yungEgypt's AGAVE VOL.5

JUNE 2024

"first and foremost, focus on your light. be creatives. none of this matters if you're not doing something that is really interesting and striking. it'll get out there. -- if we just continue to focus on being great.

it's very different than it was 30-40 years ago, everything was in a vaccum. but now because of the internet, it's different. If you're really talented, they willfind you. somebody willfind you. Somebody willget behind you. -nothing is stopping you. nothing. nothing can dim the light. -- so Once you know that, you realize you don't need the light or the acceptance from the world at large.

Just shine and be bright and be magnetic. be great.

-pharrellwilliams

E G Y P T

E G Y P T E G Y P T

E G Y P T

E G Y P T BOOK OF

PART / FIVE PART / FIVE PART / FIVE PART / FIVE PART / FIVE

B O O K V B O O K V B O O K V

B O O K O O K V BOOK OF EGYPT BOOK OF EGYPT

A G A V E MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE MORE

AGA

VE is art too . . .

55 5 5VOLUME

MILES Mouse WITH Cameron stinson

JUSTIN GIBBS

BRIGHTON MILLS

JARELLGIBBS

cliff wallace

CREATEDBY

IKENNA WOSU

FOREWORD BY MILE

ThispastMarchmarkedtheoneyearanniversaryofAGAVEwhich is unbelievably crazy to say. Because of that, you’d think I’d be able to ramble on about how these get easier to make with such extensive practice in doing it. It’s truly the opposite. The coolest part about this project is simultaneously the most arduous task in having to really dig deep in my mind and spirit to see what I have to offer. Not settling for what may have worked prior, and search for another route. It’s an immense self-imposed stress that just goes to show how much of areward looking atthenal result isto me. But more specically, what AGAVEhas taught me in the past yearisthevalueofbeingaperpetualstudent.

Ithinkthegreatesttestamenttoanyaspiringcreativeorpersonin wantingtobecomebetter,ishumility.

The more I delve into this eld, the more abundantly clear it is that people are better than me in so many different ways. Better curators of content, more polished technical abilities with tools or software and sometimes a better concept of what makes an undeniable piece of art. Whereas my ego would at one time see these creators as competition, as I journey through this marathon of putting out my own perspective on art, I’m growing to see them forwhattheytrulyare.

Teachers.

Each of them has stepped out, being inspired by the amazing things around them and chose to become a mirror of it. And in doing so leave behind bread crumbs on how it is a person can transform their worldview into something both tangible and inuential. In doing something you hope to master, having too much pride to study those above you is in exact opposition to the goal. Obviously don’t just marvel at their work but open yourself up to feel it. Understand the major questions of what made their work a possibility. And STUDY your ass off. To the point where yourenvironmentisreectiveofyourinspirationandyouareable togrowyourindexofcreativitywithoutthought.

It’sfunnyhowsocietyhasdeemedituncoolforanynewventureto not be an immediate success. When the truth is, everything long lasting has to be nurtured in time. The result is only the byproduct of practice poured in everyday by the creator. In studying the game, you grow to trust your gut in knowing whichever direction you take is informed by something that can’t be explained verbally or even understood by the people around you. Butstillhasthelightthatcarries withitthecharacteristics ofwho you are and the story you want to tell. The student is vulnerable, observantandalwaystryingevenwhennooneispayingattention. Andthat’sthedifference.

DRUNK TALK WITH EGYPT

MM: Soifyouweren’tdoingwhatyouarenow, whatwouldbeyourdreamhustle?

EGYPT: I’dsaybeingamusicproducer,they havethedopestjobintheworldtomeTheart ofsamplingandtheirmusicalintuitionarelike superhumanabilitiesIfeelnooneevertakes the time to acknowledge. Most of the best producersflyundertheradarwhichIthinkis rightupmyalley

MM: Whydoyouthinkit'ssoimportanttobe inconspicuouswhenmakingaproject?

EGYPT: Ifeelliketoomanypeopleattemptto takeonworkfortheattentionofit,whichis justeffortsubtractedfromthethingyou’re workingon.That’sthewholepointofMilesis he’sessentiallyfacelessandsilent.Iftheworkis goodenoughit’llsayallitneedsto

MM: Wouldyousaythesameistrueforfashion anddigitalarts?

EGYPT: For sure Whenever I see cool photoshoots of influencers or celebrities go viralonmysocialfeeds,Ialwaystrytond theirdirectors,photographers,stylists,allthose peoplewhomaketheproductwhodon’tgetthe shinebutdoallthework.Itreallybuildsyour curiosityandhelpsyougrowinnoticingdetails.

MM: You mentioned earlier the one year anniversaryofAGAVE,whathasbeenthemost challenging or unexpected part over the lifespanofthemagazine?

EGYPT: Marketing and condence honestly. Marketing print media is hard in trying to encouragepeopletocheckitoutwithoutjust flashing every page in people's faces. It’s a worthwhilechallengethathasforcedmetoget better and rethink my strategy for every volumeThenthecondencetoreallyembrace thisprojectoutwardlywiththesameprideI feelforitinternally.

MM:  Howvitaliscondenceincreation?

EGYPT: It'sthelifeline.Onceyousecondguess yourselfbecauseofwhatothersmaythink, you'recooked Ijusttrytorememberhowit wasasakidwhentherewerenowronganswers orfearofjudgmentandrockoutfromthere.

MM:  You’vetouchedoninthepastwhatstarted yourinterestinfashion,butwhateventshave fueledyourpersistencewithallyourwork?

EGYPT: Iusedtoreallyjustwanttomodel.I thoughtthatwasthepinnacleofvalidationfor anyonewhoviewedthemselvesasattractive andworthwhileinthefashionspace.Butin seeinghowdeeptheiceberggoesintermsof makingthiskindofwork,itjustfeltshallowto onlyfocusonthatWhynotdoeverything?

MM: Do you have anyone in mind when creatingcontent?

EGYPT: Imainlythinkaboutmybrother.I wouldn’tbeabletoputoutthemajorityof whateverImakewithouthistalentsohissign ofapprovalistheonlygreenlightIinternalize, usuallytherestisjustnoise.

MM: What’sthemostcommonresponsewhen peopleseeyoumakemagazines?

EGYPT: Thego-toresponseis“wow,itactually lookslikeamagazine.”Whichisfunnytome becauseI’mlikeyea,that’sthepoint.

MM: Imeanitisadmittedlyweirdforpeopleto justcrankouttheirownmagazine.DidVolume 5takelongertowritethanusual?

EGYPT:  I'm not gon lie I took my time. Compiling pictures for the travel section is specicallyhardwhenIdon'tgoanywhereor just go to parties. Along with other work slowingmedown,thisisprobablythelargest breakI'vehadin-betweenreleasesWhichwho cares,aslongastheproductsgoodIthinkit doesn'tmatter.

MM: Whatkindofmagazinesdoyoulooktofor inspirationduringthecreationprocessofeach volume.

EGYPT:  Ifeelthatliterallyanythingcanbe inspiration. TikTok, movies, magazines, flyers, they all have an element that is worthwhiletoreplicate Idon'thaveago-to labelforreferenceeachtimebutRizzolibooks hasbeenveryinfluentialtomerecently.Their layoutsfortheirentirecatalogonlineisreally coolandhelpsgivemeideasonwhattodoAnd surprisinglysocialmediaaswell.Itsgrowing populartodeemsocialsastoxicwhenIjust thinkofitasatoolthatisreflectiveofwhatever youmakeit.

MM: Whatistheimpactyouthinksocialshave hadononlinecreatives?

EGYPT: It'sworkedincrediblywellforallowing morevisibilityandattentiontoreallyingenious people TheprimarygripeIhaveisjustthe impatient pace it normalizes. Making somethingquickandconsistentbecomesmore importantthanqualityandjustmakespeople burnoutHencewhysomanypeoplecomeand gofromthecircuitfeelingliketheyhaveto deliver visual fast food or they'll lose their following.It'sprettyhorribleactually.

