-punk movement of the late 1970s. Joy Division has influenced scores of musicians including Moby, U2, The Killers, The Charlatans and Mogwai. Hooky had no formal musical training. But his success stemmed from; hard work, determination and a burning ambition to succeed on his terms.

Peter, your journey has been epic to say the least! So let’s start at the beginning. How did you get together to form Joy Division?

In the summer of 1977 I had a really shit job. I was working hard all week and going out at the weekends. At the time music wasn’t a very big part of my life, but I used to read the music papers and I just started reading about Punk. It really interested and excited me. Then The Sex Pistols played in Manchester at the Lesser Free Trade Hall. My mates and I, all went along and that was it. That very evening, we decided we were going to be Punks and form a band.

Sex Pistols at the Lesser Freetrade Hall. Illustration by Jed Collins

It seems naive to me now because I didn’t particularly think about music. We didn’t consider that we would have to buy instruments, learn how to play, form a group and start performing. It just came from seeing the Sex Pistols perform and going “Come on, right we’re in a group now! Yeah!”.

At the start none of you could play any instruments, so how did you go about learning and developing your skill?

Bernard had a guitar, so I had to play the bass. It was that easy. It was a complete process of elimination. I bought a book called “Palmer-Hughes Book of Rock & Roll Bass Guitar”. However, it was pretty shit. So we just started playing. The thing about performing in a group is that one rehearsal is generally worth 10 of you playing on your own. The quicker you learned the better. Because you wanted to take advantage of the things that were being offered to you, like all the gig opportunities.

Illustration by Jed Collins

So you learned from necessity. But you went beyond this and actually mastered the bass guitar. How did that feel?

I always think of incredible musicians as people like Johnny Marr, who started playing the guitar when he was seven. It’s quite unusual to find someone who doesn’t start playing until they’re twenty one, but who ends up playing in two hugely important groups in the history of music.

You’re famous for playing the bass in a very unusual manner. How did you develop your style?

I didn’t set out to be different, a lot of it wasn’t planned, the style just evolved the more I played. Personally, I think if you write and perform great music it’s impossible to fuck it up. Because great music will always live on, whether you publicise it in a national newspaper or not.

So going back to the early days, how did you feel when you performed for the first time?

I can recall getting ready for it, but I don’t remember the rest of it at all. I was extremely frightened. I can’t even remember coming off stage! However, it’s a great thing that first performance. The rest of your career you find yourself chasing after that excitement. It’s like your first drink or your first sexual experience. But you’re never going to capture that feeling you had at the very first one.

Angel and Hooky. Photo by Tash Willcocks

It’s also a confidence thing. I did a ‘Question & Answer’ session in Canada for the documentary film about Joy Division called “Control”. This kid was asking questions and he said to me “Can you tell me why for 30 years of your career, the first 15 years you never said anything and then for the last 15 you wouldn’t shut up!?” I went over and punched the fucker. But he does have a valid point. I think the thing is, everything changes. So for the first 15 years I’d say I wasn’t very confident, and for the last 15 I was.

How did you come to work with the legendary entrepreneur and record producer Tony Wilson?

I’d seen him around before, we all went to the same concerts. He looked like he was from another planet, he dressed differently to anybody I’ve ever met. Tony had started putting on concerts in the Russell Club and he asked us to perform there for a while. He then decided to make a four-group compilation record and he invited us to record two tracks.

Peter Saville’s designs defined the look of the band. Copyright Peter Saville

After that, we were looking for a proper record deal, one where somebody would actually give us money. But Rob Gretton our manager decided it would be better to keep control. He wanted to keep it based in Manchester and for us to sign with Factory records, which was Tony Wilson and Alan Erasmus’ label. Rob was impressed with Tony’s ideas, we were just kids so we didn’t know any better.

From left to right: Peter Saville, Tony Wilson and Alan Erasmus. Copyright Kevin Cummins

I don’t think we had the vision to think about the business side of being in a band. But as a manager, Rob had the foresight to realize: “Right I can really do something different with this band and we can still keep control”. Because the thing that appealed to me about Punk was that it was all about doing things your own way and not compromising. Getting what you believe in and pushing it as far as you could. Not adhering to any strict rules and no one telling you what to do.

This was quite a new way of thinking, especially for the music industry. What was the benefit of working for an independent label that operated in such an unconventional manner?

The great thing about signing to Factory Records was that no one told us what to do, there was no planning at all. If we finished the track Tony would listen to it and go “Nice, we’ll record that and put it out next week”. It wasn’t like “Here’s a calendar for next year, we can’t clash with “Girls Aloud” or any major bands, and we’ve got to go on tour after”. Most record companies would never release a single if the band haven’t got an album ready and they haven’t got a tour planned.

