June’s Peculiar Person of the Month: Mistress B.

By
David Rondinelli

Mistress B. in her element

Every now and then a person comes along that isn’t just eye catching to interview, but also makes me a downright fan. Mistress B. is that person. The first time I encountered her was at the Museum of Sex. In celebration of their exhibit on the history of the condom, I was greeted to the statuesque mistress with her flaming red hair and full length leather garb. Standing next to her made me feel like she would whisk me away in a hot air balloon much like a certain wizard attempted to do with Dorothy. I sure wasn't gonna miss this ride. A blend of Blade Runner and Mad Max, meets Master's of the Universe, Mistress B. can leave you laughing in stitches while tying her latex into knots of hand crafted gold.

Originally from Minneapolis, she moved to South Carolina with her family. Graduating with a BA, she felt the big apple calling her, so she came to study acting. Along the way, she has accomplished everything from stand-up and sketch comedy, and commercial acting. She is even the co-author of a menopause pop-up and activity book called MenOpop. Among her finest talents, this mistress is perhaps best known for her assorted balloon creations that can raise eyebrows as well as smiles.

Fast forward a few years, when a night on the town led me to cross paths again with this lady of latex. Between her beaming smile that stretches as far as her balloons (all kept handy in her functional costume pockets) she sculpted me a doll-size version of herself. It allowes everyone to take a little piece of her home. Read all about her inflatable coolness as Mistress B. is a very special interview and June's very special Peculiar Person of the Month.    

This Peculiar Life NYC: One big question is how did you learn to make the dirty balloon creations? Was there a class offered or did you take the sculptures route where you could see the object in the balloon before you make them? 
 
Mistress B: I already knew how to twist balloons. I had been doing comedy on cruise ships, and I got off one of the contracts and said to myself, "Steady gigs are awesome! How do I get one on land?" I knew a lot of very talented performers and actors who were quite successful as children's entertainers, and it seems in the "variety world", you either make a living performing for kids or for adults.  I like kids, but I hate their parents. Since I had already done stand-up comedy, performing for adults was very comfortable for me.  The idea for adult balloons came to me when I was at a Ricky's and I saw a book/kit called "Rude Balloons" and it all clicked for me. 

My first "adult balloons" were adaptations of what I already knew how to make (it's a slippery slope from swords to penises) and sculptures that were in that book.  Later, I began going to balloon conventions. (Yes, there are such things, and I am very controversial in the "balloon community.") That community is pretty conservative, so there are no classes per se for adult sculptures.  I do have a balloon buddy from Vegas who has taught me a few things, but mostly I have to adapt from classes taught for kids' sculptures.  The "happy ending" on the penis is the smoke for Thomas the Tank Engine.

TPL NYC: You mentioned that you once dated a clown, how does one meet a clown? Where you once part of a circus?

MB: Actually, I was married to a clown.  We met when I was doing sketch comedy at an underground downtown theatre space; he was doing sketch comedy in a different troupe. I have never officially been in a circus, but through him I met many circus people, and now I perform with adult circus and variety shows, such as the Bindlestiff Family Cirkus (not a misspelling.) Circus people are great.  They're always reinventing themselves, and I love that.

TPL NYC: You perform with many burlesque troops and erotic themed reviews, what is it about those venues that appeal to you?
MB: Overall, I like inventive, subversive entertainment. It doesn't have to be sexually explicit or even suggestive. I simply enjoy performances that challenge an audience to question what they thought they knew. And I like that subversive kind of entertainment best when it reaches a "mixed" or non-underground crowd.  I have ambivalent feelings about burlesque itself.  Like many subversive art forms, when it's good, it's GREAT, but when it's therapy for someone who wants to feel better about their body, then I sort of lose interest. 

TPL NYC: How did you create the character of Mistress B? What is the “B” short for?

MB: As I said before, when I saw "Rude Balloons" something clicked.  I already did a comedy German Chanteuse, so when I saw that book. I thought, "That's it!  I'll do adult balloons! I'll be a comedy dominatrix! I'll do that bad German accent, and wear something black, and that'll be my steady gig!" Honestly, I suspect that the idea of creating a dominatrix character came to me for two reasons:
1) I wanted people do to what I told them to do.
2) The juxtaposition of looking scary and doing something whimsical is funny.

The B stands for "Balloon". 

TPL NYC: How long have you been doing this brand of performance art and how did you get into it?

