yungEgypt's AGAVE VOL. 2

AGAVE ⿓⾆

A sip of the unlimited growth and creativity that comprises the beauty of our world.

AGAVE deep dives into all areas of culture to enrich the passions worth devoting ourselves towards. An exercise in expression.

In short, Just do you.

EditorialDivision

EDITOR-IN-CHIEF/ Miles Mouse

MANAGING EDITOR/ Miles Mouse

WEB DIRECTOR/ Miles Mouse

COPY EDITOR/ Miles Mouse

FASHION EDITOR/ Miles Mouse

ANIME/MANGA EDITOR/ Miles Mouse

ENTERTAINMENT EDITOR/ Miles

Mouse

TRAVEL EDITOR/ Miles Mouse

DEEP THOUGHT EDITOR/ Miles Mouse

PRINT WRITER/ Miles Mouse

CreativeDivision

CREATIVE DIRECTOR/ Miles Mouse

DESIGN DIRECTOR/ Miles Mouse

PHOTO DIRECTOR/ Miles Mouse

PHOTOGRAPHER/ Miles Mouse

STYLIST/ Miles Mouse

BusinessDivision

BUSINESS DIRECTOR/ Miles Mouse

ADVERTISING DIRECTOR/ Miles Mouse

PUBLIC RELATIONS DIRECTOR/ Miles Mouse

HEAD OF FINANCE/ Miles Mouse

SpecialContributions

PHOTO DEPARTMENT/

Tylen Butler, Canaan Blackwell, Justin Gibbs

CONCEPT DEVELOPMENT/ Justin Gibbs, Brighton Mills

MilesMouse

EDITOR-IN-CHIEF

And I’m back! It admittedly felt like a lifetime of work trying to cultivate the same drive and mindset to put together the second Volume of yungEgypt’s AGAVE. Life behind the scenes of each of these releases is just as difficult, perplexing and tedious as the articles I put together. A theme for this Volume was the sense of evolution and progression that I’d like to continue with all my future efforts but also life.

I can acknowledge feeling an intense burst of excitement and love from those who actually went out of their way to view something I made. It was a joy I seldom get to feel and to hear all the warm remarks and intrigue on when I’d be continuing this solo-driven series, almost reduced me to tears. I thank everyone who has been attracted to this and even though my intent wasn’t to drive sales or make some grandiose literary conglomerate, that feeling that I connected with another person who thinks like me keeps me moving not only to write but to live as well.

Each release has become a time capsule for the emotions and experiences I have endured while writing them. I’d say the first Volume highlighted the desperation and creative hunger I had at that time in my life. Questions like “Could someone like me really even do this?” popped in out of my head the entire time. And now with this second Volume I’d say my feelings behind its creation are a lot more jumbled and knotted. Many things have not gone according to plan in the months building up to this issue. New people, situations and opportunities have been nearly impossible to manage without mentally blacking out or breaking down. Behind all the topics of vibrancy and expression I enjoy showcasing in these pages, I am at heart just a 23 year old kid trying to sort out life the best way I can and this has become a meditative way for me to achieve that.

These stories and figures spotlighted within Volume 2 aren’t chosen at random. What I want to stick out most is the ever present nature of fighting against life. Many characters and people demonstrated within this issue, give needed inspiration to me (and hopefully those of you reading) because they are so synonymous with the everyday struggles we all face. No matter the fame or figure, no one is above struggle. The successful ones just know how to face it and keep moving forward. And that attribute is the mainstay I want to keep climbing towards regardless if my road to happiness is as easy as I’d like it to be.

But beyond the sentimental life lessons, the attention to effort crafted this time around was raised because, for obvious reasons, I have a clue on what I’m doing now. My stamp of authenticity and excellence is as much here as for anything else I ever make. Never stop reaching for that creative sense. It’s a difficult challenge expressing yourself. It opens the door for so much criticism and indifference that the logic in you nearly requests you to stop. But dreams aren’t always a logical thing and I want to continue to walk the trail I blazed for myself and champion you all to do the same.

If you didn’t already, follow the official AGAVE instagram page (@agave_magazine_official) for updates and related content. And as always, grab a glass, sit back and enjoy. Until next time.

Jeans: The Master Guide

When you think of versatility, there are few items that come to mind that can top the reliability and stylishness of a nice pair of jeans. They’re comfortable, cool and above all else the style of jeans reflects a lot about the wearer themselves. There are a nearly limitless array of cuts and shapes to denim bottoms that carry their own benefits and detractions. So take a walk with me as we explore the convoluted but fulfilling world of jeans.

Straight Leg Jeans

Before diving into the more complex and nuanced take on our favorite denim bottoms, it seems fitting to start with the basic straight leg jeans as they are the base for what all derivatives stem from. Despite their simplicity, the flexibility of this pair also stems from that same notion. They can be paired with anything to cultivate an appealing appearance whether it be a night out with the friends or a more business casual dinner party They serve as a blank canvas wherein you may not “wow” those around you with the item itself but more so what you surround the item with.

Wide Leg Jeans

Now here’s where you start to make a statement. Wide leg jeans relevance in our modern cultural inclination towards baggy wear is a match made in heaven. Besides the perks of unmatched breathability, there is also a visual appeal that likens the wearer to be more laid back and reminiscent of West Coast skate culture. The bottoms definitely lend themselves more to the streetwear side of fashion with nearly no accessibility to more classier conventions of clothing, however with the neverending push to embrace the urban aspects of clothing and adopt it into high designer wear, who knows what the future holds for this statement piece.

Skinny Jeans

Skinny jeans, every fashion fanatics’ necessity circa the early to mid 2010’s. The evolution of clothing will always be thriving with nuance and these pants are a perfect example of how an industry can change the ‘go-to” look overnight. What was once viewed as staple in everyone’s closet has now morphed into a parody of itself. And for some credible reason. Depending on the retailer, comfortability is immediately thrown out the window and appearance takes center focus. But once those immediate sacrifices are acknowledged, it’s worth pointing out these jeans don’t deserve the hate they’ve garnered in recent years. The key to this look is proportionality and layering that work around the look. It becomes much simpler to turn that detestable pair of black jeans into something elegant with the right idea in mind. So ultimately this tried and true look comes down to how you style them and not the style itself, which is a task not everyone in our fast fashion ecosystem can take head on. So before you buy, ask yourself, are you up for the challenge?

Straight Taper Jeans

There are few pants that invoke the season like the lovable straight taper jeans. Feelings of summer and sunshine are too hard to resist when adding these on your next purchase. They offer the same practicality of your average straight leg jeans while providing some extra flair for the bottoms. Opting for a low ankle sock or high heel sock look is all in the eye of the beholder as this pair can truly be adjusted to anything. Add on your favorite oversized shirt and the day is yours to conquer. As far as occasion, these stand out for those day long outings that transition into night moves. An adaptable necessity for those sticking to the social scene.