MM:  Whataresomeofyourfavoritethings you'vewatchedin2024?

EGYPT: Man, X-MEN '97 was so lit and enjoyable to watch. Really wanted to write aboutitbutitjustdidn'tworkoutbutitsoneof themones.FinallysawKillBill1&2fortherst timewhichisanentirerantinitselfforhow greatthosewere.Otherthanthat,RickRubin's bookTheCreativeAct:AWayofBeingismy highestrecommendationofthenewyearthus far

MM: Wheredoyougofromhere?

EGYPT: Everywhere basically. Start making clothes, venture more into video content whateverthatlookslikeandkeepingthemind sharpwhileimprovingIlovethecollaborators whowereabletojointogethertohelpme makeVolume5.I'mabigadvocateformaking

yourownplaceatthetableinsteadofwaiting foranemptyseat.I'dlovetoencountermore peoplewhospeakthatsamelanguagesoIjust keepmovingforwardandseewhathappens.

MM: HowdoyoudeviatebetweenAGAVEand alltheothercontentyouproduce?

EGYPT: AGAVEoccupiesauniquepartofmy mind.Idon’teverwanttobeknownas“the magazineguy”becauseitextendsbeyondthat These Volumes are literally just a visual conversationthatI’mhavingoutloud.What stories are shaping me, what topics are dictatingmyactionsAndtheyworkinservice topushalongmynextpieceofcontent.It'slike abrandmorethananything.

MM:  Isthereanyquotethatyouthinkcaptures theidentityofwhatAGAVEistryingtobeor anythingthatchristensthisnewestentryin yourportfolio.

EGYPT: "It'snotabouttheshoes,it'saboutwhat youdointhem."AnoldMichaelJordanquote comes to mind of how I would want this venturesummarizedwhenitsallsaidanddone A reminder of the work and development infusedintothefootstepsweleavebehind.

MM:  Andwiththat,here'stohopingyouenjoy Volume5.Keepcrushing,keepdreaming,and justkeepdoingyou.Untilnexttime.Kenpai!

FASHION 1

For those unfamiliar, each AGAVE Volume can’t be made off of imagination and resources alone, there needs to be an inspirational push or desire that stirs up some possibilities for where I can take the subsequent entry This can take any variable amount of time and come in an infinite amount of variations, however, the catalyst that was able to push my creative cogs this time around was a newly ushered publication by Rizzoli New York titled I know Nigo Named after his 2022 studio album of the same name, this photo book features the titled figure, Nigo, and the expansive universe and individuals impacted by his talents and creative handiwork as a fashion designer, DJ, record producer and pioneer of the street fashion movement.

DO YOU KNOW NIGO?

And as someone who has played a part in so much of the most iconic streetwear brands in fashion and who’s associated with some of the more prolific names in the entertainment industry, it’s almost funny that your average rap head or fashion fan would still have very little clue on who Nigo is.

And here is my attempt to correct this injustice by formally introducing a genius whose legacy on conducting the tides of youth culture extends from the fluorescent streets of Japan to the bustling boroughs of New York. I want you all to get to know Nigo.

Born in Japan, Tomoaki Nagao (yes that’s his birth name), had an early interest in fashion from growing up reading menswear magazine Popeye and listening to hip hop acts like Run DMC, which would drive him to attend Bunka Fashion College in Tokyo. This pivotal step in Nagao’s journey allowed him to cross paths with his future friend and collaborator Jun Takahashi and mentor Hiroshi Fujiwara. Fujiwara and Nagao would become inseparable from this point forward with him acting as a mentor to the young Nagao, and because of their similar appearance, Nagao was given the nickname “Nigo” which translates to “number two” in Japanese.

Nigo’s studies primarily focused around fashion journalism wherein he studied the trends that were being carried over from America and their relevance in the Japanese fashion scene. Additionally the furthered work of Fujiwara and Takahashi on their own respective brands would slowly begin to draw in Nigo’s attention on the potential possibilities available for operating a clothing line.

In 1990, Nigo would actually begin working for Popeye Magazine as a writer and stylist wherein he began polishing his talents in editing, photography, writing and editorial-related skills. This experience allowed Nigo to see, in his own words, the limited use his university had in teaching him fashion design and prompted him to start his own clothing brand And after years of both Nigo and Takahashi bouncing around as editors for different fashion publishers, they would finally buy their own shop call NOWHERE in 1993 located in the streets of Harajuku, where they were hoping to have a consistent location for Takahashi to sell the clothes he had been making.

The store was split in two sections, Takahashi’s half mainly sold his brand UNDERCOVER while Nigo focused on reselling vintage, sneakers and military pieces that fit with the punk/streetwear theme adjacent to his inspirations. The wave of popularity wouldn’t hit the store however until Nigo began showcasing his own designs for his newfound clothing line, A Bathing Ape. Also known as BAPE for short, the brand was inspired by the Planet of the Apes film series with camouflage prints splattering over each piece. One of the greatest appeals of BAPE was its limited supply as Nigo was still operating the brand with a humble foundation. Meaning that only half the stock would be sold and he kept the other half for friends and family BAPE would immediately find its home with the youth culture of Japan and NOWHERE would find itself packed beyond capacity regularly

P ART I

Moving into the 2000’s, BAPE had become a cult institution with several stores opening up across Japan and the introduction of the BAPESTA shoe silhouette that fully cemented the imaginative flexibility the brand was able to conjure. In short glimpses, BAPE started making appearances in the west amongst entertainers and ushered in a new look for what streetwear was becoming. But the preInternet barriers presented by the turn of the century still made a breakthrough to the US market a near impossibility for Nigo. That was until his introduction to Pharrell Williams. Introduced to each other by Jacob Arabo (another AGAVE veteran), Pharrell and Nigo instantly connected over their distinct love for larger than life jewelry pieces and unique senses of fashion. Pharrell became a key figure in clearing the obstructions for BAPE’s success in the west, allowing both the brand and Nigo himself to become larger than life.

In 2003, the two would team up to launch Billionaire Boys Club, a streetwear clothing line aimed to be more upscale than its contemporaries. It was centralized around an astronaut and diamond based motif that screamed refined luxury, and with the connections the two were now garnering in the industry, the brand was immediately injected with the music being produced by heavy hitters in the hip hop genre.

The height of this coupling was so monumental because of the pathways it made for streetwear’s association with the names of illustrious fashion houses. The two would collaborate with Marc Jacobs (then Director of Louis Vuitton), garner a relationship with LVMH (a French luxury goods conglomerate), and simultaneously bring BAPE’s official entrance to the western world with flagship stores in SoHo and Los Angeles.

PAR

T II

The makeup of the brand’s small origins was growing more grandiose everyday, as the store's design added to its larger than life appeal. Architect Masamichi Katayama had a unique way of designing the flagships akin to art galleries, featuring the BAPE apparel in “glass cages, rotating conveyor belts, or simply anything that broke the norm.” These statements equally apply to Nigo’s then Tokyo home, playfully referred to as BAPELAND, which featured some of the most impressive memorabilia and unique art designs you will ever see. Housing one of one art pieces, furniture, and display rooms, it became a monument to the culture and quirky design characteristics that made Nigo’s work full of vitality and homage to its urban origins.

In the scarce moments where Nigo wasn’t consumed with running one of the most prolific streetwear brands in the world, he honed his musicianship by forming a Japanese rap collective known as Teriyaki Boyz. The group would be signed to Def Jam Records and their performances would make waves not only for their sound but their BAPE laced apparel that would continuously push the brand awareness to greater heights and reaches. Along with assisting on The Fast & the Furious: Tokyo Drift soundtrack, Teriyaki Boyz would additionally work with acts like Daft Punk, Jay Z, Big Sean and Kanye West. The latter being especially notable because in 2007, Nigo and Kanye would collaborate in making a BAPESTA silhouette commemorating The College Dropout A release that, to this day, stands as a streetwear grail in the community and inspiration of combining the artistic distinction of rap with the unorthodox appeal of urban fashion.