Tony Wilson and Peter Saville. Photo by Danny North

Tell us about your first time in a recording studio?

We were very overawed, excited, and out of our comfort zone, so we were scared. I was very lucky as a musician to have a producer like Martin Hannett. He taught us to look beyond a song, to give things depth and time that lasted and things like that. Even though the guy was extremely difficult to work with, he did give us a gift that I’ve used personally for years and years.

So given the creative freedom you got from Factory Records how long did it take for Joy Division to gain popularity?

That’s an interesting question. As Joy Division we were playing the same songs to no one, and then six months later we were playing the same songs to thousands of people, so it’s difficult to judge where it actually happened. It just grew through us playing and establishing ourselves as a live group. I remember the first time we played London we had to chip in for petrol, and we didn’t even get any money off the door because no one came. There were only seven people in the whole place! I don’t think that you can really bypass that. But as long as you put on a great performance for those that did turn up, then it’s great.

Joy Division on the road. Illustration by Jed Collins

Did you enjoy going on tour in the early days?

We didn’t tour for a while, not like bands today who tour straightaway. We were still working and just playing odd dates whenever we could get them. It’s a different industry now. We grew at a much slower rate than a lot of groups today. They just go from nothing to hundreds of gigs. We had to work it around our day jobs and that’s what paid for us to tour.

Did you feel that you benefited more from doing it that way?

I think it kept us more grounded and a bit more realistic. But there were a lot of things that kept us down to earth. We didn’t really start making money until we’d been in the group nine or ten years. Everybody thought just because we co owned the Hacienda (nightclub) that we were loaded. In fact it was the opposite. Because we had the Hacienda, that’s the reason we didn’t have any money! But I do think that it did pay off, we had a level head and weren’t spoiled.

I think things like X-Factor and Pop Idol make the music business look exciting and glamorous. But when you look at it realistically, you’re up at 7.00 am and you’ll do an interview with a major TV station, then there’s a PR event, and then a signing and several personal appearances. It’s completely different to what it seems like on the outside.

But what we did was very different because we rebelled against all of that. I joined a group because I wanted to tell everyone to fuck off and do things my way. To me that was the great thing about being in a group where you’re not being told what to do.

Click here for Part 2 Of This Interview where Peter tells us how he coped with the death of Joy Division lead singer Ian Curtis. He shares advice for upcoming musicians in the Internet age and tells us how he deals with negative reviews and criticism. Plus, don’t miss the truth behind the legendary stories of drugs and violence at the bands world famous club the Hacienda.

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Photo by Timmy Hwang

Artist, animator and master of the weird and wonderful. Chet has designed and created prosthetic effects for top movies like, The Grinch, X Men 3, Fantastic 4, The Ring, Hellboy, Men In Black II, Planet Of The Apes and Batman An Robin. Often working intense schedules, he knows what it takes to come up with world class work on demand.

We pinned down the LA artist who not only taught us his visualization technique, but told us how to obtain advice from the top person within your industry and if you want to be successful you need a good plan, he had one from the age of 12.

“Addicted To The Good News”

Chet has also collaborated with good friends rock band “Tool” on their critically acclaimed video ‘Stinkfist’ and every consecutive video since. Mr Zar’s is also a highly esteemed painter whose disturbingly dark and arresting paintings have been exhibited in every hip gallery across California and attracted an extensive online international fan base.

Your paintings are very dark and sinister and pretty scary, but what are your thoughts on fear. Does it help or hinder you?

I feel that fear is an obsolete emotion left over from our primitive past. I can’t think of one time where I thought, “I sure am glad I didn’t do that thing I was afraid of doing”. At this point in human development, it seems like we should be using our own judgment and intuition to guide us through life rather than fear.

How often do you find yourself doing things that you’re afraid of?

I mostly do things that I am afraid of out of necessity. Everybody has the natural tendency to avoid the things that they are afraid of. I did a live painting show with Alex Grey and some other artists and that was pretty scary. But I have always had that kind of ‘what the hell’ attitude when it comes to things like that. I just agree to them and dive in when the time comes.

“I Want You”

Did you always feel like this career choice was the natural path for you and was the transition easy?

I always felt like it was my destiny, really. When I was in the first grade I remember having visions of what my art studio would look like, so I knew all the way back then, that I was an artist. But that still did not make it easy. Nothing worthwhile ever is.

So you knew what you wanted to do, did you make a plan of how you were going to achieve it?

I had a plan since I was about 12 years old that I was going to create monsters for the movies. So I spent my teenage years studying and learning that, on my own, with the intention of building a portfolio of my work and getting a job that way. I got work right out of High School in that field (make up effects). After many years in that field, I decided I wanted to be a painter and focus on my own fine art. So I taught myself how to paint and learned as much as I could about that industry and started showing my work around in any underground art shows that would have me in Los Angeles.

“Cancer Face”

You mention teaching yourself, but did you ever go out and actively look for help and advice from people in the industry?

Sure. It all started when I was getting into makeup effects as a kid. I used to write letters to Dick Smith who is the Godfather of makeup effects and is known in the industry for being very open and helpful to people starting out. He gave me all kinds of great advice and that stuck with me. I try to do the same for other younger artists who write me. But people should not be afraid to ask for advice. You will get ignored sometimes, but there are plenty of cool artists out there who are willing to share.

Debi Jacobson (owner of L’Imagerie gallery), Chet Zar, artist Robert Williams, Suzanne Williams, James Zar.

When people first start out they often come to a standstill when faced with a lack of money, time, confidence and resources. Did you experience any of these problems?

I had all of those problems, with the exception of the confidence part. I had and still do have moments where I lack confidence, but overall I think I am confident in my ability and confident that if I am not good at something, I can learn how to do it.

I think the best way to overcome all of these pitfalls is to work around them. This is where naturally resourceful people should really have an edge. It’s all about coming up with creative solutions to problems, working hard and being tenacious. Somebody said “90% of success is just showing up” and it’s true. A lot of people complain about a lack of success but never even tried. You can’t expect anything to be given to you.

Artwork by Chets father, James Zar

You do have to be very proactive and get out there and do it, but as you said, there are people willing to help, did you have any particular people mentor you?

My father, artist James Zar, was a big influence on me. I grew up watching him paint and work hard at perfecting his craft. My mother as well. She taught me that I could do anything I set my mind on. I also worked with an amazing sculptor in the film industry named Mitch Devane who really encouraged me and taught me a lot when I was considering going in to fine art.

Chet Zar his Father James Zar, LC (L. Croskey – Artist plus founder and creator of Cannibal Flower) and artist Delphia, Photo by Valentine Reitblat

Lots of people helped me out with advice and support while I was coming up such as L.C. from the Cannibal Flower group shows, Gary Pressman from CoprNason gallery. My friend Adam Jones from the rock band Tool also has given me a lot of support by collecting my work and giving me plenty of encouragement.

Click here for Part 2 Of This Interview where Chet teaches us a great visualization technique for being more productive more often and how it can help you realize your goals. Plus he talks to us about the lessons he’s learned from his heroes and why he doesn’t mix drugs and business.

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Jeff Soto has published two beautifully illustrated books; “Potato Stamp Dreams” and “Storm Clouds”. His artwork has been featured in top art magazines like; Juxtapoz, Giant Robot, Hi-Fructose, Art Prostitute, Lodown Magazine, Art Week, and Clutter. He’s also worked with some impressive clients including; Sony Music, Warner Bros, Nickelodeon, Disney, Apple and Critterbox toys.

But even successful artists like Jeff experience creative blocks, read on to discover how he conquers them by imagining he’s having a conversation with fictional character Tyler Durdan and find out how he kicks him into shape.

Sun and Moon

Jeff you’re the author of two books, your work has been featured in many top art magazines and you have exhibited extensively across America. Many people tell us they struggle staying motivated and often experience creative blocks, as an establish artist how do you handle these issues?

This is a subject that I’ve talked about in my book, let me tell you how I handle it. After a solo exhibit I often feel used and abused, beat up, defeated. The months of sitting hunched over paintings working feverishly to bring life to the ideas in my head always seems to take it’s toll. The adrenaline surge of the opening and after party quickly fade and before I know it I’m on a flight home. And I’m always ready. I’m ready to abandon art for a while and hang out with my girls. I’m ready to tend to the neglected cacti garden, and in fact everything else I’ve neglected in the name of art.

Fuzzy Friend

It’s time to relax and get back to feeling normal again. And I do. But after a few weeks, post show depression kicks in and I start wondering if I’ve used up all my good ideas. I picture Brad Pitt (as Tyler Durden) telling me, “Well Jeffy boy, you had a good run but you’ve used up all your ideas man. You got nothing. Get the fuck off my porch!”. I always feel like that after a show. I’m done. Burnt out. Guess it’s time to start looking for a new profession.

“It sparks something in my brain and new ideas start…”

But experience has (so far) shown me that this is just an important part of my creative cycle. I’ve learned to just accept it and go with it. Before I know it, I am back drawing and something tiny yet powerful happens. It sparks something in my brain and new ideas start to filter out. Some are straight awful, but I explore them anyways. Slowly I start gaining confidence and begin to experiment. I draw a lot and make notes. As I go I pin the drawings (successful or not) onto my wall so new ideas can be interwoven and built upon them.