Relaxed Straight Jeans

If the word “middleman” came to mind it would probably be a picture of these jeans as they beautifully combine so many loveable aesthetics of other jean shapes and hone them as its own style. Not as constricting as basic straight legs but maintaining a subtle figure, there is virtually no season where these pants wouldn’t blend in. An iconic fashion staple that I recommend everyone grab a pair of.

Carpenter Jeans

The carpenter jean explosion of the 2020s has been fun to watch as something suited for working man’s clothing was transformed into a bonafide classic in urban wear. The cut of these jeans definitely favors a wider look and can match well with larger outerwear. The style is similar to that of a loose khaki, wherein the sky’s the limit for what you choose to pair it with. Another versatile piece born out of the culture’s desire for comfortable style, carpenter jeans look as though they’re here to stay.

made for you and I

The cultural identity of American streetwear was pioneered by brands who took the roundabout approach in a time many opted to stick with the grain. Many of the mainstay household brands that we link with timeless apparel and standout statement pieces had humble beginnings wherein the rebellious spirit we now celebrate them for were once looked down upon. It should be asked with any new coming brand, but especially in fashion, how does someone rise through the ranks of obscurity to invoke their vision and style on the big stage? And what discussion on streetwear fashion could be had without mentioning the abstractly appealing fashion behemoth, Stussy. Whether in the bustling streets of Brooklyn or the reclining in beach side breezes of Los Angeles, the brand has come to represent a voice for nearly everyone no matter your walk of life. But if we peel back those layers and deconstruct their success, we come to see a narrative on how one man’s vision took a simple idea into superstardom. This is the story of how Stussy brought the character of the culture to clothing.

In 1980, brand founder, Shawn Stussy, worked as a surfboard creator in his home state of California. He had an eye for creative design and nuance inspired by his musical tastes including reggae, rock and new wave Californian club music. Before developing his first piece of apparel for his future brand, the surfboards he created already featured the iconic Stussy logo. The logo itself told so much of the inspiration behind Shawn’s creative angle, with the logo having a graffiti-like influence while also paying homage to his uncle, Jan Frederick Stussy, who was an abstract painter. The origins of the clothing line we know today wouldn’t exist without the early success Stussy experienced in modeling surfboards. The attention to detail, creative control and experimentation applied to his work all bolstered the confidence of Stussy who found himself more willing to step outside the realm of simply making surfing equipment. His popularity was by no means national and his family had no prior connections with the fashion industry, but with his years of designing boards and tinkering in his family owned printing shop, Shawn set out to start making a grander name for himself and his ideas.

The strategic plan Shawn envisioned was revolutionary for its time and he hit the ground running in 1984 fully launching his brand under the name Stussy. Upon the original releases, Shawn wanted to rework the logo to offer visuals akin to those appearing on more high fashion brands that dominated the industry thus enhancing the appeal of his own clothing.

Stealing stylistic inspiration from companies like Chanel, Stussy lined his designs on basic streetwear essential items like caps and shirts which struck an instant appeal with the public. This differed from the usual labeling assigned to street clothing wherein caps were only reserved for sports teams or part of working uniforms. So for a brand to embroider their own hyper stylized logo on it and adapt it into a fashionable wardrobe essential was game changing.

The brand didn’t depend on the success of one key location; rather Shawn was plagued with the task of having to get the word out on his own if he wanted his brand to truly succeed. This was long before the days of social media to self-market clothing and the possibility of signing celebrities for brand representation was unrealistic. So Shawn ventured everywhere from London to Tokyo finding ways to both promote and pump the streets of each respective city with his inventory of clothing. Upon his travels is where Stussy started to really find its identity that holds true even to this day.

While Shawn didn’t initially know the demographic to pitch to, his world tour brought him face to face with so many kindred spirits that held the same interests and passions as him. Stussy became an ever growing linkage between individuals promoting the rebellious new age of culture and art. So the clothing being represented became a sign of changing times and association to something bigger than a brand. And by 1991, with the help of James Jebbia, future founder of Supreme, Shawn would open his first flagship store in New York. Stussy transformed into something of an underground sensation with the logo passing into many streetwear publications that advertised it as an exclusive brand connected to the true spirit of the culture. The International Stussy Tribe was created where colleagues to the brand and young creatives were given customized articles to spread the clothing line through their own work acting as brand ambassadors. So the identity of the brand became involuntarily entwined with the artists, musicians and talents that dawned the pieces. Many future successful designers accompanied this movement and before long

“The tribe happened before the growth of the brand, it appeared as a form of mutual respect between like-minded people without any consideration or motive of commercial growth, which of course is authenticity. You had to know someone to be in on the look — you couldn’t just buy into it.”

people associated Stussy with unlimited freedom of expression and artistry born out of urban origin. Many of the varsity jackets, graphic tees and hats that highlighted this International Stussy Tribe period are still considered highly valuable collectibles highlighting a time wherein creators and street dwellers alike were united under one flag. The international success plus the intentional lack of accessibility to many of the key releases made Stussy an incredibly popularized line that the masses couldn't get enough of. Collaborations with other brands like Nike, G-SHOCK, Supreme and many more soared in making Stussy one of the first street lines to popularize the now common collaboration strategy with other brands. Stussy became a name that carried its own weight and perfectly projected an image advertising art made for the people. Even in the modern day, the brand still defies categorization with an emphasis on appealing visuals that invoke a vibe unmatched by competitors. What stands out most is that as a consumer, you feel as though Stussy apparel is made with artistic proficiency at the forefront thus making it timeless.

-Gimme5 Founder, Michael Kopelman

As time moves forward and other streetwear giants begin to follow in the steps of Stussy, it is easy to lose track of the strides and nuances offered by a brand that predates the Internet. So many things we associate with streetwear culture became cemented in the time Stussy was at the height of its acclaim. Before the international success and hypebeast status however it is most important to remember that the popularity of Stussy sprung from its connection with like minded individuals. Struggling up and coming artists, creative directors and fashion designers hungry for a chance at expression that the then fashion landscape wouldn’t allow. It was a demand from people that boldly stated if they weren’t offered a seat at the table they would just make their own. And that creative independence is something that bleeds through the essence of street culture. The legacy of the Stussy brand teaches that when you centralize the creative potential of your audience and add a genuine thirst to express your art above all else then you will never be behind the 8 ball.

"We wanted people who cared enough about what they wore to go out and discover us, and feel like they had found something unique, not available everywhere, that said something about who they were and how much they cared for what they wore. We weren’t advertising from the top down, we were about being discovered from the bottom up."

- Frank Sinatra Jr, Stussy accountant and cocollaborator

THE BOONDOCKS: The Revolution, Televised.