“Above all, I try to believe in what I have decided, and try it, even if I think it is different. If that doesn’t work, there is a lesson to be learned. I believe that failure is not failure, but a lesson.”

PART III

As the year’s pass by, trends in pop culture inevitably reach their peak. BAPE had become such a mainstay in the culture that eventually the creative potential and ingenuity that went into its creation had now become commercially dry. It was clear Nigo was growing as well because in 2010 he began another clothing line called Human Made which predicated itself more towards mature, minimalist wear as opposed to the loud designs made famous by BAPE. This split between the successes of the past and the potential new waves of the future was made conclusive in 2011 when Nigo sold nearly all of his ownership of BAPE to I.T Group, a Chinese fashion apparel company. This was following years of decreasing sales, likely linked to the rise of other streetwear brands in the mainstream and that once the appeal of exclusivity had left BAPE’s identity so too did the public’s interest. And in 2013, Nigo would depart the company all together to focus on Human Made. In the years following his BAPE departure

Nigo’s involvement in both fashion and relevant culture has been able to advance with the times. He would become Creative Director of Uniqlo UT in 2014 which would allow many of the more identifiable collaborations associated with the brand, most notably with KAWS. a New York based artist and designer. Nigo’s journey through the American fashion scene and relationships built in the early 2000’s would allow him to partner again with familiar faces, working once again with Louis Vuitton under the Creative Direction of the late Virgil Abloh. Nigo would bring some of his very own concepts and motifs from his Human Made venture over to Louis Vuitton for their LV2 collection in 2020. And ironically enough, Nigo’s long career of being the voice for the pulse of street culture led him to being the Artistic Director for KENZO, a French luxury house, in 2021.

Why should you know Nigo? Well in exploring his journey it is clear that his incongruent path as a

hungry creative upstart turned generational artist offers a perspective on where we are able to leave our impact when we follow our heart. His tours from the backstreets of Japan to the gem studded walkways of Louis Vuitton were painstakingly paved with dedication and strategy But more so than any of those factors was a fantastical idea that can’t be explained with basic reasoning. His art expanded at the same rate as his ambition, leaving us a gallery of clothing collections, jewelry archives, architectural marbles and profound testimonials to attest that there are no limits to artistic expression. The evolution in our creative capacity is natural and by allowing it to flourish, and also providing it the right community to invest in its growth, we too can step forward in the never ending journey that is art. Geniuses aren’t born yet cultivated by their commitment to defining and understanding their passions. And Tomoaki Nagao is just another flourishing example of how life changing such a commitment can be. It is for these reasons and many more that I can proudly say I know Nigo.

The amazement of fashion frequently derives from the industries’ cyclical nature wherein the fads of the past retake their place in the spotlight, or ideas that at one time were laughed out of consideration eventually take the forefront in steering the populace. Whether heavily invested in fashion or not, everyone has the foundational teachings of the opposing spectrums of clothing drilled into them at an early age. Meaning what is and isn’t acceptable to wear given a specific occasion. You don’t wear your sweatpants and Jordans to church in the same vein you’d never go to the mall with buddies in a blazer and trousers. However, the culture is starting to witness the gradual disintegration of these boundaries in real time, leaving us with trends, looks, and styles that contest the norm visually, but add practical use to the garments we’ve been hesitant to brandish. All this leads to the most current wave where tailored fashion and sportswear have formed a union that has become the epicenter of menswear and womenswear alike in the present day Taking the dignified and luxurious reputation of formal ensembles and sprinkling in the individualistic flare and comfort that sports attire provides to craft a completely new sensation.

TAILORED SPORTSWEAR

It would be arrogant to presume that this new pairing of styles is in any way new. Even dating back to the 1990’s huge stars like Jerry Seinfeld and Robin Williams had unabashedly adopted premature glances on how to combine these attires that appeared to be on completely opposite poles. Moving into the mid-2010’s, it appeared that these illustrious luxury fashion institutions had begun meeting halfway with streetwear distributors in everything from shoes to clothing. But the current iteration of this shift is so intriguing because it's less about a brand moving downward in an attempt to appeal to a different, more affordable demographic but sportswear has found itself moving upwards to ultimately become core in representing how this modern generation identifies what formal wear is. The impression that was once only afforded to those in

possession of name brand suits can now equally be applied to those who have an understanding of complimenting valuable streetwear grails with their more standard business casual clothing. This has led brands on the rise to figuratively strike gold in defining this new terrain and brands of old completely redefining their look to represent an identity that would have been considered alien in the not so far past.

A clothing brand worth noting for helming this new cultural tide would be Aimé Leon Dore who have completely dominated in their unwavering commitment to provide upscale tailored products without abandoning their New York identity Their lookbook catalogs are a crash course in displaying the merger currently happening and fashion

many of the silhouettes taken from classical and elitist imagery of tailored fashion complimented with modern accessorizing and features that offer a new perspective on the capabilities available to this genre of fashion. There is a very balanced proportionality in creating these styles that never leans too heavily on either spectrum of too formal or too unprofessional. Allowing the wearer to rock their favorite bomber or coordinate with their go-to button down shirt. Other lines to adopt and perfectly embody the vibe of this movement would be of course Kith, Tyler the Creator’s luxury brand Le Fleur with their new collaboration with Louis Vuitton, and Bottega Veneta whose credit in stretching the very definition of how fashion can be expressed and interpreted is undoubtedly impactful.

Though the makeup and execution of these previously mentioned brands come in different shapes and sizes, they all serve to redefine the attire in both avenues of fashion and force the public to reconsider their preconceptions of what is possible in the fashion world.

This effect can equally be evidenced in the shoe industry as variable models of footwear have been re-established into the mainstream as their benefits to this industrial reconstruction of the genre have finally been realized. Additionally new, daring artists attempt to completely combine the best aspects of dress shoes and sneakers to offer something entirely new. Footwear pioneers have found renewed success including the Nike Blazer, Adidas Samba, several New Balance silhouettes (like the 990, 550, and 2002), and Asics Gel, which have all been benefactors of the inclusion of sportswear to the formal clothing circuit. These examples show the limitless aptitude these tenured models have, to add a sophisticated yet stylish flair to wardrobes needing that relaxed edge. They have been, in no short supply, an overnight inclusion in the closets of many due to their versatile nature and infinite colorways showcasing their simplistic appeal. Something else these household brands have unexpectedly inspired is the furthered evolution of what the future footwear of this subgenre of fashion should look like moving forward.

Thus we now have the creation of the “soafer,” a sneaker and loafer hybrid, and other wildly abstract shoe merchandise that borders on the practical and insane. Opinions on the looks of these inventions be damned, their creation concretely states the true rush of ingenuity and fresh air brought to the industry who is now actively trying to conceive of more avenues to make the convergence of these two entities as seamless as possible.

t is easy to see how many, myself included, find this variety of fashion to be refreshing and more moldable to interpretation as opposed to its preceding variants. It is abundantly clear that American trends are targeting the appeals of cozy wear more than ever before, and that fact would eventually imply the deconstruction of historically estrictive categories like tailored wear. But the inventiveness ushered y these new releases have given an inspired look at what the youth culture of today finds refined or the now uncaged expressionism the mature members of society have been waiting to showcase but never could. These counter balances equally push each side of the generational divide to try to see the others’ point of view, systematically leading to more rarefied footwear and contemporary clothing.

PULLING THE STRINGS

The Stylists Behind Your Favorite Celebrity Looks

The first thing that comes to mind when someone fantasizes about the picture perfect facade of those in the upper echelon of cultural notoriety is their clothing. Whether strutting the red carpet or conducting an audience during a live performance, celebrities are most synonymously known by their appearance and this view is so vital in shaping their identity to the public. But behind the vivacious jewelry and designer threads is a reality that most never take the time to discover. Being that celebrities more often than not don’t dress themselves once thrusted into the public eye and usually have a hard at work stylist curating every detail of their wardrobe. The meticulous work provided by fashion stylists is akin to that of a music producer Continuously finding the new trends and patterns that could reshape the status quo, and having that message being carried on by another, more distinguishable interpreter And in that same sense, some of the most accomplished stylist’s names and faces would go unnoticed even when they’re work is so universally beloved. So let’s highlight a few people in the industry whose credentials are undeniable in showing that it is in fact the stylists pulling the strings of the culture’s elite.

Taylor Mcneill is an international stylist who specializes as both a brand consultant, someone who gives guidance to improve a brand’s image, and former fashion editor for Let’s Panic Magazine. Her eye for editorial creativity has strengthened her reach to work for some of the most marquee names in the world including actress Margaret Qualley, actor/musician Dominic Fike, and rapper Kendrick Lamar Her work with Kendrick specifically has been so phenomenal as it essentially pivoted the Compton-born rapper’s image to that of one the most respectable fashion repertoires in music right now. Her clientele list has included premier magazines and fashion brands alike for her use of monotone colored garments and subtle intertwining of high fashion into everyday ensembles.

TAYLOR MCNEILL

JAHLEEL WEAVER

Jahleel Weaver is one of the better known names for those in tune with fashion, not only for his remarkable work ethic and imaginative abilities in design, but additionally for his long standing relationship with musician Rihanna. Collaborators since 2011, Jahleel is Rihanna’s chief stylist and creative director for her brand Fenty. Whether it be the luscious red outfit during her 2023 Super Bowl performance or full body crystal suit for 2017’s Coachella Festival, Jahleel is the mastermind responsible for putting Rihanna in the forefront of women ’ s fashion. The marriage between Jahleel’s creative capabilities and Rihanna’s trust in them have led to Weaver contributing in campaigns including Puma, Louis Vuitton, and others.

TODD WHITE

There are very few industries where style is as valuable as it is in Hip-Hop, where you can’t solely adopt the sound of culture but more often than not need to look the part as well. This is especially the case for women who have historically been able to dominate both lanes from the bombastic stylings of Lil’ Kim to the pink cladded wardrobe of Nicki Minaj. Furthering this initiative along to the modern day is Todd White, a stylist who got his start while still in college after messaging rapper Megan Thee Stallion about how he would go about styling her Fast forward to today, where Todd has become the go-to stylist for women in music. Performers like Coi Leray, Latto, Summer Walker, and Chloe Bailey have worked with Todd to put forth inspired fashion statements that are as riveting as the music they produce. His work in blending the sexy, attractive nature of fashion for the female form, while still capturing their mature refined qualities is nothing less than empowering and incredibly cool to experience.

MOSES "ZAY" FOFANA

Whether it be music or clothing, it is the dream of millions around the world to be recognized by Kanye West, an artist who has a hold over so many impactful parts of entertainment, that his approval goes a long way in validating your abilities. Such is the story for Moses “Zay” Fofana has gone on to style many notable entertainers in the rap scene including A$AP Rocky, Nas, and more. At one time an aspiring model, Zay’s experiences growing up in the New York fashion scene molded him with prolific talent in composing stellar streetwear clothing silhouettes that stand out amongst his class. This fact was furthered by his inclusion as a key stylist in the 2024 album Vultures rollout which had Zay fashion styles crucial to the identity of the project. His rise and prominence only emphasize the fact that those people most cherished in public spotlight are only able to shine because of the diligent and talented figures supporting them whose faces are seldom seen but their work is always heard.

FASTLANE

acollagefromEGYPT

XX

only God is judge, never plea the case always aware of the truth we could never erase fallen from grace, black North Face, ounce of green smoke, jack with no chase peddle on the oor, thirsty for score, FASTLANE, destination: top of the cash game. seek heat like a missile with mad aim, you can't blame missing spirits who campaign. a mystery to most, universal most see as hot, yup, more often than not, vision clear like a hindu with the third eye dot, we be weak...not, baby-that's my word I got 'nough rhymes, tough times, try talking to kids who walk around thinkimg that God doesn't forgive life in itself is like a bid and if you scared to die, then you scared to live -Kurious

2 POP CULTURE

THE CONCRETE BOYS MOVEMENT

Lil Yachty has become the face of career revitalization over the past year steadily reclaiming his footing in the rap genre. Many were quick to count out the 26 year old rapper who burst onto the scene in 2016 becoming one of the infamous voices associated with the “soundcloud rapper” movement of the era. The years following his breakout success have come with their respective highs and lows for Yachty as his commercial success began taking a noticeable drop. Along with many of his peers, the public had seemingly grown past the sound that made him successful in the first place and as the masses flocked to the next wave of music so too did artists begin drastically changing their sound to adopt the next wave of popularity or commit themselves to over the top antics in search of cultural currency.

But even in Yachty’s toughest periods musically, which I won’t pretend weren’t tough as a listener as well, he always carried an innovative knack for experimentation that did well to stay true to the style that got him his notoriety and

push his sound further in an organically interesting way.

Separate from the music however, Lil Yachty is a fashion pillar for the genre and has continuously expressed his involvement from sneakers to streetwear His clothing ensembles are equally as eccentric as his musical catalog and very linked to the subculture his discography appeals to. Love or hate him, he has combined his persona with street culture and that makes every new piece of media he puts out a spectacle in some regard. This made his decision in 2023 to start his own rap collective known as Concrete Boys, such an intriguing venture. A merging of eclectic minds to bring both unique sounds and identifiably personable styles to the forefront of the culture that have made waves in the way they choose to market themselves. It is an ambitious endeavor that raises the ceiling for the potential impact groups like this could have on the industry in making individualism and variety the new big thing.

To start Yachty’s label is known as Concrete Rekordz with Concrete Boys being the first group to sign under that banner. The group consists of Yachty himself, Florida rapper Draft Day, former personal assistant turnt musician Karrahbooo, Atlanta’s very own Camo! and relative veteran in the game DC2Trill. Each member carries a subtly distinct style in their musical offerings and personality that hits the mark of rebelliousness so closely associated with pop culture but with an added sense of fun and likeability that make you fans even prior to hearing their music.

There’s a togetherness found in the group as each one appears to be the other's biggest fan and working gradually towards the common goal of group success. Even with Boat still standing as the head honcho and most successful individual of the collective, there is no pride in ownership in the attention allotted to the rest of the group. Their On The Radar freestyle went viral in late 2023 for their ability to bounce off each other with opposing sounds that, although different, checked off the enthusiasm and ingenuity that comprises the most successful acts in the business.

Oddly enough, I find some of the group ' s biggest appeal to come from their marketing and creative direction behind the scenes. There are rarely coincidences when it comes to branding a music group trying to step on the scene in an oversaturated field like music, and this ensemble is no different in their effort to capture their group ' s feel through insanely vibrant colors, psychedelic imagery and luxury streetwear that directly target the urban demographic. It’s reminiscent of the kids in high school who were by no means unapproachable or bad people but would always find themselves skipping class. There’s a childish unity amongst the group that, due to the intentional direction, plays them as oddball friends who enjoy the contemporary comforts that any teen would, these teens just so happen to be rich.

Plenty of credit should be given to the people at Lyrical Lemonade and key visual cinematographers like Ari Mariena-Dannon who conduct many of the videos and photoshoots that have become synonymous with the collective. Their contributions illustrate how giving a visual identity to a group is in many ways just as crucial as the sound of their music in the modern day Social media platforms have become the first place these groups are broadcasted to the world, and having the basis of recognizably stylistic visuals set is an important step to any aspiring cultural staple to take off. There is an additional retro nature to the collaboration of Concrete Boys that harkens back to the days of rap groups anchored in friendship and progressing the game with their sound that makes me and many others hope this doesn't become a flash in the pan experiment. And with their first studio album, It’s Us Vol.1, dropping in early April of this year, there optimistically seems to be no obstacle stopping the concrete movement.

ConcreteBoysmembersfeaturedontheir debutcollaborativealbum,IT'SUSVOL.1, releasedonApril5,2024

The immediate target with any musician crafting a body of music is two-fold. One is to obviously get their artwork to touch as many ears as possible but the second objective would be conveying what it is your music is about to those who haven’t had the opportunity or desire to listen to your music. What does your current sound represent? What viewpoints are you the artist exploring in this new entry of your catalog? Music has the unique function of operation in both a physical and abstract space. The figureless sounds ushered out by a musician can also take distinct, specific forms akin to a painting that elaborate on the core feelings being exuded by an album. It is this concrete fact that makes the album rollout such an influential part of the medium and a crucial facet capable of capturing the themes and identity of whatever it is you're making, and allowing it to be digested for the public at large.

A$AP Rocky’s 2018 album Testing comes to mind as a perfect example for this album rollout exploration. In the hiatus between his then previous album At.Long.Last.A$AP . and Testing, Rocky had fashioned himself an identity as one of the leading icons merging the identity of music and the fashion industry. He in turn used this outer perception of himself and combined it with his trippy, psychedelic genre of music to offer an album rollout that was both one of a kind and key to stirring up anticipation to what it was Rocky was attempting to convey with his new release The album rollout isn’t simply about providing merchandise to your fans, but all things to the color scheme, association of imagery used, events hosted, names involved, etc give an indescribable aura to what a new project is able to provide. The Testing rollout’s punk rock color scheme and simplistically effective branding through use of the atomic testing symbol made it a premiere example of marketing that was able to bring over the crowd initially interested in the fantastical visuals along with Rocky’s long standing musical fanbase to offer something to both demographics. It’s about adopting all aspects of your creative spectrum and ushering in something completely layered, and with the rollout kicking off for his pending album Don’tBe Dumbon the way, we should expect to see more of the same.

THE LAB RAT EXPERIENCE:

THEINGENIOUSVALUEOF

ALBUMROLLOUTS

Despite his faults, if there’s anyone who’s become a master at the marketing side of promoting his music it is Kanye West. It could be argued that Kanye has pushed the concept of album rollouts into a different stratosphere from prior to his entry into the rap industry. Whereas his predecessors might’ve found themselves on commercials or features advocating their audiences to support their newest work, Kanye sculpted each new album as a new entry into his life story with subsequent mindsets and distinct visual changes to how he carries himself to match the music. Whereas Rocky mastered branding an image to associate it to his next sound, alternatively Kanye had been using himself as the branded image. Each entry in Kanye’s discography can be evenly associated with a look or style that exemplifies the stage of life and character being ushered by the artist. From the collegiate themed outerwear and symbology of the Dropout Bear showcased in the College Dropout era, the Murakami acrylics of the Graduation era, the french style portrait art and ballet featured in My Beautiful Dark Twisted Fantasy, and even more recently with the masked attire and burning church imagery popularized in 2021’s Donda

Each album is intentional marketing to bring intrigue to what it is this new version of the artist has to say and love him or hate him, his ability to stir intrigue for his new releases is unparalleled from both predecessors and successors alike. People find themselves so passionate with Kanye’s music because he has done so much to craft an identifiable era of his life that each individual finds some deep pull towards for whatever reason. In every high or low experienced by the artist, there still lies that association with the character that keeps people clung to his perspective of the world and himself.

The implications being made here aren’t that top of the line merchandising and commercial gimmickry are the necessities resulting in critically acclaimed musical output, the truth is far from that shallow stance actually It’s simply the interpretation of the maturation or development the artist has made into tangible iconography, adding personalization to the work itself. Kendrick Lamar’s last few projects in DAMN. and Mr. Morale and The Big Stepperssee the mentioned artist embody alter egos that give the stories expressed through his slated albums a central character to focus on. It is the introduction to a new perspective via figures that are completely up to the artist to add substance to. In the case of DAMN, the fictional character of Kung Fu Kenny takes the spotlight of the parable as this persona becomes our hypothetical lens to view the story of the artist's life.

The identity, virtues and experiences of the album itself mold the overall depth and traits of the character, quite successfully as well. Though lacking the iconic looks of the previously mentioned Kanye rollouts or not having any of the commercial radicalism issued by Rocky, Kendrick’s collection of identities for his albums reflect less of what will sell to the audience and more so what reflects his individual head space through styles and imagery made very definitive to him alone. Hence why prior to the release of his last studio album Mr Morale and Big Steppers, many of his public appearances included imagery likening to Jesus, dressing himself in more gaudy outfits and fashioning a diamond studded crown of thorns representing endless symbolism of not only Kendrick’s place in the genre at that point in time, but additionally as a suffering artist committed to growth and forgiveness from his past mistakes later highlighted on the album.

Now of course there are infinitely more interpolations of the rollout cycle that are both more ingenuitive and arguably more relevant than those mentioned but the main point is this, the creative craft of any art is limitless. Beyond simply being a marketing ploy, rollouts give us, the audience, the opportunity to interact with the vibrant minds of our favorite artists and build anticipation for where they wish to take us. It is a vital criteria for a multitude of creative fields, not just music, to showcase the diversity of our work and the feelings that can be generated by exploring what we believe in. It truly is a communal bridge desperate to link a creative’s pain staking investment to the public consciousness to make you see what is often too crazy to describe. Whether simple or grandiose, I believe this timeless tradition to be immensely valuable and the rare unison of attention grabbing marketing and boundless expression.

DRAKE

HIP-HOP'S DISPUTED CHAMPION

The saying goes “heavy is the head that wears the crown” or rather there is an immense burden that comes with unparalleled success. This phrase defines the contemptuous relationship held for rap legend Drake by many different spectrums of the music community Drake’s unquestionable musical accomplishments should be a testament to his influence in the art and stand as a lasting impression of his impact on the generation; however, he occupies an interesting avenue of the culture. Regardless of his universal fame, depending on who you ask he is either touted as the greatest thing to happen to music or an embarrassingly confused vulture who siphons off the originality of those around him. These starkly different perspectives are nothing new and many could argue that whoever sits in that coveted number one spot amongst the masses will always be an open target for negativity With that said though, never before have we seen an artist be held in such low regard by his peers as well. Whether it be legends of the past like Mos Def or DMX who frequently chime in to show their displeasure or accomplished contemporaries like Kendrick Lamar who denounce the quality of his catalog, I believe we’ve never seen such a detested throne as the one Drake currently occupies. So let’s try and find out why that might be.

For starters, because in today's climate it’s important to clarify this, I’m indifferent to Drake personally There’s songs I have in rotation consistently of course, but I’d never argue he has multiple bodies of work that move me nor do I find myself eager to listen through each new release. All that to say I have no personal investment in detracting from his greatness, but anyone can see that there are clearly holes in his game that allow in plenty of outside criticism. His origins from teenage high school dramatic actor to Canadian based rapper have always been the main point of contention for those looking to bring Drake down. There is a continuous switching of identity prevalent in both his music and the outward presentation of himself that strikes a nerve with the community Music greats like Jay-z or Kanye, who both at one time laid claim to the number one spot in the genre, have had their critics over the years but rarely ever has that deconstruction ever boiled down to being a culture vulture as it has for Drake.

And whether you agree with this vulture claim or not, there is absolutely a strong argument that promotes this stance which widens the gap in likeability for him. What can be seen as harmless adoption of sounds he likes or looks he’s inspired by can also be interpreted as someone desperate to cling to whatever is relevant in the culture at the time. His alliances with celebrities like modern fashion mogul Lil Yachty, social media celebrity Druski and frequent connections to whatever is trending in the modern zeitgeist from basketball teams to female artists leads to passionate criticism about Drake wearing the culture as a costume without really embodying it. This is in reference to Drake’s habit of switching genres and cultural affiliations regularly, which makes him appear hollow as an individual

artist. Also by collaborating with varying artists in the industry including many Atlanta based rappers associated with the hood side of African-American culture, it often appears that Drake’s persona as a Jewish-Canadian actor turned hardened Black wave runner is a little too disingenuous to follow

Touching back on the music itself, there has always been some lack of respect for those artists vying for popularity amongst the radio and who venture into pop. Rap itself was born contrary to the popular sound at the time and thus those who solely make music accepted by the majority are deemed to be sellouts. And there is no better hit maker in music right now than Drake. Singles aside, there is also a discussion to be had on the continuing legacy that Drake’s

discography will have on his impact. Unlike other members of the modern “Big 3” including Kendrick and J Cole, Drake seldom aims to go further than surface level in his albums. There’s a redundant nature of storytelling that generally centralizes around women and or material things that doesn’t allow the topics to age as well as his previously mentioned peers who are more in line to make concept albums. Not to say there’s rules for what a rapper has to talk about, there are plenty who would kill to consistently make hit songs in lue of a thematic album, but that mentality adds fuel to the notion that Drake has nothing to say in his music. It can make his newer entries come across as uninspired and like each song is just a single that will either be played at the club or forgotten by the masses.

Conversely in Drake’s favor, why is there really a need for someone’s music to be transformative to be acknowledged as great? If more people buy his records than his competition then that should dispel any doubt of its quality, especially for as long as he’s been able to do it. In the same ideology as sports, the one with the most accolades is entitled to his claim of the crown. But perhaps the antithesis to the argument is that rap isn’t and will never strictly be all about sales and awards. It is in many ways about soul. Hence why music icons like Jeezy or Chief Keef are so culturally relevant to their respective regions without ever garnering immense worldwide recognition. And I believe this is the aspect of Drake’s rule which many have challenged him to reaffirm. A convincing display that he is in fact for the game and not just an exalted figure head sent out to drive up numbers or make the new party anthem. There’s a formulaic nature to his existence that yields passable and often immeasurable success for him and his collaborators, but it never touches the soul beyond that surface level sensation.

The discord on Drake's career is an amusing one, especially when you don't harbor any particular emotion towards either side of the spectrum.

It is easy, especially in the now ongoing feud with Kendrick Lamar, to downplay Drake’s generationally impressive career and downplay the achievements he has accomplished. He’s definitely fulfilled the bucket list that any musician would set out to conquer when starting their career He is undoubtedly one of the most recognized people in the world, and has accrued enough capital to rank highly on any Forbes list, but ultimately do those achievements entitle you to respect? I’ll admit to thinking two things when seeing Drake is releasing more music. Firstly, a passing interest in what narratives will dominate my social feeds and take over my music streaming suggestions. But inevitably, I think what would happen if he dedicated himself to a project that expressed that soul, and painted him in a more vulnerable way or more angled direction away from the women, money and fame. The respect doesn’t solely come in winning, at least in rap, it comes through risk. And I wouldn’t be remiss to say that Drake hasn’t taken one in quite a long time. Leaving him copying fads or making collaborations with newer artists that do appear inorganic at certain times. In music the result doesn’t matter, because the people will always know when to identify what’s real and what’s fake, making that the ultimate tightrope that an artist wants to tread lightly And even for the current King of Hip Hop, it would seem he’s somewhat off balance.

3

ANIMANGA

How was it when you discovered your first love? Nothing as daunting as puppy love for a childhood crush or surface level emotions you may have towards a tolerable activity, but genuine love for something that demands the investment of the self. An infatuation where the growth of your ability and character directly reflect the passion you have for whatever you’re doing. That’s Slam Dunk. Iconic for its introduction of Takehiko Inoue as a weekly series mangaka and for popularizing the largely unknown sport of basketball to Japan, SlamDunk unquestionably stands the test of time as a series that must be read at least once in your lifetime. I have been relentless in my praise for Inoue in the past for his advanced perspectives on spirituality and humility embodied in his second literary undertaking Vagabond And while those dissections of his later work are still considered life-altering lessons to me, Slam Dunk is equivalently a masterclass in exemplifying to the reader the value of discovering purpose and united belief in the impossible that can only be characterized as magnificent. It is a narrative of characters who reenact feelings that are so familiar, failures that are too close to home, and resolutions about themselves that we should all still strive to internalize. SlamDunkis the story, both on and off the page, of transcendent heart that deserves a thorough deep dive.

The high school backdrop of the story serves multiple purposes in the series. Not just as a Shonen cliche and necessary foundation for explaining the amateur talent of the characters introduced. But also for encapsulating a period of life where most of us find ourselves without a solid definition for what we want to do with our lives. The period of high school sits awkwardly in most people’s adolescence as the time to find their identity, and that fact is equally true for our protagonist Sakuragi Hanamichi. A high schooler shown to be above average height and strength to his contemporaries, Hanamichi has no true pursuits to invest himself in besides his chase for women, which he is very unsuccessful at. In the hunt to win over his newfound basketball obsessed love interest, Haruko, Hanamichi joins his school basketball team. However over the course of the story, Hanamichi who was once defined by those around him for his deviant and half-assed nature, becomes gradually more invested in the development of his own skills and the success of his team Shohoku High. Along with the rest of his teammates, Hanamichi aims to conquer feats outwardly considered impossible by most while simultaneously garnering his first real sense of motive and dedication.

"I LOVE BASKETBALL."

SLAM

DUNK

Hanamichi’s drive is recognizable and easy to attach to from the reader’s standpoint. His growth from a more immature protagonist who doesn’t treat the events of any given situation seriously, to a driven athlete who prioritizes his team is great writing incarnate. Anyone who's had any experience with athletics is familiar with the yearning to be a decisive member of a team, someone able to offer their own distinct contribution to success. This desire pushes even someone as mischievous as Hanamichi to improve who he is and his outlook on what he’s capable of, to the amazement of those around him.

This commitment completely restructures who the character is from chapter one because ultimately even though he’s aware of his weaknesses and has yet to catch up to his peers including his highly talented teammate Rukawa Kaede, put simply he loves basketball. And that fact alone is able to provide his life with purposeful comradery and direction that was so shallow prior. So through his successes on the court we the audience not only cheer because of its immediate impact on the game, but the internal fulfillment it brings the character to participate in the overarching success of his team.

The theme of purpose is equally as applicable to the supporting cast as well, and SlamDunkdoes well to represent so many angles of a young athlete’s matriculation through their sport. Opponents like Jun Uozumi who stands as a major roadblock to Shohoku's success, also represents an individual who was bullied immensely for having the physical gifts to play the sport well but lacked the natural aptitude and skill to do it. Stories like his rightfully humanize our series competition as kids who are working to accept themselves and thrive despite their outward perception.

That core message is equally prevalent within our Shohoku cast as well. From Ryota Miyagi’s detour with finding confidence to challenge the nation’s best point guards despite his little stature to Hasashi Mitsui’s struggle to forgive himself after wasting away most of his high school years by abandoning the sport, Slam Dunk illustrates a multitude of different viewpoints where the athletes within the narrative seek actualization and value through basketball.

And although Hanamichi’s progression through the series has been touched on, the most powerful representation of the message this story preaches is conveyed through Shohoku’s team captain, Takenori Akagi. Akagi is a 3rd year senior whose dream since middle school has been to win the national championship, however his noteworthy passion and talent for the game was always undermined by a mediocre roster and the judgment of those around him who always belittled his aspirations. Akagi is a phenomenal place holder for anyone with an immense love for their craft and an accompanying dream of where to take it, but still having to persevere through an environment that seeks to make a mockery of it. His

serious demeanor and sternness within the story are recontextualized to show a teenager searching for the togetherness of others who have a like-minded belief in his dream. He wants others to validate his feelings towards a specific purpose. And with the emergence of Hanamichi and the rest of the Shohoku cast, Akagi is given a heartfelt reassurance that his dream too is acknowledged. He is the mutual glue holding the team together because his original dream and tunnel visioned conviction towards it becomes the knot binding each member of the group together Turning characters and personalities so different by nature, into a fully functional team that synchronically operates to achieve feats no one expected them to reach.

Everything mentioned on purpose and the contentment found in determining our passions can be applied realistically to Takehiko Inoue as well. Beginning the series’ serialization in 1990, Inoue battled the disbelief and criticism of those around him choosing to focus on a sport with such little popularity in Japan at the time. His desire to make basketball the primary focus stemmed from his own personal experiences in adolescence, where basketball revealed to him what it meant to earnestly commit to something and seeing the seeds of your work bear fruit. And taking that same mentality into the manga industry, the amount of misunderstanding and ridicule was most likely challenging to say the least.

But in the same way the Shohoku basketball team, a small assortment of eclectic individuals, defy the odds, so too did Slam Dunk It revolutionized the sports manga genre, introduced an entirely new generation to basketball and surpassed critical and commercial heights never seen by his peers. And even without those achievements, I believe Inoue to have already found whatever he was looking for when he started making Slam Dunk An inexplicable love for something so strong that it impacted his soul and felt the urge to share his findings with anyone who’d listen. And I am thankfully one of the millions who’ve heard his words loudly, and can gladly claim I too finally know what love looks like.

THE ART OF HIROHIKO ARAKI

Anyone who knows me, knows I’m a boisterous fan of what I believe to be the most quirky yet inspired works in fiction, JoJo’s Bizarre Adventure I love nearly every facet about the story and its production from its sense of humor, family lineage based story archetype, and the series structure that never fails to unconventionally have enriching meaning despite its appearance. In addition to my fanfare for these components, I believe both myself and any other JoJo fan would unanimously agree that what makes the series is its stellar artwork. Creator Hirohiko Araki is one of the most talented artists to arise from the manga industry. His supernatural sense of anatomy and coloring are marvelous upon first sight, but the appreciation for his craft gets deeper the more you research it. Araki is the unrivaled king at drawing inspiration from other sources of media. Whether it be the posing from old fashion magazines or creating narrative themes from songs he’s heard, Araki has transformed his work into a creative abyss of references that serve to reward the audience for finding the connective threads. This section is a lively stroll down the gallery of portraits and stories Araki has conjured over the years to respectfully exemplify his poignant mastery of imagination, artistic ability and influence.

1 WeeklyShonenJump, 1989 Winter Special Poster Illustration (Joseph Joestar)

2 3 WeeklyShonenJump, 1987 Catchphrase Grand Prix Illustration (Jonathan Joestar)

WeeklyShonenJump, 1989 Winter Catchphrase Grand Prix Illustration (Jotaro Kujo)

WeeklyShonenJump, 1996 Issue #42 Title Page Illustration (Bruno Bucciarati, Pannacotta Fugo, Leone Abbacchio, Narancia Ghirga, Guido Mista, Giorno Giovanna)

5 WeeklyShonenJump, 1994 Issue #1 Cover Illustration (Josuke Higashikata, Jotaro Kujo, Okuyasu Niijimura, Rohan Kishibe, Koichi Hirose)

6 Jump Square, 2016 Issue #1 - Thus Spoke Kishibe Rohan Episode 7 Bookstore Illustration (Rohan Kishibe)

7 Hirohiko Araki JoJo Exhibition, 2012 (Part 4 Josuke Higashikata, Reimi Sugimoto, Arnold) 8

10 2020 Summer Paralympics Official Poster Illustration (The Sky above The Great Wave off the Coast of Kanagawa)

9 JOJO Magazine, Winter 2023 Cover Illustration (Jodio Joestar, November Rain)

UltraJump, August 2018 Cover Illustration (Part 8 Josuke Higashikata)

11 WeeklyShonenJump, 2003

Issue #12 Cover Illustration (Jolyne Cujoh, Jotaro Kujo, Enrico Pucci)

Joestar Gyro Zeppeli, Lucy Steel)

13 JoJo's Bizarre Words 2012 Part 4-8: Shueisha Shinsho Visual Edition Cover Illustration (Dio Brando, The World, Kars, Yoshikage Kira, Killer Queen, Diavolo, Enrico Pucci, Funny Valentine)

14 JoJos Bizarre Words 2012 Part 1-3: Shueisha Shinsho Visual Edition Cover Illustration (Jonathan Joestar, Joseph Joestar, Jotaro Kujo, DIU Josuke Higashikata, Giorno Giovanna, Jolyne Cujoh, Johnny Joestar, JJL Josuke Higashikata)

15 Hirohiko Araki 2018 JoJo Exhibition: RipplesofAdventurein Osaka (Dio Brando, The World)

17 SPUR 2013 Issue #2 - Jolyne,FlyHighwithGUCCIExtra Volume Bonus Illustration (Jolyne Cujoh, Bruno Bucciarati, Abbacchio)

19 UltraJump, September 2021 Chapter Cover Illustration (Part 8 Josuke Higashikata, Yasuho Hirose, Toru)

THE SHIBUYA INCIDENT

A MODERN SHONEN CLASSIC

It appears that when mentioning the best manga storytelling has to offer, most harken back to the past when listing the greats. Whether reminiscing on impactful storylines from the late 2000’s like Naruto’s Pain arc or advocating for 90’s classics like Berserk’s Golden Age, it is increasingly rare to see a segment of modern stories stake their claim in creating an undeniable classic both on the page and later on the tv screen through their anime depiction.

This fact makes the current run by mangaka Gege Akutami’s series Jujutsu Kaisen groundbreaking, in that, they were able to overtake the entire animanga community with the expectation shattering sensation known as the Shibuya Incident arc. Though young in it’s conception, with the anime adaptation only being televised late last year, the Shibuya Incident arc was able to elevate the audience’s outlook on where this story could go as well as delivering ambitious narrative sequences that have separated JujutsuKaisenfrom it’s peers in the modern generation. But what factors exactly make this arc a bonafide classic amongst all its contemporaries? Well let's dissect the gruesome yet glorious triumph which is the ShibuyaIncident

In looking back at the general perception of Jujutsu Kaisen prior to this arc, most would agree that it was a promising yet stock standard series at first glance. Sure the power system and setting were refreshing, however the story archetype appeared to be heading in a direction so typical for the genre in the current day A team of 3 students led by a world renowned teacher take on evil as the main character houses an astoundingly powerful demon whom he must learn to control. Sound familiar? However, those surface level similarities do the show a disservice as the content found within the series has always been more akin to horror than hope.

The strengths of JujutsuKaisencome in its character writing and seeing how all of these different characters, whether they be sorcerers or curses, are impacted by the cruel world they are placed in. Hence why the arc leading into the Shibuya Incident, Hidden Inventory, is so monumental in pre-establishing the tone the show carries with it moving forward Mainly, that there are rarely happy endings in the jujutsu world and the conventions usually held to other series would not apply here.

TheShibuya Incidentreally gives the audience detailed insight on the power sealing available within the show which was vital in taking the detailed concepts hammered into the audience from the beginning, and flipping it to unanticipated peaks. Each of the battles occurring during the initial stretch of this arc could’ve served as their own independent season climaxes, with grade 1 sorcerers going all out, hyped up villains finally standing center stage and most importantly the strongest character in the series finally being pushed to his limits. The hype for Saturo Gojo had been emphasized throughout the series and seeing his usual lackadaisical confidence transform into him demonstrating the frightening power that restructured the jujutsu universe was sincerely worth it.

A key to the popularity of Jujutsu Kaisen is their unique take on “the strongest” motif and how each of the characters with that label go about impacting the world with their ideology. And in this arc, witnessing the two people with that title, being Gojo and Ryomen Sukuna, express hints to why they are so revered not only advanced the plot with imaginative power sets but still baited the audience with future anticipation and neglected to show the full range of power each character had at their disposal. The action is truly top tier in providing satisfying justifications to why characters are as feared as they are. Whether it be Aoi Todo’s Boogie Woogie technique in his clash with Mahito or Megumi Fushiguro releasing his ace in Mahoraga, so many variations in tactical combat and abilities are executed perfectly

But beyond succeeding in action, the series really achieved in separating itself from its predecessors and molding its own identity in this arc through use of shonen’s most controversial story tool, death. Typically death in many battle shonen is used in the one off of an important character in order to inspire another or only served to write off a mass of faceless individuals whom the audience has no emotion towards. And while these are effective methods and have been done spectacularly in other series, Jujutsu Kaisen is phenomenal in demonstrating how dangerous the field of jujutsu is and leave every character on the chopping block for an untimely demise, specifically in this arc.

Without spoiling, there are several tearful goodbyes that don’t amaze solely in who the story chose to write off, but the matter in how these deaths take place and influence the characters truly push how dark Gege is able to take his story It leaves the reader with a grimy and uncertain emotion that doesn’t allow you to feel secure with any character's likelihood to survive whether they be hero or foe. And that style of writing builds up an unwavering attention from the watcher or reader in hopelessly trying to predict what more could go wrong.

And whatever foundations were set by the manga were emboldened by the anime release wherein the pinnacle of audience anticipation and artistry were interlocked ushering in a season that took the world by storm. The traction created by this arc propelled the series to being the most popular anime entity in the world right now, in no small part to the week to week viewing experience the showrunners were able to capitalize on so perfectly Anime and manga run in cycles where the audience is always eager to latch on to the next

big thing, so it's worth recognizing when a show or story brings the world to a halt to create in a moment in time. And the Shibuya Incident arc is undoubtedly one of those moments in the life line of JujutsuKaisen and Shonen that will go down as a classic.

The scope of the world and the consequences of the events that take place have a weight to them that don’t make the occurrences just seem like another crazy day of jujutsu but rather monumentally impactful shifts in the status quo. The nature of our main character, Yuji Itadori, as a sorcerer becomes more gray as his existence as a vessel becomes an undeniable danger to everyone else Gojo’s fate during this arc put the entirety of jujutsu society at risk as his presence alone had deterred so many of the malignant curses from attacking the populus. The sides that were once considered infallibly right have now justifiably come under question and we witness the larger plans of the story begin to orm smoothly from the end point of the arc that makes the whole segment seem like the conclusion of an act in a grandiose play.

4 TRAVEL

Around the World with .22 Shots

photos taken by Cameron Stinson

New inner bicep piece featuring a

an

as

portrait of miyamoto musashi,

ancient japanese warrior and philosopher,

drawn by takehiko inoue in his manga series titled vagabond.

the night time view of a retro themed party at live-k karaoke bar located in southwest dc.

03.09.24

01.05.24

03.09.24

highlights that my fraternal bond has brought me across the states from far out in cherry hill, New jersey to back home in dupont circle, dc

03.23.24 03.23.24

scouting for inspiration at the smithsonian american art museum in northwest dc. looking over the detailed works of sculptures and canvases and finding myself lost in the vibrancy of alma thomas' exhibition titled composing color.

agave and hookah for 90/2000s inspired superbowl party at lux dc bar and lounge in northwest.

02.11.24

04.13.24

braised short rib "rossini" with spinach and foie gras at oscar's steakhouse in las vegas, nv.

short rib bolognese with ricotta at tuscan prime italian chophouse & dolce bar in annapolis, md

02.08.24

stout burger with blue cheese, mushrooms and onions at gordon ramsay burger in las vegas, nv.

04.10.24

04.11.24

penang curry with beef tenderloin, ground peanuts, coconut milk and steamed rice at lemongrass located in aria hotelin las vegas, nv.

02.03.24

the opening glimpse of one of the coolest record and thrift stores in the dmv area called joint custody found in the underground of u street.

wrist wrapped in a dreamville weekend admission pass and my daily assortment of medora jewelry. the hazy and surreal ambiance of marquee nightclub in the cosmopolitan hotelin las vegas, nv.

04.06.24 04.14.24

the grandiose lettering and performances at dorothea dix park in raleigh, nc for the dreamville festival featuring a packed out show for schoolboy q.

04.06.24 04.06.24

Center of sin city. Fremont street in downtown las vegas, nv bustles with music, trippy visuals and atmosphere surpassing my expectations.

04.13.24 04.13.24

5 PHILOSOPHY

A perfect sync between the desires of the spirit and authentic execution. It is what I believe to be every artists’ ideal, that which is exactly in tune with how you perceive wonder.

I remember reading JoJo’s Bizarre Adventure: Steel Ball Run for the first time and in it they describe a phenomenon known as “the spin.” In the story it serves as a harmonization of several outer mechanics in mastering a technique but also parallels the inner growth and actualization of the main character Johnny Joestar. His development as a person paralleled his capacity to master an ability that provided him newfound power. I mention this oddly off base example because I liken the progression through the fields of creativity and passion in the same way A feeling or rhythm that bends and molds to the wealth of experience offered to us by living our lives. Similar to that of shaping a amorphous blob of clay into something beyond itself, each person ’ s rhythm has its own distinctive beat that retroactively produces a conversely different work from its contemporaries. One’s rhythm is natural but can be changed by the media you consume, the people you’re around or the goal you hope to achieve. The rhythm is manifested beauty.

The key ingredient for finding this fabled rhythm, if not the only ingredient, is failure. Simple trial and error. Seeing the chords that don’t work, the notes that fail to stir any feeling, what ideas seem better in your head than when they’re displayed out loud. The rhythmis a whittling of all our shortcomings, misfortunes and lowlights, both in art and in our personal lives, smoothed into a cohesive melody that affirms the path we want to walk down. AGAVE for example is the melting pot of all the topics I care about in this world mashed into one location. It’s the raw material that goes into comprising what I want my art to be, a music sheet without annotations. And by hammering away at topics, vigorously conjuring up what moves me about the obscure subject matter of these volumes, the rhythmbecomes more clear. An article may fail to connect with the beauty I feel about a topic, the design of the pages might combine awkwardly in the finished product, the scope of my ambition may come off ill-advised. Slowly and slowly the mold takes its form. Until the rhythm, the sound driving me to take action and deciding how to best visually represent what has been inside me all along, becomes comprehensive. Concise. Exact. Don’t fear the chips that refine our features. It can take different forms in any and every field, the same rhythm that dictates the written words and visual design of these AGAVE pages are completely different than what is involved in creating photos or curating fashion shows, but they all come from the same place. The rhythm Enabling a person to speak and move directly with their mind and heart in unison. The most impactful and long lasting tell of any artist. And once found, stick to it. Be fluent to change and never close your ears to new possibilities presented by others. But never differ from your rhythm. To do so would be a betrayal of all the best things that make you, you. It is a gift to firmly place yourself in concert with your heart. There is no greater blessing afforded to you than the unending opportunity and fulfillment of being yourself.

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▪ asipoftheunlimitedgrowthandcreativitythat comprisesthebeautyofthisworld

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▪ adeepdiveintoallareasofculturetoenrichthe passionsworthdevotingyourselftowards;an exerciseinexpression

Followyourheart. That'sthenumber onerule.People mightnotseeyour visionyet.People mightcallyou crazy.Followyour heartandfollow italltheway through.That's whenyou'llsee you'remakingnew ground...

YU EG