Jeff in his studio

To my surprise I soon have the makings for a new body of work on my wall and the cycle has started again. As I write this I am in mid-cycle. The after show bummer has been replaced with the pre-show “man, I better get painting!”. This time it was collaborations with my daughter Shannon that lifted me out of the doldrums. We’ve been working on watercolor paintings together- sometimes collaborating, sometimes working separately. Painting with a child really opened me up to the happy accidents and playfulness that I’ve forgotten about.

Most importantly though, it’s just fun. Making art for no other purpose than to make each other laugh or to tell a story feels great. It’s art at it’s purest. This book (Storm Clouds) contains work from three years and three solo shows- three cycles of ups and downs and the experiments in between. enjoy.

Jeff’s studio

You mention pinning up work successful or not, how often do you find yourself failing at something or abandoning a piece of work?

All the time, most of my work starts out looking like shit. I usually keep working through it until it works out. If that means repainting it, then so be it. Failing is part of my process.

Jeff Soto with fans Cassady and Jesse Kloo, Photo by Lord Jim

That’s true however, a lot of people still struggle with failure, so its good to have people spur you on. Did you have anyone that encouraged your career choice?

My parents were always pretty supportive, and for the most part my teachers were too. I was lucky for that, but also I really enjoyed making art my entire life so I was driven to do it for myself. I think my own desire to be an artist is the reason I’ve had some success.

Unknown Soldier

You say that you had the drive which is a key factor, but did you always feel like you could make a living out of it?

It has always been hard, and I still see it as a difficult profession. Maybe in a naive way I never really questioned it, I just went for it and didn’t let rejections get in the way. Even now, I feel pretty good about what I’ve accomplished so far but I am looking to the future. I feel I’m still in the beginning to mid stages in my career, and it’s tough sometimes to move forward.

Fly Away

Did you set yourself a plan at the beginning of what you wanted to achieve?

When I got out of high school I didn’t have a plan at all. I had pretty horrible grades so college would have to wait. I did 6-7 years of community college which was what I needed at the time.

I never really made goals, until I decided I wanted to go to art college when I was 24. After that I would jot down ideas, plans, maybe they were goals. I used to write a lot of that stuff in my sketchbook, but last few years I’ve been keeping track of my to-do list with the computer. Other than that, I just try to make good work and keep a clear head about what I’m doing. I need to make a new list of goals… it’s on my to-do list.

Click here for Part 2 Of This Interview where Jeff tells us about the sacrifices he’s made for his long term goals. He also reveals how to handle negative feedback and the type of attitude he’s developed in order to gain respect. You’ll also discover what Jeff was like at school and the obstacles he’s had to overcome.

Check out Part 2 Now…

Photo by Andrei Zarnoveanu

Legendary rock guitarist Duff McKagan, former member of Guns N’ Roses, is revered by many musicians all over the world for his unique guitar skills. He’s been in the music industry over 25 years, so he knows a thing or two about adapting and moving with the times. Duff invited us backstage to talk exclusively about how to keep up with the rapid changes in music industry to ensure a successful career.

Duff McKagan is the guitarist with supergroup Velvet Revolver and lead vocalist and guitarist for his own solo punk/rock band “Loaded”, plus he spent thirteen years in the hugely successful band Guns N’ Roses. He’s also performed with Lenny Kravitz, Iggy Pop and been in bands with Steve Jones (Sex Pistols), John Taylor (Duran Duran) and Stewart Copeland (Police). Duff also writes a weekly column for Seattle Weekly and a financial report for playboy.

Duff you’ve been in the music industry a very long time and been extremely successful, but what’s been the biggest barrier you’ve had to overcome?

Getting sober. I wouldn’t be alive today otherwise. My pancreas blew up, so my body made up my mind for me. The decision was literally made for me. It really was, and I could have continued using (drugs) after I got out of hospital, but I would have died within a week or two. So that’s the biggest life changing thing I’ve had to deal with. Because when I got out of the hospital I finally said “OK I want to live now how do I do this?”.

Illustration by Olga Shvartsur

I had no fucking idea how to be sober. I remember going to the store the first time and I was shaking. It was as if I was on acid. I remember taking the money out and handing it over and I thought everybody was staring at me. I just couldn’t really deal with anything at that time. I didn’t even know how to do the most basic things. I had to take it from being completely detached from my body to now; being totally comfortable in my own skin.

I know you’re very much into fitness now, so has it gone to the other end of the scale?

I went completely the other way. I started doing martial arts. I became a kick boxer. I got into the best dojo and I started competing with real fighters. When I dive into something whether its alcoholism and drugs, (which I was the fucking world champion) whatever I do, I go for it and dive in and immerse myself in it.

Photo by Carol Rodrigues

What inspired you to do martial arts?