MB: I've been doing Mistress B for 7 years.  I pretty much wandered into Lips Restaurant and asked them if I could twist balloons there for tips, and they said yes.  For the first year, I didn't have my motorized boob costume, so I just used a hand-pump.  It was a great experience, because I was able to develop a character week after week in front of an audience, and for the first year, it was without the gimmick of the costume.  I learned to do little shows at each table and to really interact with the audience, which, ironically, I didn't do when I did stand-up. 
Later, after I had my current costume built, I was more “bookable” and could perform in variety/burlesque shows and in other venues. 

TPL NYC: When it comes to latex are you actually interested and part of that fetish community, or is it another venue to perform at? Have you always been fascinated with it? If so, what do you feel started it?
MB: I am not a fetishist. (Sorry, everybody!) I like balloons a lot, but I don't love balloons. However, there is a quality about balloons that is both harmless and scary, because balloons are whimsical, and yet, all of a sudden they can alarmingly pop.  Balloons create a sort of instant suspense: there is a tension that builds in an audience wondering, "Is it going to pop? Isn't it going to pop?" That tension is something I like to play with, and I understand that the tension happens to be something that fetishists like. I also understand that messing with an audience and holding them in a state of tension is a bit sadistic on my part (I'm okay with that). But I'm not part of the community. I actually get eczema on my hands from the latex. Eczema is HOT.
When I began twisting balloons, I got into it merely because I needed money. I already knew how to knit, and my clown husband looked at me while I was knitting once and said, "I bet you could twist balloons." 

TPL NYC: How did you come up with your outfit? Did you make it yourself, or did you see it hanging on a rack somewhere and think it was perfect for your persona?

MB: I got it at Macy's. Actually, I had the costume custom-made. In fact, I bartered with the person who made my costume--I taught her knitting, and she built it for me. 

TPL NYC: Speaking of clothing? Do you change your costumes much, or do you need to keep the same outfit for your air nipple?

MB: I have been building a couple of new costumes so that I have different looks, but I find them sort of boring.  I feel like I have to look intimidating for the joke to really land.  And it doesn't feel quite the same when people aren't slightly uncomfortable and wondering what the hell I'm up to.
TPL NYC: Your outfit fits a fetish look, but it is also functional, how did you get that nipple to spray air?
MB: Very dangerous European Hormones. 

TPL NYC: Is it hard leaving the house dressed like that? Do people approach you when you are dressed in your gear?

Mistress B. without the balloons
but still stylish

MB: I no longer leave the house dressed in the entire costume.  I will wear my makeup and sometimes a wig, but I think it's safest for me to look sort of unglamorous, or more accurately, as if I am going to work, as opposed to looking like “this is how I live my life”.  The more completely done up I am, the more likely it is that I will be mistaken for a drag queen (which is absolutely fine with me most of the time). When I am out and in my costume and that happens, I sometimes attract attention that I'm uncomfortable with.  I'm fine making people uncomfortable in a safe space, but not on the subway.  When you make people uncomfortable on the subway, they want to punch you.

TPL NYC: What are some of your balloon specialties that you can make?

MB: Genitals, strippers on poles, a hat with lips and a tongue, handcuffs, whips, slave collars, a go-go boy, a self-portrait, and then anything people ask for (though I frown on making animals with penises, unless it's two balloon dogs making puppies). Oh, and I won't make diseases. 

TPL NYC: Of the balloon creations that you can do, which one do you like making the most?

MB: I like many of them for different reasons. I like the Vagina, because it's funny to make someone re-experience the miracle of birth; I like the Penis, because I hit people in the face with it, which is outrageous; I like the Lips, because they're fast, but people really appreciate them; and I like making a self-portrait, because, if people are sober enough to pay attention, they can't figure out what on earth I'm making till I reveal at the end, and the reveal often gets applause. 

TPL NYC: Which one of your balloon creations is the hardest to make?

MB: The ones I've been doing for a while that are in my repertoire are, by now, easy for me. The hardest things to make are things I have never made; they become a puzzle I have to figure out on the spot.  Recently, it's been a chef's toque.  

TPL NYC: I was able to get a figure that looks like you. How do you know where to put the balloons to make something as complex as a self portrait complete with all the details?

MB: Lots of experience with latex. 

TPL NYC: Is this a full time gig for you, or do you have any other persona’s you have created?