Adult animation acts as one of the most adaptable forms of expression offered to a widespread audience. It can be horrifically candid, introspectively mature or irreverently controversial. Many series fail to tow the line between respectable messaging for an older demographic while not misusing the comical liberties offered through the creativity of animation. It has become almost common to see shows pride themselves more on shock value and edgy material to sway their audience rather than offering depthful substance beneath the jokes that convey something of our current world. Among the assortment of long since abandoned shows shines a series that left its mark on the subconscious of the most critical racial barrier within America. Never shying away from topics, viewpoints and opinions that radiate through social discord years past the series’ conclusion. A rebellious take on all things from identity to ignorance, and most essential, it brought the revolution to your home screen. It's TheBoondocks

Before the iconic line deliveries and racial hilarity, The Boondocksstarted in 1996 as a comic strip published by series creator Aaron McGruder for the University of Maryland student newspaper theDiamondback. The series saw a familiar set up of two black siblings, Huey (named after Black Panther Leader Huey P. Newton) and Riley, as they move from the streets of Chicago to the suburbs to live with their grandfather. The two siblings reflected opposing mentalities with Huey as the socially conscious stoic counter to Riley’s flamboyant ignorance stemming from popularized black media.

The series proved to be a remarkable success and was published in over 200 publications within the first six months. The topical nature of the strips were edgy and daring while also having a humorous relatability to modern events. Its outspoken themes were hidden beneath the rapturous comedy allowing the impact of the topics to sit with the reader longer Soon after McGruder would begin pushing to turn the strip into its own television series. While the comic strip achieved original success and continued to run unhindered within newspapers nationwide, the series pitch to networks was arduous to say the least. The profane, hot topic nature of the series was a difficult sell to most major broadcasting networks who failed to see the merits of taking such risks on a controversial series. Amid the provocative language lied greater discussions that mainstream America would have difficulties facing so abrasively. Even personnel such as Reginald Hudlin, President of Entertainment for BET, left his involvement after Fox declined to give the show a chance.

Desperately searching for a home to broadcast his art, McGruder would find the perfect connection in 2005 with Mike Lazzo, President of Adult Swim, who ordered a 15 episode season. Lazzo’s orders were plain and profound, “just tell stories.”

And tell stories McGruder certainly achieved in doing. The Boondocksstood as a cultural flash forward in all the modern normalities of African American culture we even observe today. Its ability to unapologetically voice the thoughts and beliefs of the black experience in America was one of a kind. Within the first minute of premiering, in only a way TheBoondockscan get away with, the series hit viewer’s screens proclaiming:

It is also impossible to mention the series without discussing its iconic voice cast. Regina King voiced the always opposing siblings Huey and Riley, putting in one of if not the most iconic performances of her career. The late great John Witherspoon voiced the irresponsible but lovable Robert Freeman better known as Grandad. And Gary Anthony Williams most iconically played the ferociously racist handyman called Uncle Ruckus.

TheBoondocks’take on topical events was always enlightening and serves as a time capsule for the African American conscious as well as the entirety of America at the time. R. Kelly’s trial, Obama’s election, the after effects of Hurricane Katrina all became milestone discussion points during the show’s airing that help get an idea of what ways of thinking were held at that time. In a current culture deliberately rampant with free speech through various platforms, its eye opening to hear such thought provoking observations on topics that would eventually rear their head again. And with each recycling of old issues, TheBoondocks offers a dated take that nearly fits in perfectly with our now modern understanding of how we observe things.

This was only the beginning of what would become an iconic run of radicalized black conspiracist rhetoric based on real historical events contrasted with the laugh-inducing storylines always linked with pop culture. The series truly perfected the art of playing both sides.

As far as actual series production, the style of the show took a heavy anime art style with the action themes and character designs. Heavy inspirations from works like Afro Samurai and 20th century martial arts films clearly played a large role on the look of the show. But the tone was more that of Charlie Brown wherein jazz and lofi instrumentals were used to capture quiet thought provoking moments of the show. Between the comedy, characters were offered several moments of deep reflection and series composers like Asheru and Metaphor the Great did a spectacular job providing somber chords to capture emotional scenes while still able to offer lyrically captivating tracks when needed.

“Jesus was black, President Ronald Reagan was the devil and the government was lying about 9/11.”

Arguably the most notable and controversial episodes being the season 1 episode titled “The Return Of the King '' wherein Martin Luther King Jr. awakens from a gunshot induced coma to witness what has become of the black struggle in his absence. Only to find a culture glorifying the cruelty, ignorance and foolery he fought against, amounting to him even calling the current generation “a bunch of niggas.” This episode was harshly critiqued causing a divisive audience, with figures such as Jesse Jackson even demanding an apology. But within the absurdity was a well informed take on what would those leaders who fought so brashly for our freedoms think on how we’re using it. More important than the delivery of certain answers was the series’ knack for asking earnestly compelling questions. The episode would go on to win a Peabody Award for being “especially daring.”

From berating BET for the “black-xploitation” of the African American populace to ridiculing the often predictable and questionable writing chops of Tyler Perry, The Boondockswas able to stick around for more than just shock value but because people were eager to hear what discussions needed to be had next. The series concluded in 2014 following a lukewarm fourth season that aired without the involvement of McGruder. The revived fifth season has been in production purgatory for nearly half a decade without any true signs of its return. But even without confirmation on the show’s future, no one can debate the cult status the show was able to accrue among all demographics throughout its run.

TheBoondocks accomplished what many shows fail to do in that it had something to say to its community and because of this the listeners took it seriously. It subconsciously educated many on the black plight while highlighting the aspects of our culture which are objectively cool. Viewers

were able to see kindred spirits through the screen that called out their preconceptions on what we say or how we think. And that ability to question what lies before us and leave an undeniable imprint no matter how controversial, is what revolution is all about.

ROCKY The Fight of Life

When you think of the marriage between sports and cinema, the boxing-centric Rockyseries surely stands on the top of many viewers’ lists. A film franchise that has been dominating box offices since its humble origins in the mid-1970s, it has found new blood in our modern culture through the new slew of Creedfilms released throughout the decade. With any long running property, the idea of parody definitely enters the fray as writers do their best to increase the thematic stakes while never trying to jump the proverbial shark. It’s a delicate line to be wary of especially for a franchise that has been known to play towards the more gimmicky tropes within the genre. There could be a sound argument made that at a certain point these films were and still are unable to be taken seriously

So on the heels of Creed3which released earlier this year to both critical and audience fanfare, shouldn’t we ask how these stories are still able to produce such successful results? With the star power shifting with each new addition, and the “training montage” sequence of each film nearly becoming a played out formula, one would think these films weren’t worth the hundreds of millions of dollars invested into them, right? But the core themes that stand true within each new film is an earnest lesson that finds a way of connecting with each viewer offering an abundance of hope too tempting to cast these movies away. The Rocky series above all else provides the indomitable story of the fight against life.

Even when inspecting the origins of this Hollywood goliath, one can find that before the household names and flashy studio budgets, the film was an independent project with slim chances of relevancy. The original 1976 Rockywas written in a state of grave desperation and desire. Sylvester Stallone was just another struggling actor looking for his shot to make it big. After bouncing around parts of small roles and background characters, Stallone was nearing his 30s with no signs of achieving the movie stardom that kept him pushing. He was financially at the end of his leash and from an untrained eye it appeared he had wasted his life trying to attain an occupation he was unfit for.

But in 1975, following the Muhammad Ali versus Chuck Wepner fight, Stallone holed himself away for three days and produced the original draft of the Rockyscreenplay. He hoped this would be his ticket into finally accessing the field he spent his entire adult life marching towards.

And throughout his bargaining with each studio trying to get the script pitched, he had only one condition, that he play the lead role in the film. And although it took time and determination, eventually the studio relented and a movie star was born. Rocky(1976) began with a $1 million budget and went on to gross $226 million along with immense critical praise.

The background behind our favorite pieces of media can often demonstrate the themes better than the work itself. It is a clear narrative being told within the themes of every movie in the franchise that points the camera back to the “little guy” and allows their story to be told. It’s easy to see how the public clings so easily to each film because no matter the opponent, director or era, we all are still having our own interpersonal battles in a different ring that these movies motivate us with the mentality on how to take down.

The story lines as presented reassure the cold reality that life is hard for everyone living it, and those craving to go beyond that hardship will have to fight.

Something the newly crowned Creedfranchise does that separates it from its Rocky Balboa centered origins is focus on the identity side of struggle. Whereas the original character came from nothing and each film highlighted his new challenges with unexpected success, the new trilogy starring Michael B. Jordan as Adonis Creed takes a different approach. It adds more variety into the realistic faults of abandonment, selfdoubt, and real life adversity that brings more emotion out of the audience. More than ever, the boxing matches are simply a built up execution of the literal conflicts stirring inside each character which are incredibly relatable. This isn’t to imply that the films should be taken too seriously or that the film itself even takes itself that serious but there has been more of an emphasis placed on accounting for the psychology of the man behind

the gloves. The newer films reflect a young man in constant doubt on whether it was a mistake for him being born and lashes out as constant proof of his existence. And on that path his worthlessness is verified by figures that step in and out of his life. Even on the upswing of his career, his internal proclivity to violence creates a bridge wherein despite his growing age, he is unable to communicate the stressors of his life without violence. These central conflicts along with many more grounded issues present a story not too far disconnected from the issues of your ordinary viewer. The movies portray our issues visualized into a sweat-filled battle royale as to give hope that this fight against life is never ending but also never lost until we throw in the towel.

Creed3marked the ninth installment for the franchise, and there's no sign that this film will be the last. Running a film franchise past its expiration is too common in Hollywood, one need only look at the ongoing sagas for both TheFast&Furiousand Transformersfranchises (which both have upcoming 2023 cinematic releases) to see this exemplified. It would be disingenuous to propose the series has failed to produce any less than quality films. With it now being close to 50 years since the original film, it was bound that some were going to reflect the tropes and downfalls of when they were created. But even in the midst of the big screen flops and missteps still lies the attempt to offer a different perspective on struggle.

Rockywill always be successful to me because there is utterly no limit to the obstacles we all face thus no shortage of inspiration to draw from. Myself and many others anecdotally grew from witnessing those feelings of ineptitude melt away from watching the unconquerable human spirit these movies present. The courage to stand toe to toe with unrelenting forces of life is a muse we as people can never get sick of as long as it's treated with the integrity and sincerity they deserve. So in that sense I believe these lms, just as the main messaging from the series teaches us, will keep going.

THE STORY OF D N U T S

It is every artist’s fantasy to not only enter their field and dominate with their unique abilities but also leave a transformative impact on the game where no preconception is the same as when you started. Though many enter the scene with this ambition, very few are able to make that connect with a core audience. Success in any industry, especially music, is a right place, right time and unfortunately right look affair. You have to be able match the image that best corresponds to what is popular leaving many with shattered hopes of someday making it big. So many resort to becoming louder with their messaging and their appearance to compensate for this need of braggadocious bravado demanded by the same audience they are attempting to connect with. So with this understanding, it is ironic that one individual was able to completely shift the infrastructure of music while simultaneously being the quietest person in the room. This is the tale of a man’s far reaching legacy that became the new standard for what every producer would aspire to be. The story of J Dilla’s Donuts.

James Dewitt Yancey

better known by his stage name J-Dilla originated from Detroit, Michigan where he became a well known up and coming artist in the music industry. His ability to dig deep into the archives of all forms of music and dissect melodies and chords no one else could hear, made his production both indistinguishable but also completely unexpected. His style dug deep into the roots of jazz, funk and the origins of hip hop to offer an authentic sound that the rest of the rap world couldn’t ignore. The most iconic acts in music at the time salivated at the opportunity to get a J Dilla beat. From producing albums for groups like the Pharcyde and De La Soul to using his own lyrical talents on the microphone for the rap group JayLib alongside another musical genius Madlib. At the height of this success, Dilla didn’t rest on the accolades that come along with breaking through to the mainstream. What he dreamed of was a reformative compilation of music that would defy anything conventionally expected from the genre.

When I make my music, I want people to feel what I feel, I want them to feel that energy. That’s all it is, because I make it straight from the heart. To be taken for anything else is crazy to me.

" "

J Dilla’s debut studio album titled Donutswas set to be an entirely instrumental album.

For someone with so many connections and acclaim within the music industry, a featureless album with solely beats was almost too daring of a decision. The distributor for Dilla’s record label was strongly against the notion following the commercial flop of the JayLib’s collaborative album Champion Sound. The financial investment appeared too high to take a risk on something profoundly too abstract for mass listeners to appeal to. And while the discussion of

the feasibility of the project raged on, the prolific stardom afforded to DIlla ultimately took a backseat to his gradually declining health.

Dilla had been diagnosed with lupus, an autoimmune disease that attacks healthy tissue, as well as TTP, a blood disorder resulting in major dysfunction of vital organs. What at first appeared as an ailment worth monitoring with no major impact on public appearances slowly morphed into a severe breakdown of Dilla’s physical health.

A substantial loss of weight from the treatments and the excruciating pain from the advancing diseases even confined Dilla to a wheelchair for live performances. The medical expenses began piling up and made a substantial financial hole and eventually Dilla found himself confined to a hospital bed with only his family, a Boss SP 33 sampler and a portable turntable.

In the presence of fading mortality, there was no better opportunity to create artistry that no longer had to appeal to the superficial confines of marketability. For Dilla, the completion of this

album no longer acted as a mere showcase of talent but a potential send off to the friends and family he cherished throughout his life. The circumstances surrounding each track became vital and dug so much deeper into an already revolutionary depth of music insight to give each song new layers of meaning. Dilla’s mother, Maureen Yancey, even recalled having to massage his fingers due to the intense pain of his condition. In the midst of the countless medications at his bedside, grieving family members, beeping of hospital monitors and harsh reality of increasing medical debt, Dilla courageously turned to music to put all of those feelings in song.

Dilla with his HipHop collective Slum Village featuring artists Baatin & T3

But legendary artistry

isn’t solely cultivated by the story surrounding the product but the work itself. And the tracks offered within Donutswere groundbreaking, providing themes and productional execution that have stood in a class of their own. As stated earlier, the songs have no vocals for the tracks but instead use a variety of samples to express core ideas. There are over seventy-five samples present throughout the record that were manually worked in with the very basic music equipment

The album was finally completed in February of 2006 and came out on Dilla’s birthday

Dilla was able use in his hospital bed and crates of records that were brought to him by his friends. The title is also linked to Dilla’s obvious obsession for burrowing through records to get the countless samples for the album. These songs featured the bombastic funk inspired beats that could bring amazing emotional highs along with soft soulful melodies that induce tears. The final drive Dilla was attempting to make bled through on every track serving as a love letter to music and his family on what they’ve meant to him. Most notable is the track “Don’t Cry” which features a sample from the soul group The Escorts and serves as a message to Dilla’s mother not to shed any tears for him with his impending passing around the corner

The theme of the album was the circular nature and continuance of life, with the intro portion of the album being labeled “Outro” and the final song working as the intro.

Friends would report the relief and joy Dilla experienced in finally getting out what he perceived to be his magnum opus. Beyond the reviews, fan reception and financial payout, this was the mission of a man who wanted to leave his mark on this world by showcasing his vision of untainted artistry Three days after the release, J Dilla would sadly pass away.

In the wake of his death, just like all great artists, Dilla’s acclaim would finally begin to grow into that of cult status. Donutsis now viewed as a quintessential album in hip hop that was praised for perfecting “pure postmodern art.” Each song carries an emotional weight that every listener can experience, but the songs are far from being appreciated through despair. Donuts is above all else a celebration of life that chronicles the neverending show that our stories offer in the same vein that although Dilla is no longer physically here, his spirit lives on and his influence on music has yet to be put out. The perseverance to cherish what makes us happy and give ourselves to it is not an effort that burns out, it is an eternal flame that inspires those after us to do the same with their own dreams and passions. It is a truth no disease, weapon or calamity could ever wipe away, an infinite spin that keeps our stories alive even in face of adversity

J Dilla’s record label, Stones Throw, had this to say on why Dilla chose such a name for his final work:

Dilla likes Donuts." "EasyExplanation,

BestJ-DillaTracks

For anyone trying to hear the sound of a pioneer, here's some songs produced by the late great Jay Dee to get you started.

Runnin' (ThePharcyde)

GetaHold (ATCQ)

StakesisHigh (DeLaSoul)

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GazzillionEar (MFDOOM) InTheStreets

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Bullshit (ThePharcyde)

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TheLight (Common)

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Snakes (JoeyBada$$)

Players (SlumVillage)

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FallinLove (SlumVillage)

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Lessons in Anime:

VAGABOND A

SWORD WITH HEAVEN & EARTH

Vagabond presents itself as a unified testament of deep philosophical thought and gruesome action of which there have been very few to match within the manga industry. Authored by the great Tahiko Inoue, the story in its most simplest terms follows a young ronin named Miyamoto Musashi on his personal path of growth and understanding through the discipline of swordsmanship. The story is loosely based off the real Miyamoto Musashi who in Japan stands as one of the greatest thinkers and warriors in the nation’s history.

A throughline for the series throughout each arc is Musashi’s never ending search to become deemed as someone “invincible under the sun.” His hunt to be an unparalleled warrior without equal brings him down some of the most spiraling lows the story has to offer.

But within this quest he also begins to conceive of what true strength really is.

Throughout his travels, Musashi is confronted with numerous swordsmen with differing mentalities on why they wield the sword. And through their battles, he gains a new perspective on how to better improve his own skills. But within the world of Vagabond, the strongest swordsmen hold a common philosophy that elevates them above simply being amazing fighters but broadens them with an outlook beyond the senseless ego that consumes most other characters.

During his travels, Musashi attempts to duel the most renowned swordsman in the land, Yagyu Sekishusai, who stood as the living embodiment of all Musashi dreamed of becoming. And once finally granted the opportunity to meet face to face with the man he only dreamed of defeating, Musashi was greeted with an overwhelming power that completely destroyed his understanding of true strength. Within their encounter, Sekishusai not only overpowered Musashi without ever touching a blade but preached an ideology that would echo for the remainder of the series.

Although initially confused, Musashi listened in to understand what trials must be overcome to achieve the same unrivaled strength as the revered swordsman before him. To which Sekishusai simply replied that:

This viewpoint altered the trajectory of Musashi’s journey who struggled to grasp the meaning of this message, but the more he grappled with it the more effect it had in his forthcoming actions within the story. But what did Sekishusai mean in his lesson? What real life thought could be absorbed by words that appear to be so abstract and whimsically based in a fictional story on sword fighting?

Kamiizumi Ise No Kami Hidetsuna is held as the indisputable greatest fighter to ever live within the series as well as the man to chronologically first express this outlook. While teaching his disciples whose minds were so preoccupied on physical strength, unrivaled greatness and egotistical improvement, Hidetsuna believed that this preoccupation with the self was the inevitable downfall of achieving in the very field they wanted success in. The way of the sword that so many within the story called themselves living by was in fact trivialized by the misfocused intentions of why they fought. And that when your blade is truly one with heaven and earth, one does not even need to use a sword at all.

Again the message is outwardly confusing and appears very limited to the story in which it takes place. But the emphasis on the self is not a conjuration of fiction but an all too real phenomenon in our daily lives. In a profession or passion there is an eternally lingering sense of egotistical desire that appears in many forms. The recognition of those around us, the proof of acknowledgement by those who spurn us or the refusal to fail as to not bring humiliation to oneself. Whether it’s swords, sports, acting or any other activity we choose to have pride in, most of it is fueled by a desire to serve ourselves.

The idea of invincibility is just a word and nothing more.

In the end all of our conicts just become a reection of who we really are, or more accurately, the insecurities and weaknesses we are encountering.

It’s a phrase that demands deeper introspection to truly consider the short minded thinking we often fall victim to and confront the origin of the true fears dictating our battles. Your pain is just a reflection of your true weakness. In Vagabond, this could be seen in the struggles of Musashi in each conflict as they are self-created. His fear of not being the strongest and inability to live up to his potential are the main issues blurring his mind within each fight. But if he was to rid himself of such a surface level understanding of what that would bring him, his mind would be clear to actually see what is in front of him.

I believe being one with Heaven and Earth is growing beyond the superficialities that life presents and finding a perfect harmony in who we really are that thinks above just “me.” By confronting that true enemy that stands at the basis of most of our worries, everything else gradually dissolves. Virtues like compassion, patience, and overall development of character (Heaven) thereby fuel our mental and physical strength (Earth) to achieve our desires. And with willingness to stay supremely flexible in how we are able to grow, we then become capable of enduring any storm that life eventually presents. This fundamental lesson from the series is without one explanation and the search for a tangible answer is what the series is all about. But the concept of strength does stand beyond any of the physical bounds that we often leash on the word. And our attachment to the idea of being strong too often wears us down due to pressures that never existed in the first place. Through Vagabond, many have found the errors in their narcissistic ideals of grandeur and have come to understand life in itself is too complex to think so limited. It is only by identifying your true fight that you can begin growing stronger and realize what it is you’re really searching for.

Wherein someone no longer needs to demonstrate their idea of strength to truly be considered strong.

Artist Spotlight: Tite Kubo

The manga industry behind all the captivating stories and nuanced thematic implications is a showcase of some of the best art the Eastern world has to offer. And the stories of the artists who tirelessly curate these masterpieces too often gets understated. The personal upbringings, entrance into the industry and personal struggles that these artists deal with all have a way in evolving their work into some of the most beautiful illustrations in media. It is well documented how strenuous the work conditions are in a field like manga production, so anyone able to not only achieve but excel in the field deserves both praise and study. And someone much deserving of this spotlight, who has penned some of the most iconic character designs and stories in modern art, is the one and only Tite Kubo.

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Noriaki Kubo, better known by his pen name Tite Kubo, grew up in the Hiroshima Prefecture of Japan throughout the 80s and early 90s. As a teenager, he was heavily inspired by the series of GeGeGenoKitaroand SaintSeiyato become a manga artist.

And even though his experience was limited to drafting a couple character designs let alone creating an entire story, Kubo would enter the Hot Step Newcomers Manga Competition during his high school years that would catch the attention of editor Takanori Asada. So after graduating in 1996, Kubo began working on his official debut, a oneshot titled UltraUnholyHeartedMachineto submit to Weekly Shonen Jump. After its release, UltraUnholyHeartedMachinewould eventually poll sixth amongst one shot submissions, coincidently one spot behind another newcomer to the manga industry Eiichiro Oda’s work titled RomanceDawn.

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Kubo would release two other one-shot works, the first being RuneMasterUrarain 1996. With each new submission it was clear that Kubo’s designs were steadily improving but lacked a solid definitive style. His second one shot BadShieldUnited,released in 1997, would have long lasting ramifications on the career trajectory of the young author. In this stint with Weekly Shonen Jump, Kubo’s experiences could best be categorized as rushed and chaotic. The pressure from editors, lack of creative control and inability to make impossible deadlines carried over to the project.

It was more than clear that the final product was a rushed effort lacking passion and Kubo began listening to the notes of those around him above his own original ideas. Former Chief Editor of WeeklyShonenJump, Kazuhiko Torishima is infamously known for his unreasonable and demanding nature towards his artists and his interactions with Kubo throughout the series left the author discouraged and ready to abandon writing all together. Thus leading to a two year departure from the industry.

With the unrelenting insistence of Asada to draft a work that proved his professional capabilities, Kubo eventually yielded and began working on a new story to hit WeeklyShonen Jump. Zombiepowderbecame Kubo’s official serialized debut published in 1999, running for 27 chapters until its cancellation. The series was a commercial failure and was unable to connect with Japanese audiences in part because of its perceived lack of originality and unfocused story. Kubo would later go on to state that he was so traumatized by his past works and their reception that it affected the quality of Zombiepowderand the otherworldly pace of artistry demanded for the series took a great toll on him. After its conclusion, Kubo immediately went to draft another series that was rejected instantly. Causing another period of prolonged depression and reconsideration for Kubo’s future in the business.

Kazuhiko Torishima

Weekly Shonen Jump Chief Editor

But as time passed, many began taking a liking to the rejected work of Kubo and even other mangaka would send letters encouraging the young artist to persevere and resubmit. Among these patrons was none other than Dragonballcreator, Akira Toriyama, who became fond of Kubo’s rejected work urging him to make some changes and give it another shot. With his confidence revitalized, Tite Kubo would submit another story he hoped would dismiss all doubts that both WeeklyShonenJumpand the world had in his ability. This new work would be titled Bleach.

As many now know, Bleach would become one of the most successful franchises ever produced under Shonen publications. Spanning for 15 years of serialization and with over 74 volumes, the story comprised one third of the iconic anime “Big 3” that dominated anime viewership worldwide throughout the 2000s.

Here Kubo’s artistic talent flourished as one of the most competent designers in the industry. His expertise with blank backgrounds, angular designs of his characters, and mastery of his shading all came together over the course of the series. His volumes began to lean more towards fashion lookbooks rather than a story on soul reapers and swordsmen. The character imbued into each design was always present and the style stood in a class of its own even among the other members within the “Big 3.” It was evident that even through his earlier missteps, Kubo benefitted from the previous stories he produced taking influence from each work prior and evolving. The magnificence of his art was beyond influential and no doubt contributed to the easy flowing narrative he was able to convey to readers. As of now, Bleach is the 11th best selling manga of all time and has sold over 130 million copies worldwide.

But after almost two decades working as a mangaka, Kubo was fatigued with the pace, public reception and physical degradation that come along with such a position. The success was apparent but exhausting, forcing Kubo to once again retreat from the manga world on bitter terms. But in 2019 Kubo found himself with the opportunity to become a character designer for gaming franchises that allowed him complete creative control and to make his own deadlines for work. This flexibility allowed him to prioritize his health and once again rekindle the passion for art that could get lost when our talents are used in an assembly line manner rather than true desire. Kubo would say the experience was refreshing and the freedom afforded him the chance to finally relax thus bringing back his love for what he did best.

In 2018, for Shonen Jump’s 50th Anniversary he would release his most recent one-shot titled BurntheWitchwhich would go on to be serialized and currently has its own anime adaptation.

The story of Tite Kubo is one of unappreciated trial and error. It is often too easy to undermine the strides these artists have to take to get access to their positions. Seeing them as naturally gifted geniuses misrepresents the repetitive pushback many of them experience while trying to achieve their dreams. Beyond your thoughts on Bleach or any other series Kubo has authored, there is an undeniably inspiring narrative of a young kid who had his mind set on reaching his ambitions that through no lack of effort, he achieved on the highest level. It is clear for Kubo and anyone else aspiring to conquer a goal seemingly impossible that there is value in our failures. It is perfectly fine to become discouraged or even step away when the demands of your efforts are overbearing. But the key through Kubo’s journey and career is to learn from what doesn’t work to persevere forward because the path to fulfillment is very seldom black and white but somewhere in between.

Mob Psycho 100 has cultivated an identity predicated on being one of those series that truly stood at the top of its genre, but rarely received the mainstream adoration it deserved. Though it had a vocal and widespread fanbase, it never hit the same core as Naruto or Attack on Titan were able to do so years prior. Even with the premiere of its final season in Fall of 2022, it was often outshined by other titles like Chainsaw Man or My Hero Academia which broadcasted simultaneously. My own discovery of the series came through watching anime fight compilations on Youtube, and observing a Season 1 fight with otherworldly animation. So I rushed through the first season just in time for the new second season to witness one of the better anime produced in the decade. And now with the third and final season complete, and the finale given a chance to digest, I think it’s time to share my thoughts on the emotionally rich, outrageously funny and earnestly sincere world of Mob Psycho 100.

The story was originally created by author One, also known for his creation of One Punch Man, who produced the series for a serialized web comic. It is well-known that the artistic ability of One can be considered somewhat crude and slightly remedial compared to many of the other mangaka behemoths in the industry. But what he lacks in illustrations, he more than makes up with creative story development and relatable themes. All that to say, when you take the outstanding storytelling abilities from someone like One, and combine that with phenomenal animation chops of Studio Bones, famous for their work on Space Dandy and FullMetal Alchemist: Brotherhood, you are bound to get a product deserving of high praise.

The series stars a middle schooler named Shigeo Kageyama, also known as Mob, who works under his conman/mentor Reigen Arataka as a medium for handling spirits. In this world there are espers, people with absurd psychic abilities that give them a variety of god-given talents, and among them Mob is the most gifted of them all. But throughout the course of the series Mob continuously grapples with his self worth and the value of being a good person. His perception of his godlike powers is that of any person who has a special talent, but wants to become a well rounded human that doesn't allow one specialty to define him. So the series constantly places Mob in situations wherein he mustn’t give into the emotional destruction that his powers can create and find other means of handling daily obstacles and conflicts in his life.

The series truly creates its own sense of self identity through the incredible character building that each character in the main cast receives. Secondary characters like a former evil spirit turned ally named Dimple, Mob’s younger brother Ritsu, and the former esper foe turned friend Hanazawa all go through different arcs with the same converging theme, that unlimited psychic power and control is just a superficial covering over their true deficiencies as people. Whether it be internal emptiness pushing them to overcompensate for control or sibling jealousy and the search for acknowledgement, each conflict gets a larger than life battle with a very relatable core issue. And you can see the real time matriculation of character as Mob develops from a shy middle school youth into a thoughtful young adult.

“Just because you have psychic powers doesn’t make you less human. It's the same as people who are fast, people who are book smart,... Psychic powers are just another characteristic. You must embrace that as a part of yourself and continue to live positively. The truth behind one’s charm is kindness. Become a good person that is all.”

But within the series no dynamic is as appealing as that between Reigen and Mob. The student and teacher motif is given so much nuance and focus that both end up becoming protagonists of the series by its conclusion. Of course Mob is offered majority of the conflicts and cinematic fight scenes within each season, but Reigen has ample time to be highlighted as his original layers of smooth talking con man are peeled away to reveal a man who once experienced the same adolescent troubles as Mob, and is steadily trying to navigate his way through feelings of inadequacy that adulthood presents. So as an audience you are able to relate with the series from two angles, one as a nostalgic look back on the emotional challenges within our formative years and second as a present look to how those unresolved lessons from our youth impact who we become as adults. Both of these perspectives culminate to express that above all the uncertainties offered within the span of our lives, a pursuit towards self improvement and kindness allows us to become the people we truly aspire to be.

Mob Psycho 100 crafts a beautiful story that reaches far above the standard tropes of other shows within its class. Without oering spoilers, the nal season provided a nal throughline that oered closure to the present narrative while providing hope for the future that I feel anyone can nd relief in. The imaginative stakes might not reach as high as other major titled anime series, but that was never the point. It does a fantastic job in not providing a singular closing event to Mob’s journey but rather oers an answer to what lesson can be ascertained to keep him going in his transition from child to adulthood and beyond. If you’re searching for a new series complete with unbelievable battles and a source of genuine reection, then there are few shows deserving of more recognition.

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い思考 |EntryII|

N T R O L

コントロール

We crave control to make sense of the inconveniences that plague our daily lives. It is a strategy of those who think happiness is solely accessible to those who play the game the right way. But what starts out as a coordinated attempt to manage all things in front of us, turns into a nagging paranoia of the unexpected that shatters our confidence when things don’t go our way.

In my short time on Earth, I’ve attempted to control so much. I wanted to control the feelings people have for me, the positions available to me and even in writing this I’m attempting to control my expectations towards the nonsensical aspects of this life. I’ve given in to so much frustration and mental breakdowns over what I perceived to have command over. It legitimately frightens me to know that no matter my well thought intentions and smooth talking, some things simply slip through the cracks of what I can handle.

And there’s nothing wrong with that.

I believe control gives way to our earnest fears. We give so much power to this notion due to the anxiety of being exposed to the unknown. You end up learning so much of what you’re scared of based on the things you put so much effort into withholding. It's all a slippery slope leading back to the strict attachment we put into things. The cultivated world we create to the vision we have for ourselves can too easily be shambled when we let our pride of control make us inflexible to the differing tides of life.

We deny ourselves alternative routes, future lessons and eventual roundabout success because we made it a mission to fixate on our idealized form of achievement. The powers of dreams and aspirations are profound but they do come at a cost. We inherently add checklists and timelines to all the goals we wish to accomplish and punish ourselves when we don’t live up to the selfimposed deadlines that we create. Too much insistence on control disassociates our thoughts from the real value of our work and creates a false narrative of how our lives should go based on how we observe others. So people amount themselves to failures before even allowing for a realistic opportunity to succeed.

Whether in interactions with friends or the search for romance, seeking the reigns of controlling every variable just makes you susceptible to whatever you want to avoid. In too many cases, rejection is the result of trying to force togetherness. We place so much of a demand on our desires that we become ignorant to the real situational necessities required to nurture close bonds with others. In a sense we become deaf to what is really needed of us in critical moments, all because they don’t align with what we want.

Controlling what you want from others isn’t a showcase of wisdom or authority, it’s just an illusion fooling us to think we have more power than we truly do. And when that illusion deteriorates all we have left to face is the deep seeded fear that we struggled to steer away from originally, loneliness.

Putting forth a concentrated focus on what direction you want your life to go is not at fault in the same way there’s nothing wrong in having a set standard for the qualities or behavior of those you choose to interact with. But, just as in the fable of King Canute who tried to direct the tide, we can not force our will on the outcomes of our lives nor have the belief that our command is absolute. Otherwise we become too vulnerable to the unpredictable realities awaiting us. By learning to flow seamlessly with what’s in front of us, the wider picture becomes more visible. Adversities still occur but you become more open to handling them and most importantly learning from them.

There is no more of a pointless search than that of control.

Recognizing that life has no “correct” route for any of us to take, and the openness to understand more about ourselves and the world around us is the strongest weapon we have.

DrunkTalkwithEgypt

The real answers for the questions you never asked.

Q: Why "Miles Mouse"?

A: Miles Mouse is a combination of a bunch of things but basically an alter ego that is responsible for the creative idea side of my work. The "yungEgypt" persona is smooth, bold, confident and loves being in front of the camera. Miles just likes to chill. He don't like the attention and would rather be behind the scenes thinking of dope ideas for yungEgypt to do rather than being in the spotlight. His name is a play on the coming of age story of Marvel's Miles Morales, while also being a "ghetto-fied" version of the Mickey Mouse character. Mickey always stands for something positive and marketable but Miles ain't really like that, he's a little off and so his shape is gonna be slightly off. Not that he'd care though. Think it's important to have fun and not take yourself too seriously. I can be equally cool and goofy, and that duality makes living a more carefree experience. Just hope Disney doesn't sue.

Q: What made you get into fashion?

A: During the pandemic, so my junior year of college, I was really trying to win over this girl I was talking to (iykyk) and she had a big interest in becoming a model. A couple people through life had said I'd also make a passable model so I lied and said that's what I wanted to be too. My brother owned a camera and we started taking pictures just to test the waters but also for me to flex and show her I was serious. Eventually the shoots got more intricate and I started looking at other peoples' styles so it became more of a serious hobby of mine. I don't think the girl ever cared though in all honesty (lol) soon we stopped talking but I kept going with the ideas. So who knows maybe I'm still chasing an unrequited love after all this time.

Q: Any funny anecdotes from Vol. 2?

A: I always wanted to include a Stussy article because that was one of the first brands I remember learning about. I was at a party at Penn State wearing a black Stussy tee I bought at random the previous summer. Had no clue about the brand, just thought the insignia looked dope. And because I'm an idiot, I thought the logo spelled out "Jansen" not "Stussy." So at the party, a guy had complimented the shirt and asked if I keep up with their releases. And I said in an attempt to be cool "yea, I love Jansen their shirts are crazy." The guy proceeded to stare at me really confused, told me the right name and said to start researching the clothes I wear. Again I'm an idiot. Ever since then I always try to have at least some background on the brands I buy. Hopefully he reads these magazines to see I've made amends for my ignorance.

Q: How long do these Volumes take to write?

A: Gun to my head, I could probably get a copy out every 2 months. But with work, personal life, other projects and trying to keep the concepts fresh it usually takes about 3 months. Anime section is the easiest to write yet hardest to format and the fashion section is the exact opposite. You always want things to breathe and I feel no pressure for deadlines so I don't mind taking my time. Writers block was particularly evident this Volume so I'm technically a few weeks behind schedule (smh). As well as certain people adding some unplanned inconsistencies to my schedule (you know exactly who you are lol.) I'd like to keep a 2-3 month turn around though and progressively make each volume feel like their own experience. At least until I make more progression on the screenplay I'm writing which might cause future delays for later volumes. But hey, cross that bridge when we get there right?

Q: Opinion on Across the Spider-Verse?

A: Definitely one of my favorites of the decade. Wish it came out a little earlier and I would've dedicated an article to it but would easily pay to see it 100 times. Very underrated fact how it's just people walking the streets who have the ability to animate and brainstorm such incredible things and you'll probably never know their names. A little too fresh to give any exaggerated praise or critique but for sure one of them ones.

Q: What's the deal with hard copies of AGAVE?

A: It's so funny to me whenever someone insists on a hard copy because trust me if it was easy I'd flood the block with a million copies. But I don't have a publisher so each copy comes out of pocket and that means either ordering in bulk or individually. And the way my bank account set up that bulk order ain't happening so each copy has to be ordered which is $65 a pop to make and ship. You never know what the future holds, maybe I can find a more sustainable method eventually. I mean full transparency the entirety of my catalogue is online (for FREE!) so anyone who really has a hard copy itch should just treat it like copping a vinyl or any art to a collection. I'd like to think its worth it.

Q: Favorite anime out right now?

A: Of course Demon Slayer Season 3 is really doing its thing but honestly Mashle has been such a surprise quality show this season I'd probably give them the win. Purely due to having no expectation going into it. If you haven't seen it yet check it out, I swear you'll get at least one laugh.

Q: Why include a Philosophy Section?

A: Felt like posing this question because it's actually something I go back and forth on. I love it's inclusion but it is a noticeable tone shift in comparison with the other sections of the magazine. I can already see people now thinking I have some wise image of myself or that I appear to take myself too seriously. And again I state, I'm an idiot. That being said, I do think it's essential, I love thinking over those articles because life is really hard man. The experiences that have led me to this moment were rugged to say the least and I'm sure that's the case for everyone. I like finding the connective threads in my misfortune to string together a narrative of future development and positivity even if that vision isn't clear to me as of right now. The goal is just to bring up conversational think pieces to reflect on and see how they may be applicable in the reader's life more so than trying to be the next Confucius.

Q: What's Jarell up to?

A: He getting by one day at a time. So many plans and ideas wrapping through my mind that sometimes you end up not doing any of them. Just trying to compartmentalize my focuses at this stage which could be a challenge for any young adult. You get so eager to take the world by storm and equate yourself with your seemingly successful peers that you neglect to smell the roses. And I'd say that's Jarell's biggest obstacle right now. Still trying to find jobs that can translate the lunacy of my mind into something productive. Also having new experiences with people which has its own challenges for various reasons. It's a big world out there, I'm steadily witnessing emotions, places and situations that are a first for me. I'm at my best when I'm writing though, all the anxieties melt away and I like testing myself to see what can be done with my own hands. There was a time I thought I was worthless in this life, and to wrestle with that ideation of myself has become my main reason for putting out work. Been deep in my music bag lately though, a lot of instrumentals so if anybody got some jazz club recommendations or lofi night club moves please direct yourself to my DMs.

I guess all that to indirectly say that Jarell's trying his best, and beyond curious to see where this roundabout adventure of his winds up next.