Kali Uchis | Viper Magazine: Spring 2014

SPRING 2014

KALI UCHIS UK £7 US $12

/500

Editor Lily Mercer

Design

SUGAR CAT + SKOUT

PHOTO EDITOR LAURYN TOMLINSON

Photography Remy Banks. Devin Christopher. Ed Dabney. Verena STEFANIE Grotto. JABARI MXXM JACOBS. Kirstin Kerr. MEHDI LACOSTE. Jessica Lehrman. Eddy Leonardo. Jakobi McLemore. Kevin Morosky. Maria Pizzeria. Ben Niespodziany.

Nolis. Christian San Jose. Tom Spellman. MATT STITH. HAYLEY RHEAGAN TRONE. FRED YARDLEY

Illustration Mark Dear. WILL PRINCE. Eddie Ruxton.

Contributors Duke AGYAPONG. Laura Arowolo. Nick Bam. LUCY ELLIS. Bryan Hahn. Violetta KASSAPI. Rosie Knight. KRISTINA LOPEZ. MARQ MILLER. Chris Mendez. Ben Niespodziany. Ashley Outrageous. CLAUDIA RACH. EMMA SPENCER. SAM TRAVIS. KALI UCHIS. Thomas Usher.

Models Marcus Anderson. Jack Cannon. KAMI DE CHUKWU. Ian Connor. Gadget. BILLY HUXLEY. CALEB JAMES. JOEY PURP. ItsNate.

Kilo Kish. Milkavelli.

Thanks to Meechy Darko. Dimepiece LA. dope.boy.magic. Grand Scheme. Grind London. Haati Chai. Ben Harris. JOSEF DORrELL. Mike Schrieber. SLVSTR. Too Much Posse. U-DOX.

Vipermag.com A MERCER PUBLICATION

EDITOR’S LETTER This magazine has been a long time coming. For years I’ve been blogging music, interviewing artists and a year ago I branched into radio with Rinse FM. But magazines have always been my love. Music has always been my love, hip hop in particular. The days of cult rap magazines have gone. With no absorbing magazines left for me to buy, I decided to make my own. And so I present to you, Viper.

In our second issue, we explore the next generation, selecting a handful of artists on the cusp of greatness. That theme will continue through Viper’s future issues as we showcase the game-changers of tomorrow. Our top musicians for Spring 2014 include Viper’s gorgeous cover star Kali Uchis, who has captivated every single person I’ve put onto her and is only just starting her career. She’s captured by Jabari MXXM Jacobs in a shoot organised and styled by Kali. Denzel Curry is another featured artist gathering momentum. He lets us into his nostalgic world, complete with a fill-the-blanks questionnaire. It-Boy of the moment Ian Connor broke down the ridiculousness of fame to us at the Little Lord Connor photo shoot, inspired by the book/film, Little Lord Fauntleroy.

Skepta was a surprise guest on the day.

My favourite artist right now, SLVSTR, also appears, interviewed

by Ashley Outrageous, who herself is profiled in the issue. SLVSTR also contributed our cover, his interpretation of the Kali Uchis photo by Jabari MXXM Jacobs. The Rap Pets feature is one of the highlights of the issue, as Piff Gang’s Milkavelli appears alongside his luxurious cat, Gadget. The rapper, also known as Don Silk, appears later in the Cash 4 Gold photo shoot alongside Jack Cannon.

Enjoy the Spring issue, we’ll be back in May with the Summer issue, exploring themes around sex. For more information on Viper, check the website, www.vipermag.com and twitter/instagram: @vipermagazine.

Lily Mercer @lilymercer

CONTENTS THE GOODS

RAP PETS

8

10

20 SHOTS: BELLY

12

THINGS RAPPER’S SHOULDN’T DO

ROCAFELLA CHAIN

14

THE QUESTIONS :MEECHY DARKO

16

MAXO KREAM

ASHLEY OUTRAGEOUS

26

19

28

VINSTAGRAM : REMY BANKS

20 ITSNATE

2080

UK PRODUCERS

BK BEATS

THELONIOUS MARTIN

BLACK NOISE

30

32

34

40

42

44

MIKE SCHRIEBER

AT HOME WITH KILO KISH

RAP’S ANIMATED ICONS

LUCKI ECKS. THE LIFE OF AN OUTSIDER

46

52

56

58

TWEETS, VINES & STRIFE

VERLUXE. CHICAGO’S SPICE GIRLS

62

66

THE GOD DELUSION - HIP HOP’S MOST NOTORIOUS GOD COMPLEXES

80

DENZEL CURRY

IT’S A UK TING. GANGS A VERY BRITISH INSTITUTION

74

70

LITTLE LORD CONNOR

KALI UCHIS

94

86

MILKAVELLI AND JACK CANNON : CASH 4 GOLD

100

DOPE.BOY.MAGIC

DIMEPIECE

HAATI CHAI

108

114

116

BOY

GRAND SCHEME

TOO MUCH POSSE

GRIND LONDON

REBORE COUTURE

118

122

126

128

130

SLVSTR

134

THIS IS MY COSTUME

138

STOCKISTS

SUBSCRIBE

140

141

CONTRIBUTORS KEVIN MOROSKY MOROSKY.CO.UK

@KEVINMOROSKY PHOTOGRAPHER - CASH 4 GOLD, BOY What’s your favourite song to dance to? “‘Playa Hater’ by Notorious BIG” If you could be a cartoon character for a day, which would you be?

“I’D BE Goliath from Gargoyles”

THOMAS USHER @WILLIAMWASTEMAN

WRITER - TWEETS, VINES AND STRIFE, CONSUMERISM What’s your favourite song to dance to? “‘i won’t give you up’ by eddie capone and the treatments featURING diane jones” If you could be a cartoon character for a day, which would you be? “spongebob squarepants”

NOLIS NOLISUNIVERSE.COM

@NOLIS PHOTOGRAPHER - DOPE.BOY.MAGIC What’s your favourite song to dance to? “‘Say That’ by Toro y Moi” If you could be a cartoon character for a day, which would you be?

“Tino from ‘The Weekenders’”

ASHLEY OUTRAGEOUS ASHLEYOUTRAGEOUS.COM @AOUTRAGEOUS WRITER - DENZEL CURRY, SLVSTR

What’s your favourite song to dance to? “‘BEAT IT‘ BY Michael Jackson. I literally feel the urge to move every time I hear that song” If you could be a cartoon character for a day, which would you be?

“Sailor Moon, hands down. As a soldier of love & justice, ol’ girl is a bad bItch”

REMY BANKS REMYBANKS.COM @REMYBANKS RAPPER - VINSTAGRAM

What’s your favourite song to dance to?

“I don’t dance, I groove. Haha. With that said, my favourite song to groove to is ‘After The Dance’ by Marvin Gaye” If you could be a cartoon character for a day, which would you be?

“I’d be Jonny Quest in a heartbeat”

DEVIN CHRISTOPHER devinchristopher.com

@dvnchrstphr PHOTOGRAPHER - ASHLEY OUTRAGEOUS. DENZEL CURRY What’s your favourite song to dance to?

“I’m usually the guy holding the wall up at a party. But at this present moment, if something by Disclosure came on, or ‘Chosen One’ by Future, I might do something” If you could be a cartoon character for a day, which would you be?

“Huey from The Boondocks. Soft spoken and A great public speaker”

THE GOODS

Sneakers: The Complete Limited Editions Guide. £16.95. Thames & Hudson.

ShOE DATA EDITION Dave White YEAR RElEASED 2011/2012 ORIGINAl pURpOSE Basketball TEChNOlOGY Air; pivot point EXTRAS Special box

AIR JORDAN I ‘WINGS FOR THE FUTURE’ x DAVE WHITE A lOvE ThAT GOES WAY BACk

A year later the duo released another version to the hungry public, inspiring hundreds of people to

The year 2011 saw UK artist Dave White and Jordan

queue up to purchase a pair. Most noticeable in the

Brand release their collaborative take on the Air

avant-garde design was the removal of the Swoosh

Jordan I in time for the NBA All-Star Weekend. This

from the upper altogether.

extremely limited edition featured a stars-and-stripes motif around the panels, as well as a gradient gold

Numerous sample versions were produced in the run-up

design stretching from the leather toe box up to Dave’s

to the final release, as White filtered through a selection

signature splatter-effect side panel. Only twenty-three

of materials and colours, including various grains of

pairs were produced, in a nod to Michael Jordan’s player

leather, nubuck, 3M, removable Swooshes and bubble

number, and Sole Collector hosted an online auction for

wing branding on the ankle panel.

the release with all proceeds going to Jordan Brand’s

173

charitable WINGS for the Future programme.

172

A follow up to the sneaker bible, Sneakers: The Complete Collector’s guide, this reads like an encyclopaedia of the best limited edition kicks from the past decade. Featuring all your favourite collaborations between artists and trainer brands, the book is so great you’ll wish it was a catalogue.

With 300 designs displayed in original photography and almost every sneaker brand you can think of, Sneakers proves itself to be the authority on some of the greatest footwear collaborations - from Jeremy Scott’s Adidas to OG graffiti artist Futura’s link up with Nike. Whether you’re an avid collector of kicks, or simply want to learn more about classic brands, this is the book for you.

158-173 SneakerBook2 new.indd 172 Sneakers_Complete_Limited_Editions_Final.indd 172

3 rd Proof

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16/10/2013 11:29 AM 11/10/2013 11:58

158-173 SneakerBook2 new.indd 173 Sneakers_Complete_Limited_Editions_Final.indd 173

2 nd Proof

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04/10/2013 12:29 PM 11/10/2013 11:58

Clarks Originals x DOOM Wallabee

The legendary DOOM collaborates with cult British shoe company Clarks on this one-off Wallabee design. The leather shoe features an embossed metal face emblem, which also appears as a print inside the shoe.

In addition to the Wallabee, the man behind the mask will be releasing a remix to one of his songs, complete

Photo by Fred Yardley with a video. In the meantime, head to the Clarks Originals website to watch a brief documentary on DOOM and his creation.

Available March 13th. clarksoriginals.com.

RAP PETS: MILKAVELLI AND GADGET

When did you and Gadget first meet?

The real story of when me and Gadget first met is when my cat, Tiptoes, gave birth to her. Then Tiptoes died and I had to nurse her.

I’ve had Gadget since she was born.

When did you become friends?

From birth, since she was born. I was nine.

What’s your favourite thing to do together?

Drink water out of fountains. She has the custom three-floor cat fountain, marble white. Killing it.

She’s like the Scarface of cats. Or the Monica Bellucci of cats.

She’s not like the Monica Bellucci of cats because I saw a rape scene in Irreversible and I would never wanna put my cat in that position.

She’s like an Egyptian goddess.

Describe Gadget in three words.

Dank, peng and piff.

How would Gadget describe you in three words?

Papa, boo and bae.

Photos by Maria Pizzeria

@milkavelli

“She’s like an Egyptian goddess”

20 SHOTS

ONE CULT FILM

20 ICONIC SCENES

BELLY, 1999. Hype Williams

The Rocafella Chain Illustration by Eddie Ruxton Words by Lauryn Tomlinson

“

The Rocafella chain was the pinnacle of all accessories, a medallion that summed up the ostentatious swagger of hip hop and its surrounding culture at the beginning of the decade

“

T

hough plenty of rappers wear chains, there was once a time when the chain made the rapper. In the hazy days of the early noughties, the Rocafella chain was the pinnacle of all accessories, a medallion that summed up the ostentatious swagger of hip hop and its surrounding culture at the beginning of the decade. This was a chain to end all chains. A chain so important it had to be bestowed publicly on its owners as if they were being knighted, a ceremony most famously seen in the video for ‘Through the Wire’, the breakout track for one of Rocafella’s greatest products, Kanye West.

The Rocafella chain calls to mind the excess and bling of early noughties hip hop, immediately transporting you to a club full of big booty video girls wearing heeled Timberlands with magnums of Cristal covered in sparklers. If you need more convincing of its importance, don’t forget this chain finally let the public know about the worst kept secret in music; Jay Z and Beyonce’s relationship. When Jay Z spat, ”I got the hottest chick in the game wearing my chain” in the ‘Public Service Announcement’ video as it cut to Beyonce proudly sporting the apex of hip hop jewellery, looking fine as hell, they let the world know once and for all she was part of the Rocafella dynasty.

Though there have been many great wearers of the Rocafella

chain, the one who most sums up its essence is Dame Dash. Perhaps that’s a biased view, as once upon a time, as an overexcited teenager I managed to get to the front at a Rocafella showcase in the Hippodrome only to be hit squarely in the forehead by Dame Dash’s glorious chain as he rocked out on stage. Never has a head injury felt so glamorous.

Dash was the poster boy for the excessive hip hop lifestyle synonymous with Rocafella. In his heyday he famously wore each pair of shoes only once, showered in Evian, had a personal photographer on staff and said in an interview with the New York Times: “Not many people understand how important having a butler is, but it is, I need somebody to help me get everything I’m going to wear for the day all set up, know what I’m saying?”

Ultimately of course this lifestyle couldn’t be sustained and Dame’s recent money troubles have served as an allegory for the recession. He flourished at a time when so many were living lavish lifestyles never worrying about the circumstances and then, sadly, the bubble burst and reality struck. But nobody who looks at the Rocafella chain will worry about pesky little things like reality, it’s a piece of jewellery that completely encapsulates the hip hop dream: a record deal, a super hot girl by your side and everything covered in diamonds.

Photo by Jessica Lehrman

THE QUESTIONS WITH

MEECHY DARKO, FLATBUSH ZOMBIES

What do you smell like right now?

I smell like good weed. That’s what I smell like.

How would your last partner sum you up in three words?

I Hate Him.

What’s the most troublesome thing you did as a child?

I set some girl’s jacket on fire in the sixth grade. We can’t talk about all the other shit.

Who’s the weirdest celebrity you ever had a crush on?

Mrs Huxtable.

Ever punched a stranger?

Oh, of course.

What’s your most embarrassing fear?

I don’t get embarrassed and I’m very limited as far as fear goes.

Which sound do you hate?

Babies cryin’ on the plane.

Which character trait of yours do you hope your child doesn’t inherit?

Every single one.

What’s your favourite sea creature?

The human being. We all come from water. thegloriousdead.com @meechisdead

The worst thing about drugs is...

That you can get even higher off life... but life is boring.

THINGS RAPPERS SHOULDN’T DO...

DRESS LIKE SUPERMODELS Illustration by Will Prince Words by Chris Mendez

T

he other day I finished one of the best books I have ever read. Steve Stoute, music executive behind the launch of acts such as Mariah Carey and Nas, has written a masterpiece which thoroughly explains America’s imersion into our culture. His book, The Tanning of America has basically broken down how hip hop began bleeding into the mainstream until it ended up looking like a fucking Tarantino film. There’s a really interesting part of the book where Steve explains the first time hip hop merged with a brand to create a sponsorship and it got me thinking.

We all know how cool the whole Run DMC, ‘My Adidas’ thing was and our parents still bombard us with corny stories about all the shitty weed they smoked while they ran around in tracksuits. But, when you pan out and look at the current rapper-sponsorship situation, it’s mind-blowingly bad. I mean, why was Juelz Santana doing Lot29? Who the fuck was the guy at Lugz who set up a meeting with Brian “Birdman” Williams?!

Nobody bought those shoes thinking: “Dog, I’m going to buy these kicks and rub my hands harder than everybody on the block.”

In the late 1990’s and early 2000’s shit was out of control. With the dominating success of Rocawear and Sean John came a bunch of rappers who decided they were going to align themselves with a brand or even worse… they were going to create one. The era of repositioning high-end gear was over. Artists that wore Ralph Lauren, Versace and Tommy in the early to mid 90’s were now partnering up with huge licensing companies to create bullshit like Nelly’s xVOKAL (which is still around, Google it) and Outkast’s clothing line called…Outkast. Then, in the midst of all the ill-fitting jerseys and split colored du-rags came a savior. A fresh-faced or rather, swollen-faced rapper-turned-producer-turned-rapper/producer named Kanye West appeared. Look, I’m not going to get into the details

“

of his emergence because we’ve all listened to ‘Last Call’ like ten times but yeah, he fucked this whole rap shit up and I’m not even talking about his music. I’m talking about his style. Say what you want but he’s right, after the POLO boom of the 90’s, it was in fact boring to wear Ralph. Before Kanye, rap artists had fans paying $300-$400 for throwback jerseys. The Louis Vuitton Don even inspired Hov to ‘Change Clothes’. Kids were suddenly looking to buy designer stuff they couldn’t afford, let alone pronounce.

And for the first time in a decade, they were even buying it in their size!

Now, every rapper coming out had to dress like they were front row at Fashion Week. Here is where I state my point… The birth of “fashion rap” fucked everything up. Nobody is trying to rap better than anybody else.

They’re now trying to out-dress the competition. A$AP Rocky actually has a song called ‘Fashion Killa’ and guess what? It’s not his greatest song. By far. I mean, how can you even focus on making a great rap song filled with strong rhyme structures and flows when you’re stuck trying to figure out what rhymes with Raf Simons?

The good news is; the trend is dying, painfully slow, but it is dying. I’m relieved to see groups like Pro Era and RatKing stray away from “fashion rap.” I see a light at the end of the pretentious, LV-monogrammed tunnel.

Steve said it best in his book, “If really smart corporate executives had wanted to save money on all that market research about what the next new new thing was going to be, they would only have had to turn to the hip hop community,” which I agree with - I just wish artists would say NO to these suits sometimes. I grew up a huge fan of The Clipse and it still hurts my heart to hear Pusha-T rap about Alexander Wang on every other song. Hopefully he gets the sudden urge to sell cocaine again. Oh well.

The birth of “fashion rap” fucked everything up Nobody is trying to rap better than anybody else, They’re now trying to out-dress the competition

“

VINSTAGRAM REMY BANKS WITH

VIPER GAVE REMY BANKS A DISPOSABLE ON HIS MOST RECENT TRIP TO LONDON FOR A VINTAGE TAKE ON INSTAGRAM

LONDON INK

“Had to come visit the fam.

Shout outs to Dan & Craig”

GERRY’S LIQUOR STORE

“£££ for XXX”

“Smart crew in London”

“Goldie being Goldie”

“Blue skies”

“Black cab bidness”

“!!!“

remybanks.com @remybanks

“On my block...”

“<3“

MAXO KREAM Photo by Jakobi McLemore Words by Bryan Hahn

W

hile you were sleeping in line for the Nike Air Foamposite Ones with your pack of hypebeast friends, 17 year old Maxo and his Custom Clicc stumbled upon too many pairs of rare shoes while pulling a Lewinsky. In case you’re unfamiliar or not from the SWAT in Houston, a Lewinsky is slang for burglar inhabitation: running up in someone’s house, tying up the residents and having a field day with their possessions. That was 2007, two years after Hurricane Katrina and plenty of time for evacuees to overpopulate Louisiana’s neighbouring states. Post-Katrina, “that’s when [Lewinskies] got really tripped up,” says Kream.

Since that one lick, Custom Clicc has gone by the KREAM Clicc Gang (Kash and Kream Rule Everything Around Me). But the mentality

of dressing in exclusive streetwear remained, “You move with the Clicc, you gotta dress the part” says Maxo. Despite the comparisons you could make between his clique and Dipset’s relaxed delivery, coupled with a sharp fashion sense, you won’t find Maxo in a pink bunny suit. Instead he’ll be brandishing a .50 cal Desert Eagle and AR-57, decked out in all black or in blue, repping the Crips. He recalls the first time he held a gun at the age of eight. It was his older brother’s .38 Special that he found stashed in a Nike shoe box. “I was playing with it. Nothing too serious.

You know how as a kid, you fucking around. He came in the kitchen while I was playing with the gun, beat my ass real quick on some shit like that.”

By the age of 20, he faced up to the threat of being shot or

locked in jail. Maxo took his natural flow to the booth which has since landed him on multiple bills with Chief Keef and A$AP Mob. But no matter what, you can’t take the streets out of Maxo Kream. “Nigga ain’t gon’ never change. I’m still out here. I ain’t rich, I’m still here surviving.” Unfortunately for his hometown, the cops took his passion the wrong way. He wasn’t permitted to take the stage with Mr. 3HUNNA in Houston last year as the cops told the promoters that Maxo’s music “incites gang riots.” The forecast for that day? The streets were too hot for the Yung Max God.

Musically, Maxo has made leaps and bounds from his debut mixtape, ‘Retro Card’, to his second, ‘Quicc Strikes’. He’s put a chokehold on his unique sound, switching from freestyling about sneakers over

industry beats to well-penned, lean-injected, live-by-the-gun-die-bythe-gun inspired verses over beautifully-frightening instrumentals.

You can call it trip hop or new age trap, but underneath all the iTunes generated genres “it’s that new Houston shit.” Maxo puts on for H-Town from the top-down. The title of one of his tracks, ‘Randy Moss Freestyle’, derives from the prominent team colour of the Vikings and Moss’ jersey number, which coincide with two very iconic elements of the Houston culture: purple lean and 84 swangas. And with his third project already in the works, all you need to know is that it’s the Kream Clicc Gang.

BANG! maxokream.com @maxokream

ASHLEY OUTRAGEOUS

Photo by Devin Christopher

The Florida blogger on her climb to the top and work with T.D.E. So Ashley Outrageous, it’s been six years. How did it all begin?

Oh my, time flies! Growing up I was always the one making my friends mixes, asking them if they’d heard of so and so or if they had seen this music video. During my last year of high school, I started to get more involved with the culture as a good friend of mine was rapping and putting out mixtapes locally so I wanted to be apart of that in someway. At that time I wasn’t familiar with blogging until my friend Omie introduced me to good ol’ Blogspot. AO! was born in October 2008. In February 2010 I relaunched via Wordpress with a new design and the premiere of my mixtape series, “The Playlist” which featured 21 exclusive tracks. From then on I just started to push out interviews, throw events, travel out of state so I wasn’t just some blogger behind a computer screen. I was determined to make something of it.

Being based in South Florida, not being in the ‘scene’ like New York or L.A, how hard was it to be in the know?

Well, while I feel that it was hard being based in a small market like South Florida, it was also an advantage. At the time when I was starting out there were very few blogs out here based around music, hip hop in particular. While we don’t have a huge scene like NY or LA, I made myself prominent within what was going on here outside of the South Beach clubs by grabbing interviews with artists in town and using social media, Twitter especially, to spread whatever original content I put out. When I relaunched in 2010, I also traveled a lot, hitting LA, NY, Chicago and Atlanta. I wanted people to see me out and about doing work.

You are very versatile with not only doing interviews but at event planning too. How important is versatility to you?

Versatility is important as I feel it’s always a plus to be good at more than one thing, but it can get crazy if you don’t manage your time properly.

I picked up event planning when I was connected with producer CrackTracks (Lawerence Parker) who wanted to put together a show with Curren$y in Miami during the 2010 SuperBowl. I had one week to plan it all, leaving me with one week to promote. This would be Spitta’s first headlining show in Miami so I put a ton of pressure on myself making sure everything was perfect and would run smoothly. The story goes into much more detail but everything worked out and I went on to start my first company, Bread and Butter, LLC, later that year. The point of starting the company was to bring upcoming acts of the time that Miami fans thought they’d never see in the city.

When did you realise that your presence was felt on the Internet as a go-to-girl for hip hop?

I don’t recall the exact moment but I do feel it was when The Source listed me on their first Digital Power 30 list in 2011. I wasn’t expecting that at all and to be acknowledged by a magazine I was an avid reader of since the age of 11 was a huge thing for me!

Were there any challenges for you as a female in the male dominated music industry?

Of course! Till this day I still get shit but I brush it off. I would peep ridiculous comments left on larger blogs that posted my interviews, saying things like, “she only got that because she’s a girl,” when at some points, I was looked at like, “well what does this small girl know about hip hop?” Women in this industry will always be hit with challenges and it’s unfortunate but as long as we continue to prove ourselves, what these people say doesn’t matter.

Six years strong! So what motivates you to keep going?

Simply my passion for music and now, being able to actually work with artists versus just posting their music. I wanted to do more than just blog

about what I thought was hot, so I started to research more on the ins and outs of music business, started pitching ideas to artists and things took off.

You are also working with Top Dawg Entertainment. How did that begin?

Well I kept in contact with Dave Free (President of TDE) from time to time as he used to be the one sending out all their content to blogs. So I’d send him back my links and stuff like that. I then reached out to him for a Kendrick interview which he coordinated for me to do via iChat while Kendrick was in the studio with Dr. Dre back in 2010. Continuing to keep in contact, Dave then randomly reached out to me one day in early 2012 saying they needed some help on the digital side of things and he was aware of my work. I asked if he had called the right Ashley, he said yes, and then it took off from there! I’ve been helping with keeping up social media, developing content, currently re-designing the site, basically all things digital for TDE. You have managed to interview a lot of the big names in hip hop and made some friends along the way. How do you keep in contact with them all?

I’m not able to talk to them everyday but here and there I’ll shoot them a text or email just saying hello, or even catch them backstage at one of their shows. I’m thankful to have built those friendships with artists like Big Sean, Kendrick and Chuck Inglish because they’re all so genuine. People are always like “Wow! So cool you’re friends with so & so!” And while yeah, it is, at the end of the day we’re all just people, some may be a bit more popular then the rest of us!

Are there artists out there that you would like to interview?

Kid CuDi and Nas. I’m a big fan of them both and feel they have so much to their story that I want to know. Even if I wasn’t able to interview them, I’d be content with just having a conversation.

When you look back to when you first created your website, did you think it would go this far?

I didn’t think it would go this far, but I knew I was onto something after I returned from that first trip to SXSW. I had knocked out about ten interviews, I sponsored a showcase, I was networking, it was just a great experience. I came back home feeling so inspired by the atmosphere and culture, that was when it became apparent that this was where I wanted to be. I had the potential, I just needed to make my place. As far as making my dreams a reality, I’d say I have in some way but not fully as I feel I’m still just getting started.

Is there anything new on the horizon for the Ashley Outrageous?

I’m making my move to NYC early 2014, I’m simply ready for new adventures and what the Big Apple has to offer me. You can only go to the next level if you challenge yourself so I’ve got some new ground to conquer. I also plan to start releasing more original content as that’s what really drove my passion for blogging to begin with.

One last question, why Outrageous?

Simply because my friend Omie, the one who introduced me to Blogspot said I needed a cool name for my site and ‘Outrageous’ really just fit being that if you’re around me enough, you’ll notice I get loud. Not in a negative way, just out of excitement and the things I say at times can be like, WTF? Also, my last name is Ocampo, so AO! works because it’s my real initials. ashleyoutrageous.com @aoutrageous

ITSNATE London rapper ItsNate is taking his Slocal sound global

Photo by Tom Spellman

Why ItsNate and not Nathan?

Because you have to let them know what it is and ItsNate.

You’re from London. Do you think that breaking into the rap industry from here is a handicap?

It’s a strange one because I don’t think there is a rap industry here; there’s a pop and dance industry that rappers tend to dip in and out of.

Your sound is definitely influenced by grime too. Growing up, did you ever consider recording to grime rather than hip hop?

I definitely did rhyme on grime beats before, but I feel that grime is our appropriation of hip hop. Now I just see music as music, plus I can dance on any beat.

Which British MCs inspired you growing up?

Kano, Wiley, Dizzee. In that order.

Being from Islington, there weren’t many local rappers to look up to in the scenes you were into. Which borough did you look to instead?

There was Joe Black who was one of the first to come out of Izzy, talking that pedal bike trapping ish. I looked to people like Wretch and The Movement who were from Dagenham, Tottenham, Edmonton and Bow. They were a big deal to me, tunes like ‘Hero’ were ridiculous.

Your latest release ‘So Slocal’ came in October 2013, what are the standout tracks for you?

‘Savage’ is one that rings out in clubs and has kinda got up there with ‘WSLTA’ in terms of crowd favourites. Personally I really like what I’m saying on ‘Still About’, ‘Got A Plan’, I love the beat from Klimeks and ‘Deep End’ is a real personal one. That one was like a studio soul cleanse.

You’ve released four mixtapes in a couple of years, any plans to release an EP or album?

I’ve got EP’s in the work as well, album.. thats the aim. But in this day and age, who determines what an actual album is anyway? If I sold ‘So Slocal’ on BandCamp, would that make it an album? I might release a 15 track EP, what then?

One of your mixtapes was under the alias, “Suede Jones.” Can we expect to hear more of that sound from you in future?

Yeah, thats one of the EP’s that I was talking about. That’s all getting

worked on at the moment, the Suede shall return.

What does “Slocal” mean?

Slocal. The official meaning is a constant pursuit of progress, dedication to a cause hard graft and ingenuity... basically work hard and work smart. You can also use it to say you’re about or close, like “I’m Slocal.”

Your live music night Slocal showcases the best British talent. The UK hasn’t had a proper “scene” in a minute, do you think we’re getting close to one?

For a hot minute. Hopefully, I’m using Slocal to promote what I like and what I think needs to have a bit of light shone on it. There are things in motion for sure, it’s just for people to take up proper positions and create a scene or movement for themselves or ourselves.

How do you feel about the UK’s hip hop scene now, as opposed to when you were growing up?

When I was growing up it was really fragmented, as it is now. I think everyone should just hold hands, unify and make good songs, as corny as it sounds. But all this mad division due to what type of “rap” someone makes is dead out. If it’s good, it’s good and I’ll roll with it.

You’re closely linked to Piff Gang, some people even think you’re in Piff Gang. What’s your favourite song you’ve recorded with them?

They do, but I ain’t.. I’m solo dolo. It’s probably a song called ‘Hair Straighteners’, it’s not out yet though.

You have striking visuals and your graphics are on point. Do you think today’s rapper has to be more of an all­-round rapper/graphic designer/PR/director rather than just a person that raps?

If you just rap, you either need to have the bad boy team around you that does all that other shizz for you or I think you’re going to struggle. I think these days you’ve gotta have a couple strings to your bow, do something, cook...dance...be a seamstress, whatever.

You’re modelling in this issue but are pretty reluctant to be a model. Why are you fighting it?

Some girls seem to like my face. If I end up caking off modelling so be it... it’s just not a focus of mine. I’d rather people vibe with the music, but if the shoe fits I might wear it for a bit. soundcloud.com/itsnate @whosnate

2080

Photo by Ben Niespodziany Words by Bryan Hahn

VIPER BREAKS DOWN THE CHARACTERS IN THE CHICAGO COLLECTIVE, 2080 2080 is the group you want to bring home to your parents. Not only are they talented musicians in their early twenties but they’re also genuine human beings who are giving the rap game a run for it’s money. They each have their own hopes and fears, their own perspectives on life that reflect in their music and daily battles. But when they work together as the BRKF$T CLUB under the 2080 banner, they’re only focused on “adding to perfection.”

2080 was born through a combination of Facebook messaging, a poetry slam, and trial by 16 bars. Encompassing the supergroup BRKF$T CLUB, 2080 is the larger collective formerly known as 2008ighties - they explain the relationship between the two entities the way TDE and Black Hippy is organized.

The whole camp includes Calez, Fonz-E Mak, Johnny St. Cloud, Legit, U.G., Julian Malone, Sani, DJ Oreo, Ren, and Angel.

Ren and Angel are the “funny uncle and the quiet uncle,” or the managers. Outside of the studio, Sani is that “one cousin who comes to visit once a year who always has all the new games and systems.” But on the boards he’s the “villain” mastermind who sits behind his “evil finger pyramid of contemplation.”

Calez aka Ceito aka Kid With Raps, is the thought provoking member of the bunch who has no time for fear: “Nigga I don’t fear a got’ damn thing! ...shout out my mama ‘n’em. So I fear not ‘cause I am of that of which I believe. Ya’ll don’t hear me, B!” Fonz aka #WhiteChicksLoveRappers is disappointed with society’s abuse of the word “ratchet” and wants you to listen to Sani’s Retrograde.

St. Cloud aka Trap House Johnny is on the nearly hopeless quest for a Polo Snow Beach jacket in his size and would add pre-Federline Brittany Spears to the crew if he could pick a singer.

Legit aka “Girls love Beyoncé” set his New Year’s resolution to eat healthier only to demolish a pizza a few days into 2014 and has since moved onto

the resolution of being a better husband to Beyoncé than Jay Z.

U.G. aka Mr. ‘Roll Bounce’ is currently facing his greatest fear outside of music (not pulling K.Michelle) and within music (not having enough time to do everything he wants).

Unfortunately we weren’t able to speak with the ever elusive Julian Malone who is currently working on his next project, ‘DIFFRNT’.

Their music isn’t so concerned with adding the right hi-hat to get spins in clubs or even on the radio. Instead, they want to tell honest stories about issues you probably dealt with at their age, over timeless beats that don’t fit any Chicago box you force them into.

Each member has put out at least one solo project and plans on doing the same for 2014. And with the blessings of the pantheon of Based, Sad Boy Godz, they will have a group tape to present as well. A lot of fans of hip hop will be holding crews to the golden number of six releases, as TDE already promised that many projects this year. 2080 first jokily suggesting kidnapping Ab-Soul to gather information to blackmail Kendrick and prevent at least two projects from coming out. But they straightened up and admitted it’s going to be a good year for hip hop in 2014.

Legit put it best: “I think we all agree when I say we don’t try to show any crew up. We’re inspired by their success maybe, but at the end of the day our plan is to do us to the best of our ability, which we know is better than anyone if we’re running on all cylinders.”

Before we closed out, I asked how they saw themselves as hip hop hippies. Calez sonned me with, “‘The Fellowship’ video should answer that question, Bryan.”

2008ighties.tumblr.com @2008ighties

UK PRODUCERS

Budgie

As a founder of legendary hip hop nights Livin’ Proof, Budgie is a fixture on the London party scene as well as an accomplished DJ and producer.

2014 looks set to be the year he moves from local to global, with his upcoming gospel collaboration with world-famous producer, Alchemist, as well as releases on Theo Parish’s Wildflower.

Tell us about your talk box? Which other producers have used one?

Talk box is my instrument of choice. It’s a device that blends any keyboard or guitar sound with your voice. Its most popular use in hip hop is the hook on ‘California Love’ but it’s on a bunch of songs. It sounds like a novelty but it’s hard to master and if your technique is wack, people will see through it. Roger Troutman definitely elevated the levels of talk boxing in the eighties by taking what Stevie Wonder and Peter Frampton started in the seventies and really perfecting the craft.

How did you get into gospel? Where did you get the idea to do a gospel series?

I got into gospel after hearing the intro to Snoop’s ‘R&G: Rhythm & Gangsta’ album in 2004, which samples a famous gospel artist called Andre Crouch. After that I was on the hunt for any Andre Crouch record

Photos by Ed Dabney, Fred Yardley, Medhi Lacoste and Kirsten Kerr Words by Nick Bam

I could find, I didn’t find many and didn’t start properly digging gospel again until I was in Detroit and Chicago in 2010. I got 30 incredible gospel records on that trip and they ended up becoming ‘The Gospel According To Budgie’.

Did Kanye jack your sample?

Well, I did another record buying trip in summer 2012, ended up putting out my second gospel mix at the end of the year and by January 2013, unbeknownst to me, one of the songs on my mix was presented to Kanye West as a possible sample to use on ‘Yeezus’. Fast forward to May 2013 and I receive a cryptic message from someone in Kanye’s camp asking for info on the gospel record. Naturally I asked why they needed the information and the response was equally as cryptic, I figured I don’t actually own the copyrights for these records, I may as well share the information.

A few weeks later I started getting calls and tweets congratulating me on the sample I discovered being on the opening track from ‘Yeezus’!

Ironically I found the record, The Holy Name of Mary Choral Family ‘He’ll Give Us What We Really Need’, on the South Side of Chicago! soundcloud.com/budgiefirebeats @budgiefirebeats

Viper takes a look at the best UK producers you’ve pOTENTIALLY never heard of. From THE young bucks putting out their first EPs, to seasoned vets, we take a dig in the crate of the creme de la creme of Britain’s beat making scene.

Sumgii A veteran of the UK scene, Sumgii is as well known for his dupstep beats as his hip hop production. He’s worked with Foreign Beggars and his groups Problemchild and LDN Zoo, not to mention being an honorary member of London rap group, Piff Gang.

You dabble in many genres, how would you describe your sound?

I would say I make a lot more 140-160 bpm stuff these days, like trappy hip hop but I do make 86bpm hip hop beats too.

My style doesn’t really have a genre at the moment, it’s a hybrid of everything in my opinion.

What are you working on at the moment?

I have a group called Problemchild with Dabbla, Illaman and Dubbledge, we’re in the middle of finishing our debut album.

I also produce for my other group, LDN Zoo, we’re planning an album for next year. I have involvement in all things Piff Gang and we have plenty of amazing tracks finished and in the works. Currently I’m also working on beats for Tempa T, Dream Mclean, Anne Marie Lataille, Jman and plenty more.

I’m busy!!!

You’re influenced by UK garage and drum & bass, which artists influenced you?

I’d say my biggest influence is probably Groove Chronicles because they knew how to mix that jazz, smoking vibe with serious sub-bass energy, that’s how I like my music to be. I’d also say Roni Size because of the same reasons. soundcloud.com/sumgii @sumgii

JD. Reid The name JD. Reid won’t be unknown for long - this young producer is about to set the UK scene alight. Currently engineering at Rinse FM alongside providing beats for Piff Gang and Denzel Himself, this North London star will be releasing his second EP this year on TerraRhythm.

How did you get into production?

My mum worked at record labels and my dad played percussion so music has always been a big focus growing up. My cousin taught me how to DJ and then showed me that he’d started making beats on Cubase. I got a copy from him and started trying to find my way around it. I started taking music technology lessons at school and once I got hold of Logic really started getting in to it properly.

Which US artists do you want to work with?

There are a lot of them but right now Dom Kennedy, Da$h, Earl Sweatshirt, Kelela and Yung Simmie.

Do you think where you grow up influences your sound?

Growing up in London has definitely been a big influence on my sound. I grew up with grime and a lot of UK music.

I make hip hop beats but I still want them to feel and sound like they’re from London. The music in London keeps getting better and the artists and producers are working hard to push the sound. More people are paying attention to it - inside and outside of the UK. I think 2014 is already looking like it’s gonna be a good year for the London scene.

soundcloud.com/jdreidmusic @JDReidMusic

JON PHONICS He entered the industry crafting beats for UK MCs but his most recent release saw him collaborate with a singer. Jon Phonics is also responsible for his own label and club night, called Astral Black.

How did you begin your career in production?

My first production credit was in 2008 for Doc Brown, when he was still rapping, and a guy called Mr Drastick.

From there I started working with rappers such as TB, Verb T and Fliptrix who’ve since gone on to do big things with their High Focus movement which I’m really proud of. Off the strength of my first mixtape, ‘Half Past Calm’, I signed to do an album with YNR, which resulted in me working with Kashmere, Jehst and more. I’ve also produced tracks for Foreign Beggars and P Money. For a while I was focusing on instrumental stuff but I’m back working with some rappers like Baxter, ItsNate and Piff Gang. In January I released my latest EP ‘Domino Effect’ with a vocalist named Tabanca.

How has living in London influenced your music?

I guess living in London I’ve been kind of spoilt without realising it. Growing up I got to see a lot of classic Boy Better Know and Pay As You Go sets and probably take that for granted. What I’ve grown up hearing in clubs has certainly had an effect on me, I’d go to Plastic People and hear Theo Parrish playing Wu-Tang into Evelyn King into Larry Heard or early Deviation nights where it was a similar vibe. I guess on a subconscious level that taught me not to limit myself to one style.

MIZZ BEATS

The production scene in general is undeniably male dominated, but Mizz Beats has been making a name for herself since 2004, when she made beats for grime legend D Double E. Songs with UK OG’s Dizzee Rascal and Roots Manuva have followed. This year sees her break away from the grime scene, working with soul artists and on her EP with Eglo.

When did you make your first beat?

I made my first beat when I was 12, on a system running Windows 98, I think it was pretty new at the time. I had a Roland midi keyboard and these creative speakers. I think I have the beat somewhere.

You recently put out a project with Eglo, how did that come about?

I had played Alex (Nut) a whole bunch of beats I had in my library at the time and he was like, “I want to put this out,” so we went ahead and did it.

What do you make beats on?

I use Ableton, plus a lot of Native Instruments stuff like Maschine and Reaktor. I’m really into sound manipulation so I collect outboard effects & synthesisers; anything I can get my hands on.

Do you think where you’re from influences your sound?

Once upon a time that was the case, but now as long as you have access to the Internet, it’s pretty easy to discover new sounds from all over the globe. soundcloud.com/mizzbeats @iammizzbeats

You’ve got a label and a night called Astral Black, tell us about that?

After I self-released the ‘Rugers’ tape in early 2013, I figured I could probably do the same for some other people that I believe make great music. I don’t want it to be a thing like ‘Hey, I’m Jon Phonics and this is my label!’ but an organic thing that provides a platform for music I want people to hear. We’ve got a bi-monthly residency at The Alibi in London and have done a few shows in Glasgow. I’m working on some parties in other cities around the UK. Our next release is Inkke’s ‘Faded With Da Kittens’ beat tape plus EPs on the way from Budgie, Jaisu and DJ Milktray. soundcloud.com/jonphonics @jonphonics

MK Not to be confused with Kiss FM’s DJ MK, this North London producer is bringing soul back to the British scene. Taking some inspiration from the glory days of UK garage, in 2014 his beats can be found on releases from Piff Gang, ItsNate, Benny Banks and Eliza Rose.

What does UK garage mean to you?

Everything. I grew up raving in Bigga Fish and Bagleys, listening to Deja [Vu FM] buying EZ compilations, so theres a real feeling of nostalgia towards UKG for me.

Who are your favourite grime MCs? Wiley, Ghetts and Kano. I used to like Earz, what happened to him?

What do you think of the current UK hip hop scene?

I think it’s in a good place and will continue to get stronger with time. We’ve got the grime stuff and the harder road rap which I love, but we’ve also seen a more conscious wave emerge as well, which is good.

What are you working on at the moment?

I’m working on some Piff Gang solo projects from Milkavelli/Don Silk, Phaze and Nick Bam. I’m also working with Benny Banks, Caan and a very sick singer called Sophie Faith. soundcloud.com/mkululee @wheresMK

DJ INSITE Glastonbury-born dj INSITE first made a name for himself working with homegrown talents like Klashnekoff and Ramson Badbonez. He’s continuing the 2014 UK takeover by working on new releases with The Game and Raven Sorvino.

When did you make your first beat?

Years ago I was driving with my dad, who’s also a producer/ musician. He put this Spanish guitar CD on and one moment in it caught my ear. I memorised the track number and second count. As soon as I got home, I took it in and chopped it up for a first beat.

What are you working on at the moment?

I did a new track with The Kid Daytona & Peter Leo called ‘Indiana Jones’ which is looking at a February video release.

The Raven Sorvino ‘QOH Supreme LP’ is out in March, then shortly after my album, ‘Stepping Out’. I haven’t put any solo projects yet, so this will be the first in a trilogy.

You’ll hear the likes of The Game, Jay Electronica and more on there.

How do you feel about the music scene in London?

There’s a good party scene with Livin’ Proof putting on nice jams and Spin Doctor bringing in good shows. There are a few people getting signed and different styles growing but I’d like to see more of a hub forming. soundcloud.com/djinsite @djINSITE

The Purist Not many UK artists manage the successful transition to the US scene, but The Purist is currently flying the flag for London on the other side of the pond, making hits with Roc Marciano, Danny Brown and Action Bronson.

What’s your most prized possession vinyl wise?

I’m a big fan of DJ Shadow, I own some of the more obscure stuff that he sampled on ‘Entroducing’ and ‘The Private Press’ like ‘The Chaffey College Jazz Ensemble LP’ or Marc-Z’s ‘Szo-o’. I had both of those before it was common knowledge that he had sampled them, before there were websites dedicated to snitching on samples.

You’ve worked with a lot of US rappers, how did that come about?

I always though American rappers sounded better on records than their English counterparts, so I would take trips to New York to network and build relationships with rappers and producers. That helped a lot, people are much more likely to deal with someone they’ve met face to face.

Have you had any sample clearance issues?

I’ve worked on a couple of commercial house records in the past that labels signed, paying big advances, convinced they were Top 10 records, only to be ruined because of sample clearance issues. soundcloud.com/thepurist @thepurist

MEET THE PRODUCERS:

BK BEATS

Photo by Hayley Rheagan Trone

Having carved songs with Deniro Farrar, the New Mexico producer is experimenting with collaborative production Firstly, briefly introduce yourself. What’s your name? Where are you from? How would you describe your style of production?

I’m BK Beats, 22 year old producer and DJ from Albuquerque, New Mexico. My style of music tends to be on the dreamier and more emotional side of rap beats, with a lot of emphasis on melody and hard drums. Though I’ve been experimenting a lot lately with darker RnB sounds and more eclectic stuff.

What would you say are the most popular beats you’ve created?

Lately it’s been my more experimental tracks or when I try new things, which I’m really thankful for. But folks have also shown a lot of love to tracks I produced for Main Attrakionz, Deniro Farrar and Metro Zu. Deniro’s ‘Cant Get Sleep’ is a really fun one to play live, usually gets people moving.

What is your favourite song you’ve worked on and why?

All of the songs on ‘Nonbelievers’, my new project with Black Noi$e, really. We spent a lot of time sending beats back and forth to get them perfect. Plus we were able to pick and choose a bit as far as who we wanted vocals from, so I think that made for some really good collabs.

Do you think that production software becoming more accessible to just anyone is a good or bad thing for music?

I think it’s great. I know I wouldn’t be making music right now if software had been less accessible for me coming up. I feel like ultimately, it furthers music and production so much more than it does damage. With the Internet, “bedroom producers” with basic or even stolen software are able to change the scope of music completely so I love it.

What influences you as a producer?

It really depends, could just be how I feel that day or emotions I’m trying to get across. Girls are a big one too, haha. But my friends and peers in music inspire me on the daily, as does support from fans. People who really love and care about music keep me trying to improve what I make.

How did you begin making music? Was it a particular influence or circumstance?

Bootleg software! I got my hands on a copy of Fruity Loops in high school and just started putting all of my free time into learning it inside out. I was really inspired by folks like Dilla, Heatmakerz and Kanye when I was growing up. The way they were using samples blew my mind.

What draws you to creating instrumentals?

It’s really all that I’ve ever been decent at to be honest. I’m a quiet person and really bad with words so music lets me communicate in other ways. It’s a really therapeutic process for me, I could be having the worst day but make something I’m really proud of and turn it around completely. And vice versa, if I don’t work I won’t be a very happy guy.

Can you tell us about any projects coming in 2014?

Hoping to start work on a sequel to ‘Nonbelievers’ with Black Noi$e soon. I’ll be continuing to do monthly mixes, producing for some new names and a lot of the folks I’ve been working with. I want to release more instrumental music this year and I’ve also started working with more diverse vocalists and songwriters so expect a few pretty things. soundcloud.com/bkbeats @bkbeats

MEET THE PRODUCERS:

THELONIOUS MARTIN Photo by Matt Stith

Having produced for everyone from Currensy I to Domo Genesis to SAVE MONEY, Thelonious Martin’s production credits are well above average

Firstly, briefly introduce yourself and your style of production.

I am Thelonious Martin, born in Chicago, raised in Montclair, New Jersey.

I’m a music producer, 21 years old. My production style is influenced by the likes of J Dilla, Alchemist, MF DOOM and others but I really came into my own with a futuristic boom-bap/soulful twist. It’s weird, I hate describing my style because it changes so often.

What would you say are the most popular beats you’ve created?

Probably the entire 3 Piece Set EP I did for Curren$y, people still bug out about those.

What is your favourite song you’ve worked on and why?

On the recent project with Retch, ‘Polo Sporting Goods’, I’d have to say ‘Marmalade Sky’, it’s so visual, and has ridiculous replay value.

Do you think that production software becoming more accessible to just anyone is a good or bad thing for music?

It’s good because everyone can make music and bad because everyone can make music. But shit sinks and awesome stuff rises, can’t be mad at everyone trying their hand in production, or music for that matter.

What influences you as a producer?

Dilla, Alchemist, Fly-Lo, MF DOOM, 9th Wonder, DJ Premier, Large Pro, Just Blaze, Hi-Tek, !llmind…

How did you begin making music? Was it a particular influence or circumstance?

I definitely became inspired after hearing J Dilla on Adult Swim. I started making music seriously like my freshmen year of high school, I was about 14 or 15.

What draws you to creating instrumentals?

I like being able to create something to zone out to without any words needed, just music that can be the soundtrack, whatever moment it is.

For you, what makes the perfect beat?

Amazing chops, crisp drums, instrumentation throughout and chunky bass. It has to be clever too.

Are you involved in any other musical projects right now?

I’ve got my hands in several things, some I can’t speak on. I definitely have my hands on Curren$y’s upcoming project ‘The Drive In Theatre’. Be on the look out for Topaz Jones’s album, ‘The Honey Moon Suite’ as well. Also look out for a Chicago artist Lungz and my brother $aint Ros$ and I are always cooking up.

Can you tell us about any personal projects coming in 2014?

I’ll be doing another instrumental project this year, some work with $aint Ros$, more work with Retch, some major placements hopefully. This year should be interesting. theloniousmartin.com @kingthelonious

Photo by Jessica Lehrman

MEET THE PRODUCERS:

BLACK NOISEI

HE’S WORKED WITH BRUISER BRIGADE AND IS A MEMBER OF WORLD’S FAIR, BUT BLACK NOISEI ISN’T YOUR AVERAGE RAP PRODUCER Firstly, briefly introduce yourself. What’s your name? Where are you from? How would you describe your style of production?

My name’s Rob Mansel aka Black Noi$e. I was born in Nova Scotia, Canada, now residing in Metro Detroit. My style of production would be a blend of rap, RnB, house, techno and grime... just urban music really.

What is your favourite song you’ve worked on and why?

That’s a hard question because there have been tracks that I’ve had the most fun in my life creating and then it sounds like trash the next day.

But ‘Blacklisted’ started out as a loop that I made in New York with World’s Fair. I didn’t think they were going to use it, but one day they sent over the vocal tracks and we turned it into a song. It’s definitely one of my favourites because it’s a deeper cut. On some emo shit, but on some “we gon make it” type emo shit.

Do you think that production software becoming more accessible to just anyone is a good or bad thing for music? Why is that?

I think that the accessibility of music software is a great thing for creativity.

I feel that there are people really pushing these programs to their limits and that is a great thing. Some of the production coming out of Chicago at the moment is mind blowing, from juke to rap. People are pushing these programs and creating new sounds and rhythms off cracked versions of Fruity Loops, Reason, whatever... You can buy all the synths, hardware or programs in the world, but it’s all about the feeling you get from the music at the end of the day. To me that’s the end goal. So I don’t look at the accessibility of these programs as a bad thing. If I can feel something, the job has been done.

What influences you as a producer?

I’m influenced by Detroit, travelling around, new ideas, new sounds, record digging, tape hiss, vinyl crackling, the Internet, bootleg movies, raves, goth girls on tumblr, Denzel Washington, when the sound system at a rave is on point but still in a dirty room, pictures of islands and stuff.

Normal, inspirational stuff.

How did you begin making music? Was it a particular influence or circumstance?

I began making music when my cousin brought over a program called Hip Hop Ejay in the early 2000s. It was packed with loops and sounds that you could stack on top of each other. I messed with that for a while, but didn’t seriously start trying to make tracks until I was around 18. But I was always intrigued by music. Even when I was a kid I would always have a walkman with me, or sit by the radio just to hear what was going on. I remember hearing Young Bleed, ‘How You Do Dat’, and then changing the station and hearing ‘1979’ by The Smashing Pumpkins. The radio stations in Detroit were always playing Ghettotech mixes on this radio station 97.9 and 105.9 which introduced me to techno and house and I would always try and record them on my cassette player. But back then I wasn’t thinking about genres or what they mean, I just knew that the music made me feel good.

Were you ever involved in any other musical projects besides what you are doing right now?

I was playing guitar in a band called Face Reality that has released a few 7”s through Youngblood records and Back 2 Back records. And recently been holding down guitar duty on tour with Build & Destroy. Being involved in punk and hardcore for almost half of my life has really been a big part of molding how I look at music.

What, for you, is the perfect beat?

Freeway - ‘What We Do’ (Just Blaze) Underground Resistance - ‘Timeline’ Andres - ‘El Ritmo De Mi Gente’ Mark Morrison - ‘Return of the Mack’ Can you tell us about any projects coming in 2014?

Right now I’m working on a solo album which should probably find a release, late in the year. Working on new World’s Fair material. Working with the Bruiser Brigade. Have a project with BK Beats called ‘Nonbelievers’ which is getting a cassette release in February. And working with my boy H-Dolo on a album where I’m holding down all the production. It should have some pretty heavy features on there as well. soundcloud.com/blackxnoise @blackxnoise

MIKE SCHRIEBER

F

PHOTOGRAPHER MIKE SCHRIEBER SHARES THE STORIES BEHIND ICONIC PHOTOS OF HIP HOP LEGENDS

or a decade and a half, Mike Schrieber has documented the greatest era

Featured in magazines like Rolling Stone, Esquire, New York Magazine,

in rap music. His oeuvre boasts some of the most iconic shots of Mos Def and

Vibe, XXL, Slam, Trace and Spin, the self-taught photographer has also shot

Nas, plus photos that make you say “Huh?!” - like the scenes of Flavor Flav and

campaigns for Mountain Dew and AND-1. But with a degree in anthropology,

A Bathing Ape’s Nigo beside a spray-painted shutter. He manages to display a

his interests outside of music have seen him capture scenes of prisoners in

completely honest, but rarely seen side of his subjects, especially in the case

Angola and street children in Jamaica. Though his work spans cultures and

of Pimp C. captured alongside his father. Similarly, he shows Styles P in the

continents, Schrieber has become admired for his hip hop photography and

supermarket, suggesting that his subjects are entirely at ease under his lens.

the way he captures artists in such a human way. Towards the end of Russell

Mostly shot with his first camera; a Pentax K1000 full of black and white film,

Jones’ life he took some of the most candid portraits of the rapper laughing

Schrieber’s photos are striking and thought-provoking, unlike the brashness of

and smiling; a far cry from the often-exaggerated, wild-eyed shots of Ol’ Dirty

much of today’s rap imagery.

Bastard.

The following images and stories are taken from Mike Schrieber’s book, True Hip Hop. You can get signed copies from his website, www.mikeschreiber.com.

NIGO WAS A DJ AND I THINK FLAV WAS ON A CD THAT HE REMIXED, I HAVE THE CD SOMEWHERE. I THINK IT WAS FOR A JAPANESE MAGAZINE, NOT ENTIRELY SURE. THE WHOLE THING WAS BIZARRE. FLAV’S HAT ? IT WAS A STRANGE DAY.

FLAVOR FLAV & NIGO

METHOD MAN

BOBBITO

I was in Harlem, shooting Method Man and Bobbito for VIBE. When Meth

The crackhead ended up working “security,” maintaining a tight perimeter

arrived he looked around at all of the new buildings and their occupants and

around us throughout the shoot so nobody bothered Meth or interfered

shouted: “This ain’t Harlem! This ain’t Harlem!” Like in a movie, a random

with any of the shots. When I was done shooting for the magazine I told the

crackhead rolled up and, even more loudly than Meth, declared: “YOOOOOO…

crackheads that it was cool to let the people mingle freely. Meth signed these

METHOD MAN!!! I used to smoke with you in Staten Island in ’93!” Meth

kids’ hands, which made for a dope shot. As we were wrapping up the crackhead

gave him a pound and turned to everyone and said, “This is Harlem… this still

offered to walk Meth across the street to his car, and I overheard him asking for

Harlem.”

some money. Dude told him he was collecting for his church.

PIMP C. While shooting Pimp C. in front of his home in Port Arthur, Texas, his dad came home from work, wearing jeans and a baseball cap. When we asked him if he wanted to be in the magazine, he went into the house and came out with his cowboy hat. I like this picture because even with the obvious generational gap in the way they dress and carry themselves, there’s clearly love between them.

When I found out Pimp C. had died, the first thing I thought of was his dad and how sad he must have been.

JUELZ SANTANA

STYLES P

I shot Juelz in front of Keith Haring’s Crack Is Wack mural on 128th Street.

I was shooting Styles P for Vibe. We were at his house in Westchester. I wanted

Juelz asked me to shoot it so that the

the shoot to be more personal. I wanted to show him as he was, which was a nor-

words “crack is wack” wouldn’t be seen.

mal guy with a family instead of doing the typical rapper photos.

I photographed him making a tuna fish sandwich and cleaning leaves out of the pool, and then he and his wife were going grocery shopping, so I went with them.

Everything was totally normal and kinda run of the mill until it was time to pay

www.mikeschrieber.com @mikeschrieber

and instead of taking out a credit card like most people I know, he reached into his pocket for a giant wad of bills and peeled of a few hundred dollar bills to pay for the food. This is one of my favorite shoots.

DMX The DMX shoot was one of my first “official” photo shoots. He had just blown up with “Where My Dogs At?” and Rap Pages asked me to shoot him.

We had a love of dogs in common, so we got along real well. I ended up spending hours with him both at Def Jam and later at the recording studio with him.

He was great. I’d love to see him make a comeback.

Kilo Kish RAP’S SWEETHEART AT HOME IN LA

Photos by Christian San Jose Styling by Emma Spencer Hair + Make Up by Kristina Lopez Words by Laura Arowolo

I

f you spent months religiously coating your vocal

‘K+’ as well as stand out collaborations with Flatbush

chords with milk and honey, you still wouldn’t sound

ZOMBiES, SBTRKT, Childish Gambino, Cronos and more.

as sweet as Kilo Kish. Her sing-song

rap vocals first

Her fans span the globe, with Mos Def, Theophilus London

appeared on the The Internet’s ‘Navy’ back in 2012. Fast

and Lena Dunham among them.

forward two years and two projects later, Lakisha Robinson

has released both her debut ‘Homeschool’, her sophomore

I don’t think I’ll ever be able to be summed up in one song. I hope that’s never the case”

There’s a blithe quality to Kish. Some describe

it helps to really hear yourself. I give myself a lot of

her as a “valley-girl-voiced lyricist” despite her

free time.”

Floridian roots, yet it’s immediately apparent there

are yet more facets to the dry-humoured Fine Arts

Hollywood, she’s currently working on her follow up

graduate/model/recording artist. She’s an inventive

project, ‘Across’. Kish explains the title of her next

incarnation of independent neo-soul with indie

EP, which is “about moving forward and some of

undertones.

those feelings of being stuck in a world that turns

Fascinated by pattern & repetition,

around you while you feel very still. It’s about self

there’s something quaint about Kish’s approach.

and exploration, being in your twenties and deciding

Fully adept in the do-it-yourself spirit, Kish’s

what moves to make.” Having spent her formative

watercolour paintings, tour merchandise, audio-

adult years living, studying and partying in New

visual exhibitions and self-directed videos are

York, it’ll be interesting to see what influence her

testament to her refusal to be pigeonholed. She

new setting has on her music. That and anticipation

pretty much does it all, and organically so. Viewing

of how exactly she’ll present it to the world

her musical dalliances as art projects, it’s intriguing

considering the fact that her art schooling means

how despite the casual “just kidding around” attitude

she’s “always working on a bunch of other random

at the start of her career, it’s become central to the

shit.”

auspicious starlet’s creativity.

Kish recently moved to LA to focus on

summed up in one song; I hope that’s never the case.

her craft with aims of being “as creatively open as

I don’t keep a diary, I use the art and music I make

possible” in order get to the core of her identity.

as a snapshot into a specific time in my life. Not to

While painter Egon Schiele has been a longstanding

say that my songs are necessarily about me, just that

inspiration for the 23 year old, Kish always finds

all of the projects are very different. Especially the

inspiration in moments of calm: “I think my biggest

one I’m working on now. I’d say that ‘You’re Right’ is

influence is always stillness. I don’t really listen to

probably the most “real” song I’ve released in that it

music at home, I go to art openings and museums

was recorded at home, at 2 am.”

Unphased by the bright lights of

“I don’t think I’ll ever be able to be

every now and then when I do either my mind just races to the point that I don’t get anything done there’s just so many ideas and questions. I think the natural world is most freeing. I try to stay off of

kilokish.com

the phone and Internet as best I can and still have

@kilokish

some sense of placement in the world - but honestly

Rap’s Animated Icons with it’s adult and explicit content, Rap music has had a long and unlikely bond with cartoons.

I

n the nineties, RnB and rap music went sentimental. With samples from Annie appearing

in Jay Z songs and a Rugrats Movie soundtrack including Blackstreet, an unexpected crossover was taking place. Hip hop artists ran with it, including Busta Rhymes and Missy Elliot. The trend continued throughout the nineties, right up until 2012 when Kendrick Lamar released his definitive track, ‘Cartoons and Cereal’ featuring Gunplay. The song details the innocence of childhood, alongside the fear and danger of growing up in gang territory.

With several references to cartoons, it’s a song with enough nostalgia to be familiar, but so much personal identity it’s refreshing. Over mimicked gunshots, