MOSTER CHILDREN ISSUE 46 IS HERE.

I know we say this every single issue, but seriously, this issue? Number 46? It’s the best issue we ever done did. Check it out. Ex-Silverchair frontman Daniel Johns breaks his eight-year silence to tell us why he’s been silent for eight years; Skater/Painter Brian Lotti discusses the invention of the Big Spin and the virtues of lugging an easel up a hill; New York artist Weirdo Dave talks about glue and magazines and his freakishly limited experience with the Internet; and Nate Lawrence takes us behind-the-scenes of Kai Neville’s latest surf flick, Cluster. After that, Brodie Jackson does some tattoos that will make you wish you weren’t afraid to get tattoos; Color magazine’s Sandro Grisonreveals Vancouver’s best places to eat, sleep, drink, skate, expel wind and party; the delightfulCharles Manson takes a break from his wedding plans to tell you what the future holds in your horoscope; and Mike Gigliotti explains how a sensitive artist like himself wound up in the military. Also, Dylan Reider puts together a mix tape guaranteed to make you skate better, and, as always,Andy JenkinsDave CarnieVaughan Dead, and myself waffle on and on and on about anything we want.

To heck with Oily Amateurs, it’s all happening in Monster Children #46!

- Ed

INTERVIEW // Ed Templeton’s Wayward Cognitions.

Ed Templeton has a new book out. It’s called ‘Wayward Cognitions’ and it contains a selection of work carefully curated from his extensive, spiderweb-wreathed image archive. Ed doesn’t have Skype, so we rang him up on a real telephone and asked some questions about the new book, death, and Skype sex.

Hi Ed. How are you?

I’m feeling OK. The overbearing fear that I’m 42 and there’s not enough time left in my life to do what I want to do is pretty low today. I’m happy and a bit stressed, but that’s been my general state for most of my life. I think everyone I know is in that state too, so probably everybody is constantly stressed. That’s what happens when the gadgets invented to make our lives easier in fact allow us to pile more things onto our plate. I’m fine.

Your new book, Wayward Cognitions, must have been a bitch to put together. How long did it take to choose what you wanted to go in it, and how did you make those choices?

It wasn’t too bad of a bitch. The pain in the ass part was combing through the parts of my archive that aren’t digitally archived. But I didn’t have to comb too hard because I quickly filled the general page count I was shooting for, and after that it was just a matter of arrangement and sequencing. Some images were pushed out and others needed to be found and put in. It would have been nice and leisurely if Thomas Campbell the owner of Um Yeah Arts hadn’t submitted to the book to the distributor, DAP. Suddenly a deadline was placed on me, and I had to kick it into high gear. My June and July of 2014 was spent printing everything for the book, then scanning it and cleaning it, and laying it out. Soul crushing hours clicking away until your wrist is buzzing. I had been looking and playing with ideas for most of 2014, but the deadline really made me decide finally whet was in or out, because I barely had time to get all the practical work done before the deadline. As far as choosing went, I had a very loose idea of what I wanted, in my head I was looking for “weird” photos that were total misfits as to what I do with them. It would have probably have been a lot stranger if I stuck to that 100%, but I ended up putting some more conventional street photos in as well as the story I was telling developed.

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Source (http://www.monsterchildren.com)