USA—Workhouse Publicity, an award-winning public relations firm, is proud to announce today that it has been selected by maverick photographer & director, Phil Mucci as the Agency of Record for U.S. marketing and domestic publicity. Mucci’s visual world is possessed by a combination of campy fixation and groundbreaking visuals seemingly only found in the afterlife. Workhouse Publicity will develop an integrated promotional strategy that synchronizes communication efforts both nationally and locally. As part of a larger company initiative, Workhouse will develop creative brand messaging across all media channels to ensure consistency. The assignment is effective immediately. We cordially invite you to contact Workhouse Publicity, publicist Kara Hughett directly at 212. 645. 8006 for an exclusive preview, or to schedule an interview with Photographer and Director, Phil Mucci.

THE PERSONALITY OF PHIL MUCCI
The title fight, the championship, the game, the big race. Flashbulb pop. Spotlight. There, behind the scenes, stands a man with a camera in his hand. A contender whose brash, take-no-prisoners approach to photography and celluloid mixes uptown sophistication with downtown soul. Welcome to the world of Phil Mucci where bizarre and gorgeous creative catapults stationary and moving images into surrealistic territory. By reaching backwards into our rich cultural ancestry, Mucci conjures revolutionary, iconic and irreverent photomontages into an uncompromising future. His confrontational visuals appear in the realms of music, film and advertising are so original that they reimagine our contemporary landscape. World’s collide and with a magician’s mystery à la ‘cards up both sleeves,’ Mucci’s work tricks, amazes, baffles and leaves you breathless. In his spare time, Mucci embraces the horror of glamour, the hubris of rock n’ roll, and the humor of death while tweaking the boundaries of logic and exceeding normalcy.

“Bungee jumping over a nudist beach” is what Phil Mucci would be doing if he were not creating his signature kaleidoscopic imagery. “It wouldn’t be what I’d see, it would be more about the impact and recoil.” It has always been about life’s recoils and off-the-wall tactics that motivate Mucci to create stunning visual imagery. His unconfined candy-colored imagery has appeared on and in-between the covers of Vogue, Time, Rolling Stone, Spin and Maxim.

AMERICAN SWAGGER
Mucci champions the synergy of photography and music. His unbridled passion for music attracts the very best, including an explosive mix of artists like Christina Aguilera, The Killers, Jay-Z, My Chemical Romance, and Fall Out Boy. They come to Phil for the Mucci treatment, and because he always puts out on the first date.

SUBVERSIVE REVELATION
A picture is worth a buck fifty at the mall, but a picture by Phil Mucci is worth at least twice that.  Sidled with an abnormally large brain and hampered by the need to tell stories with pictures, Mucci’s bold illiteracy is something people can count on.  He doesn’t speak the current lingo, and as such, is often confused as being extremely profound. “I put my money into projects that give me the creative freedom to show people exactly what I want to do, without having anybody tell me what to do.  If you can pull it off, and convince people you can’t read, they will come to you.” Island/Def Jam, Ecko Unltd, Atlantic Records and Skechers are among the many disciples who have answered Mucci’s siren call. Rather than use his profits for much needed psychotherapy, Phil and his team have taken their “winnings” from what they call “The End of the World Sweepstakes,” and turned them into something even more revolutionary—filmmaking.

MAVERICK SENSABILITY
While photography is the well from which all Mucci’s grand illusions have sprung, filmmaking is the dirty hot-tub next door. Chasing the cinematic dragon is his current focus, as the borders of the photographic frame have proven too small to contain him. Mucci recently wrote and directed his first short film, The Listening Dead, based on a concept he developed for an unrealized music video.  It centers on the relationships between an artist, his wife, and the undead. Mucci’s surreal approach and exaggerated characters leave audiences gasping for more. Awarded the Grand Jury Prize for Best Short Film at the New York International Independent Film and Video Festival, and Best in Show at the prestigious Fantastic Fest in Austin, The Listening Dead will be playing dozens of film festivals worldwide. Catch it next at the New York City Horror Film Festival, on October 20th, where it’s been nominated for every major award (except Best Feature). To view a trailer of The Listening Dead and for more information, please visit www.thelisteningdead.com.

Take notice: his bag of tricks is full and his flair of mixing fantasy and reality crosses the lines of traditional photography. Mucci’s works have gained the recognition of the NU Breed Synergy of the Arts and Lincoln Center displayed his works among one hundred other artists worldwide to represent the best emerging talents. In 2001, American Photography 18 chose Mucci’s ESPN Magazine cover for their highly renowned annual issue. He shot the 2005 album cover for Louis XIV, which won him his second PDN/PIX award. Mucci was in turn included in the PDN Photo Annual 2006 competition that honored his work as the best commercial photography of the year. Whether it’s Mucci’s photography or film, brace yourself to witness works that are fundamentally strange, quintessentially unique, and ultimately fascinating. For more information on Phil Mucci, please visit www.philmucci.com.

WORKHOUSE PUBLICITY
Instituted in 1996, Workhouse Publicity has produced over one hundred domestic and international publicity campaigns. The new definition of a full-service promotional firm, Workhouse specializes in the coordination of corporate and celebrity publicity, total design, luxury marketing and special events. Recent accomplishments include launch events at Versace, Harry Winston, Van Cleef & Arpels, Gracie Mansion, Harlem’s legendary Apollo Theater, Carnegie Hall. Client campaigns include Ultimate Style: The Best of The Best Dressed List at Gotham Hall, Dolce & Gabanna’s Hollywood at Bergdorf Goodman with Jennifer Lopez, Gucci’s so8o’s boutique launch, Francis Ford Coppola’s Festa Macaroni, Interview Magazine’s 30th Anniversary, Virgin Megastore's Grand Opening and Galleries Lafayette’s 20th Anniversary in France as well as bi-coastal productions of the 24 Hour Plays to benefit the NY State WTC Relief Fund with Philip Seymour Hoffman, Rosie Perez, Benjamin Bratt, Julianne Moore and more. Worldwide client campaigns have included promotional initiatives for Sean "P. Diddy" Combs, Tim Burton, Debbie Harry, David LaChapelle and Lennox Lewis. For more information please visit www.workhousepr.com.

IMAGE IS EVERYTHING

“I was asked to do a fashion story that combined Bollywood with Brooklyn. I watched a couple of the films and hated them- lots of flirting, no payoff.  So I found a gorgeous half Indian model and put her into the most revealing outfits the stylist had. It was fun. I figured if Bollywood is about flirting, then Brooklyn is certainly about balling."

 “COMPLEX magazine asked me to do a fashion story based on famous old cars. We picked our favorite cars from past films and TV shows, including Cleopatra Jones, James Bond, Dukes of Hazard, and Miami Vice. This was from Steve McQueen’s Bullitt. I had a blast updating the classic pose and having a gorgeous Brazilian model in her knickers.  The car was actually a 1:18 scale model.  I still play with it.”

“I’d just finished doing work for Ecko Unltd, and Marc Ecko called me up to say that a friend of his, the CEO of Skechers, wanted to meet me. When I met Robert Greenberg, he told me that he wanted me to make him look ‘cool’. I came back to him with the campaign- ‘Skechers- We put the S in action!’ He didn’t understand it, but he let me run with it, and it was the best time I’ve ever had on an advertising shoot.  We hung out with an arsenal of weapons, models, wardrobe, and toys, and literally came up with stuff as we went along. Totally sweet. I got to shoot everything I liked about the old James Bond movie posters, and get paid to do it.