MB: This is a full-time gig for me, but I have created many different characters over the years. Most recently I've created a comedy Eurythmics tribute band called "Your Rhythm Mix" for which I am the Annie Lennox-type front person. Imagine that the Eurythmics never made it and have to play covers for money.  We'll be playing 80s alternative, Eurythmics, and contemporary songs as if the Eurythmics did them. (Like Taylor Swift's "You Belong with Me" in that obsessive, dark Eurythmics' style.) We premiered in May, and the response was better than either my partner or I anticipated.  It's good to keep doing new things.  It helps keep the old things fresh.

TPL NYC: What does your family and friends outside the performance art world think of what you do?



Mistress B. shows off her many talents

MB: My mother doesn't know how to tell her friends about what I do. Once, while I was visiting, we were with her friends. One of the ladies complimented me on my sweater, and my mother said quickly, "Yes, she made that sweater. She teaches knitting." (Though I have taught knitting, I certainly have never made anything close to a living at it.)  So later, I said to my mom, "You know, you can just tell your friends that I twist balloons for a living.  That's true."

My brother is both impressed by the fact that I make a living doing something weird, and wants me to be a lawyer. 


 

TPL NYC: How long have you been doing this? Was this a calling you had your whole life, or was this something that you stumbled into?

MB: I never in a million years expected that I'd be doing this.  

TPL NYC: Where are some of the regular places that you perform at?

MB: Weekly at Lips Restaurant and the Cubbyhole, and sometimes at Club XL, the Penthaus, the Ritz, and the Box. For the last five years, I have also been in a bi-weekly Broadway-style variety show called "Broadway Varietease", which will go on hiatus for the summer, but will resume in the fall.  

TPL NYC: I saw on your website that you perform in the Latex Lounge. Is this a show that you created yourself? How do you pick which acts you want to do and use?

MB: Mistress B's Latex Lounge is a 50 minute solo show I created that involves a lot of music, audience participation, and balloons.  I like to choose some musical numbers that are unexpected for Mistress B to do (like the musical standard “I'm Old-Fashioned”) and some that are more obvious, like Sondheim's “I Never Do Anything Twice” which is a Madame's Song.  When I am doing the show, sometimes I'll have a special guest. 

TPL NYC: You also have a slave, how did that relationship get started? Are there any tips you can give readers on how to get a proper slave?

MB: I got my slave when I needed help for my "Crafting with Mistress B" videos, which I hope to post someday soon.  It's important to train your slave properly.  I use tricks from the Dog Whisperer.  Exercise, discipline, and then affection. 

TPL NYC: Aside from the balloon creations, it seems you like to sing and do some comedy. Is it hard to be funny while trying to make a balloon creation?

MB: I don't think it's difficult to be funny while making balloons.  It can, however, be difficult for an audience to notice that you are funny if they are very, very drunk. 

TPL NYC: Same with singing, do you write a lot of your own music?

MB: I think it's very easy to sing and be funny. Millions of better performers than I have done it.  It's harder to figure out how to incorporate balloons into a musical piece.  There's a very thin line between being clever with balloons and being a prop comic.  I try to be both stupid and clever. That's tricky. I write some of my music.  In all situations, I either have recorded my own voice so that I can lip-sync to it (which is good for loud clubs with bad sound systems) or I sing live. 

TPL NYC: You have performed some of Sondheim’s songs, what is it about his music that you like?

MB: Without question, to me, he is the greatest lyricist of our age. I love his internal rhymes, his skill at story and his ability to communicate complex or ambivalent feelings.  I have a not-so-secret fantasy that someday he will see me perform "I Never Do Anything Twice." He might love it, or he might hate it. But he will never have seen the same rendition, that's for sure.

TPL NYC: You are very active with LGBT events. Do you feel that your appeal is suited to gay audiences more?
MB: I feel it sort of happened that way. I don't know exactly why. I have often wondered about performers like Kathy Griffin or Madonna or Lady Gaga or Cher: did they mean to be popular among a gay audience, or did it just happen? I suppose it's a rather obvious thing to say, but I'll say it anyway: whatever audience finds you, it's because you're doing some mysterious something that resonates to them.  In other words, you are all birds of a feather on some fundamental level. And for me, it's a complete love-fest.

TPL NYC: Is there any place you have performed that has been challenging?

MB: One place was a straight club in Clifton New Jersey that was having a Leather & Lace night. The crowd was so "gumbah" that I thought I was going to be gay-bashed in the parking lot. (I should note that I have had many very good experiences performing for straight crowds.) Even the bouncers, supposedly there to protect employees of the club, wouldn't look at me.  Only the women attending the party would talk to me. I was texting a friend the address of the club in case something happened to me.  Even though I happen to be a "real girl” and have ovaries, I was offended by the idea that I should have to say so.  I felt that it shouldn't matter what my plumbing is--I was hired by the club, and I should feel protected.  That was a real eye-opener in terms of what drag queens and transgender folks go through.  And that is a big-time reason I don't walk around the streets of NYC in my costume. Another event was an honest-to-goodness fetish party. During the party, I had to watch a demonstration of "ball-busting", which consisted of a dude getting kicked in the testicles about 20 times by his Dom.  Any curiosity I had of whether I could actually be a real dominatrix was completely quelled. I nearly burst into tears. I don't want to kick somebody in the balls that I DISLIKE, never mind someone that I actually LIKE. No way.

Mistress B. poses in the "No on Prop 8" campaign.

 

TPL NYC: What are some upcoming projects and events for you? Do you stay local to NYC or do you travel?

MB: I am working on a performance/story-telling show which I co-created with Sideshow Darling, The Lady Aye called "Unmasked: Larger than Life Characters and the Average Joes who Inhabit Them", which won the inaugural First of May Award from the Bindlestiff Family Cirkus. In the first half of the show, we perform as our characters, and in the second half, we appear out of makeup and costume and tell stories about our exploits. We look forward to having monthly or bi-weekly performances in the fall.  "Your Rhythm Mix" debuted in May, and we hope to pick up steam over the summer and early fall. 

I don't have any travel engagements at the moment, but a couple of years ago I was hired to go to London to perform in a private birthday party in over the summer, and in the fall, flown to Paris to be on a TV show called "Sex Wiz Antoine." It sounds very fancy. I enjoy traveling abroad because it's interesting to see what kinds of people in other countries go to see “adult”, or what I'd rather describe as “grown-up,” entertainment.  For instance, here in NYC burlesque and adult circus are rather underground, and the same rather small audience goes to see these types of shows.  But in London, the burlesque and variety shows were in the same part of town as the big Broadway-type shows, and “nice” people, such as suburban married couples on dates, went to see them.  And the acts in the shows I saw in London were ten minutes long, as opposed to the 5-minute acts here catering to short attention span.I hope to travel more in the near future. 



Mistress B with Lady Aye

TPL NYC: What are some things you enjoy doing outside of being Mistress B? Any fun hobbies or interests?

MB: I'm an avid crafter and DIYer.  Knitting, sewing, repurposing clothing, repurposing wood for small furniture items, cooking, you name it. I like to take things and turn them into other things. For instance, I've made lockets out of mini-Altoids tins, a purse out of gold leather pants (which a friend forbade me to wear), and a “mission-style” mantle-piece from an old media stand. My newest quest is to find a way to make an all-natural lip stain. I am also a part-time astrologer. 

TPL NYC: As a mistress is that something you had to work up to being or is that just a stage name?

MB: It's just a stage name. 

TPL NYC: So this blog is about peculiar people, what is the most peculiar thing you have ever done?

MB: Geez.  Do I have to come up with something else?  

I once did the math, and I believe that over the course of 7 years at Lips, I have hit about 3,000 women in the face with my penis.  That's a lot of balloon penises in the face.

TPL NYC: While in NYC what is the most peculiar thing you have witnessed?

Here you have a choice of one of the three. I can't tell which one reads off the page best.

MB: Years ago, I was with friends in the East Village at a dumpy Ukranian Bar. A cross-dresser (a large, stubbly guy with a receding hairline, girly barrette in his thinning hair, wearing a stained pink sweat suit and white Keds sneakers) sat playing Ms. Packman.  There was a toothless old prostitute yelling to no one in particular, "I Vant Amore! I Vant Your Cock in My Pussy!” Without looking up from the Ms Packman game, the cross-dresser said, "That's Pathetic." 

Mistress B. conquers the cartoon medium

 Tied up in knots over Mistress B? Well you can find out more about her by visiting her website: www.MistressBalloon.com.

 

April’s Peculiar Person of the Month: Writer and Ritualist Adel Souto

by
David Rondinelli

Adel Souto toasts readers of T.P.L. NYC

Adel Souto is a man of many talents. A musician, writer, and artist, Adel has made a ritual out of self expression. In fact, many of his ventures are based around rituals. A work in constant progress like many of his art pieces, he raises the stakes for himself by completing different rituals to experience what insights they can bring him. Challenging himself to everything from long boughts of silence to journal writing with his non-dominant hand, he hopes to bring more awareness to himself. Whereas some rituals are harder than others, he feels quite content to keep on pushing himself forward. Read all about his many experiences as he is April's Peculiar Person of the Month.





This Peculiar Life NYC: You are big on rituals, you completed one recently where you didn’t speak for a month. Could you tell me what inspired you to complete such a task?

Adel Souto: In October of 2010, I had the luxury of living a rather difficult, yet easy-going enough, life to facilitate something I’ve always wanted to try. While I’ve done much shorter periods of silence (longest being 4 days), I thought a month would be an amazing stretch (and stress) to attempt, while living, and working, in NYC. I’ve been enchanted with, and reading of, the paths of the mystics since early Catholic school, and later began to actually practice, and live my life in such ways, around 1998, when I was in my late 20s. Sacred vows of silence are acts one can find from East to West, so it’s intrigued me for some time.

T.P.L. NYC: Take me through the experience of what it was like to stay silent for so long?
A.S.: I’m in the process of finishing up a book on the subject, so I’ll be brief, as not to give away too much, but I learned you have to be hyper-aware at all times, and it’s just as rough on the person you live with, as it is on you. Lastly, by week four I had practically a breakdown. Some of it was a little too intense, but I wouldn’t trade the experience for anything, and even still attempt shorter spans.

T.P.L. NYC:  What do you feel you gained from doing a task like this? In addition, what do you gain out of any ritual you do?

A.S.:  I have learned so much about myself. I can now read and understand signals from my body. I understand so much more about myself as a person from who I am to why I did certain things. I write “did” because much of this has helped me break earlier addictions, bad habits, and a previously piss poor attitude.

T.P.L. NYC: You have done several rituals that almost appear like challenges to yourself. How do you decide what ritual you are going to complete next?
A.S.:  In all honesty, many of these come up organically, and sometimes on the spot, several days to even hours before I begin them. Normally, I get an idea, often one I’ve always wanted to try anyway.

Next, I’ll be doing a sleep deprivation experiment (not a ritual). I have read that the longest anyone has ever stayed awake is 11 days, and while I will not be going for a record or even attempting to match that, I wish to experience, and feel firsthand, the effects of not sleeping for long terms, or, at least, much longer terms than I’ve already experienced.

T.P.L. NYC: You completed another ritual in which you didn’t shave and you used a certain comb on your beard. What was the purpose of this ritual and what made you want to do this?
A.S.:  The ritual was 156-days-long (close to six months) of self-denial, as well as adapting an appearance I normally would not.
First, were the acts of self-denial. I used to smoke cigarettes and top off every meal with some type of sugar snack, like candy. I quit both for the period, as well as a handful of other things.
Secondly, I’m bald and clean shaven, as I prefer that look. Even my style of dress fits that. I have only grown a beard once (for three months), and it was not for me. I find it uncomfortable, as well as unappealing when attached to a face like mine. I grew out my beard, and hair, to deal with looking like someone I would normally not look like. Admittedly, the comb became a byproduct of the beard. After month two, I began to stroke it, then pulled out the comb, and began to meditate while combing it. It was one of the few things that helped me deal with it, as dealing with it was a bit vexatious throughout.

Souto's beard ritual reveals a before and after of what he went through.

T.P.L. NYC:  I can’t help but ask. You also mentioned that you have taught yourself how to have a 45-minute orgasm. Tell readers how you accomplished something of this nature?

A.S.:  You may have misunderstood.

I, after years of hard work, actually got to “open the third eye”, and had my pineal gland stimulate my hypothalamus, which dumped massive amounts of neurochemicals into my system.
The first time caused a 30 minute experience (only a part of which were the 5 - 8 full-body orgasms), and my second attempt was another 45 minute experience. Now they are not so extreme, and I can even function when in these states. Even so, the full experience is a nonstop, fountain-like explosion of white light seemingly within the head, a fire-like purple light emitting outward from my chest, a feeling of levitation (though firmly on the ground), and those pulsating orgasms (without ejaculation).
Outsiders also claim my hands are hot to the touch when I do this, though I am uncertain if it is part of my experience, or a coincidental outside contaminant.

T.P.L. NYC: If you have a regular orgasm now, do you even feel it or consider it to be as potent?

A.S.:  Great question! Without a doubt it has affected me. The regular sexual feeling is almost completely gone from my penis, and I now have orgasms that are more full-bodied. The normal sensation in my genitals is no longer there, but has wildly moved to my head, of all places. I guess it’s even truer in my case when saying the biggest sex organ is your mind.

T.P.L. NYC:  What are some of the other rituals you have done and what was their purpose?

A.S.:  All rituals and experiments are done to learn something about myself. Sometimes done to help change bad habits, or, at least, understand them, to otherwise simply see if these acts are possible, without losing my mind as much as possible.
Some have included: short-term and long-term fasts (both food and liquid), writing in a journal for a year and a half using only my non-dominant hand, the previously mentioned vows of silence, but also vows of chastity, and other acts of self-denial, plus smaller, more repetitive rituals of observance, such as a month-long reverence ritual for femininity.

T.P.L. NYC: Is there a ritual that you have done that you found to be the hardest to stick to and complete?

A.S.:  Yes, the few which had me quitting my addictions.

T.P.L. NYC: Which one did you find particularly fun or easy (prolonged orgasm excluded)?

A.S.: The month-long vow of silence. I wouldn’t say “fun”, but it was a great experience. I would relive it again. I learned so much about myself, and about society as well.

Adel with a candle against a painted wall

T.P.L. NYC: You have an expensive background in art, writing, and music. How do you know which medium your creative ideas will take?

A.S.:  Like my ideas for rituals, I have ebbs and flows of creative ideas, though they usually come in spurts in one productive field at a time. I have been a little scatterbrain here and there, but I mostly work on art for a few weeks, then music for a few days, write a while, etc. Though it’s been quite some time since, as I’ve experienced a few years now of almost nonstop creative influence, I do have periods of inactivity, too.
I would like to state here that I do work a full-time job, in case anyone mistakenly feels I’m fortunate enough to lounge around, and think stuff up (though I do fit time to do just that).  I also do my own Photoshop graphic designs, Dreamweaver website layouts, merchandise distribution, etc. “Work hard, play hard,” is one of my many mottos. I know it can be hard to make ends meet, as well as follow your creative spirit, but if you feed that spirit, it can turn into a demigod.T.P.L. NYC: You have started doing lecturing on occult influences in photography; could you explain a little about this? Is this photographing supernatural occurrences or people actually using supernatural forces to create works of art?

T.P.L. NYC: You have started doing lecturing on occult influences in photography; could you explain a little about this? Is this photographing supernatural occurrences or people actually using supernatural forces to create works of art?

A.S.:  The lecture I wrote is on varying occult influences in and on photography. I started off with comparisons between alchemy and chemistry, which helped spawn the photographic process. Then, the photograph as documentation device for occult lodges, and mediumistic practices in the early 1900s, as well as primitive and fetishistic religions and cults who used photographs in magic spells (both for beneficial or hurtful practices). I finish off by discussing the photographic rituals of Brion Gysin in the late 50s, and end on current photographers who use magic and ritual in the artistic process of photography.  

T.P.L. NYC: You started writing your own zines in the late 80’s and have since gone on to write for major magazines such as Details and Psychology Today. What do you feel is the major difference between writing for yourself and for established magazines?

A.S.:  A paycheck.
If you are honest, and can live with yourself honestly, you will write what you know, and - if not - write fiction. Anyhow, the work will find its way into the right, and sometimes wrong, hands (if you put it out there), and someone will publish it. A few will pay you. Some say there is more leeway with self-publishing, but, if you give it to publishers that release material similar to yours, they will probably let you say whatever it is you want. If someone is being censored, they may have the wrong publisher (maybe even one who stands to make more off you, than you off them).

T.P.L. NYC: You self-published a lot of your works, what are some tactics you did to build your audience and maintain it after all of these years?

A.S.:  Rule One: promote, promote, promote. Too many people think they have such a great idea, it will sell itself. Few can discover what is left buried too deeply.

Rule Two: Network, network, network. You are only as strong as your support system. Also, fans are friends, and the nicer you are, the nicer their words are about you. Be sincere and humble, because the world hates a phony, and sooner or later, those types are left to show who they are. 

Adel gives some support to his band mates.

T.P.L. NYC:  You seem to be very busy on all kinds of projects, what are some other things you enjoy doing besides working so much?

A.S.:  I love a good game of chess. Conversation, and reading, as it keeps the mind sharp, and I really do enjoy them.  I’m a big movie buff, so I try to squeeze one or two in a week. If it’s rare, I also enjoy the hunt. Spend time with my cat, and the people who make my life better. Music is a big part of my life, so I’m out at a show about once a week. With all that, the previously mentioned “lounge around, and think stuff up.”

T.P.L. NYC:  Are you mostly a self-taught artist or did you have formal training? How did you juggle learning all these different skills, or did your life go in phases?

A.S.:  A little bit of everything. When my family first moved to the U.S., my father drew sketches for things he built to sell. He taught me a bit of that. In grammar school, they thought I was artistically inclined, so I did get some attention from teachers, and a bit of study, all the way through high school.
After that, it’s all been self-taught, especially with computers. When I made my ‘zine into a website in 2000, I learned website design, and a bit of Photoshop. When I began to put out material, I got better at Photoshop. When I got into film and photography in 2007, I learned editing programs. It never ends, but (I joke) as a unit of information collection I kinda like it.

T.P.L. NYC: Who are some of your influences in music, art, and writing?

A.S.:  There are just too many to name, and I know I’ll skip some, but here goes: All the classics, of course, so recent and contemporary artists include writers Robert Anton Wilson, Adam Parfrey, Jim Goad, Simon Dwyer, Lisa Carver, Adam Gorightly, Joseph Campbell, William Burroughs and Gary Gygax; artists Austin Spare, ManWoman, HR Giger, Salvador Dali, Brion Gysin, Alex Grey, Andy Warhol;  musicians Angus MacLise, Genesis P-Orridge, David Tibet, Bobby O (especially when writing for Divine), Jello Biafra, H.R., Z’ev, Blixa Bargeld, Los Angeles Free Music Society, Lee 'Scratch' Perry; film makers John Waters, Andy Copp, Jim Van Bebber; and many, many friends in my personal life who inspire me. As Isaac Newton wrote, “If I have seen further, it is by standing on the shoulders of giants.”

T.P.L. NYC: Of all the works that you have completed could you share with us if there is a painting, song/album, or piece of writing that you have done that sticks out to you the most?

A.S.:  Birth pains are bad, so you tend to love/hate them all equally. Still, I do love my disposable camera project a lot. In this project, I choose one motif, then photograph several series of them on disposable cameras. I ask artists to then work on the camera itself, so it becomes a work of art. The owner of the piece has to figure out how to get the photos within, without destroying the exterior work. I have one series finished, titled Throwaways, with artist Anthony Mangicapra, and two others currently in the works, while two more are in the idea stages.




Souto's Throwaways piece 

T.P.L. NYC: You have been in some galleries. How did you go about getting your work exhibited?

A.S.:  Networking and promotion. I couldn’t get to many of the places I’ve been without the help of friends and backers, as well as turning folks on, who just like art, to my ideas.

A pice from Souto's A Joyous Swastika

T.P.L. NYC: What was the reaction you got for your project A Joyous Swastika?

A.S.:  Wonderful! People know it’s done with no hatred in my heart.
The ancient symbol of the swastika stands for many things, to many cultures, which are completely innocent. I understand that it symbolizes horror to some, and plain negativity to others, but I also understand enough to know those horrors were done under a banner with a hakenkreuz (the symbol for Nazi Germany), and I vow never to play with that specific symbol, and especially for what it stands.
That aside, one cannot ask Buddhist, Vedic Indian, Chinese (the word “swastika” is Sanskrit) or any other cultures who currently use it, and have for millennium, to stop because a group of men and their insane ideas defiled a part of its long history.
We need to hold those who were responsible for what happened, as well as never forget. If a symbol is needed to define what that horror is, as the hakenkreuz, I am fine with that, so long as they are fine with someone like me using the swastika.


T.P.L. NYC:  You are working on a new autobiographical material; what was your life like growing up?
A.S.:  Extreme. My father was one type of person, my mother another. Good people, with bad ideas on raising children (and maybe even living their personal lives), but they sacrificed a lot to let me be where I am. When we first moved to this country, they starved so my sister and I could eat. My childhood is a mixture of long episodes of boredom, peppered with explosive moments of insanity.

T.P.L. NYC: Your bio mentioned that you are from Cuba, how long did you live there?

A.S.:  Not long; about a year. My father was a Spanish citizen, and we moved to Spain soon after my birth, until Franco stepped down, then we came here.

T.P.L. NYC: You also lived in Miami, what was the art scene like down there? What brought you to New York City?

A.S.:  The art scene in Miami is like the art and music scene in NYC. There are schools, galleries, premier shows, seminars, and so on, but it turns out you can make just as much of yourself at home in any city or town across the world nowadays. Admittedly, if you are going to stay away from these cultural centers, and the game systems that revolve around them, then you better work the previously stated Rules One and Two even harder, through whatever channels you have, be it snail mail, internet, social media or whatever is the next wave.

What brought me to NYC was that I knew it was the cultural hub that it is, and thought, “I could make a paycheck somewhere and struggle with my art, or struggle with work in NYC, while making a decent time of it with art.” I’ve lived hand-to-mouth time to time, and knew it would be a struggle, but felt it was the best step to keep growing. I also had a handful of decent friends from back home, and a few other new ones I made while here, who have helped make the transition here easier. As I mentioned, we’re only as strong as our support system.

Also, I have a peculiar history with this city. It was the first place my family came to when we moved to the U.S.; I tried to make it here in the early 90s, and ran back home to Miami; would visit on tour every few months to years; and have always met so many wonderful people in NYC, and from NYC, who changed my life. I knew I needed to make a life here for some time.

T.P.L. NYC: How did you come up with your band name 156?

A.S.:  In the early 90s, I sang for a hardcore band, Timescape Zero, which had a dark image and lyrical twist, I chose a stage name I thought would be fitting, Adel 156. It is an allusion to Aleister Crowley, and his “scarlet whore” Babylon. Though an occult reference, I thought it also fit as a street tagger’s name, with a hint of gang affiliation - many images the band went for - so I kept it.

Ever since, a few friends have kept the 156 moniker for me, so when I began the experimental industrial act I currently record as, I dropped my name, and stuck with simply 156.




Souto's album cover depicting his stage name

T.P.L. NYC: So this blog is about peculiar people. Of all the different projects that you have worked on, which one do you feel is the most peculiar whether it be finished project or experience?A.S.:  With all the experiments and rituals I’ve done, as well as some of the material I’ve produced, both organically and from these experiences, I’m going to say something a little peculiar: be in a band.
I’ve learned that I have stage fright, and cannot handle being looked at by a large number of eyes.
When I speak, and can see who I am speaking to: the larger the crowd, the larger my panic. Not sure if you noticed my shaking at Paul Lucas’ Show and Tell, and that was a group of 20 or so. It’s different when I stand there, pouring my heart out, hoping people understand me.
Yet, when I make music, especially when I sang for the punk and hardcore bands, I get up on stage, and something turns off, while someone else is turned on. I forget the audience is there, and then I dance, pantomime, fly about, jump and holler, preach like in church, and the spirit makes the crowd give me an “Amen!” Somehow, “that guy” couldn’t care if they’re there or not. I was not who I normally am on stage, but ever since my pineal gland experience I have been filled with more confidence (much more), and that liberated person is emerging more and more in my daily life. Still, I find I hold much anxiety. That’s why I know these things need to be done routinely, but, like any mind-altering experience, in moderation.

T.P.L. NYC: What do you feel is the most peculiar thing you have experienced in New York City?

A.S.:  I could never point to just one experience. The last three years have been a riot.
The natural moments include having the “Brooklyn tornado” uproot a tree in my backyard as I stood on my back porch in 2010; looking out the window on Broadway and 34^thStreet from an illegal poker house to see people filling the street after the 2011 earthquake were two good ones.

By another’s hand, watching Kenny Millions freak out a small handful of people at a show.
By my own hand, I’d have to say the vow of silence maybe. It had me adjust to living here under odder circumstances than most would want to try.

Maybe in 2005, when a band asked me to do vocals for them, when they opened for Bad Brains at CBGBs, and having folks like Joan Jett, Moby, and Steve Buscemi in the crowd. Well, that’s more surreal, than peculiar.

To learn more about Adel Souto and his work, check out his website: www.adelsouto.com.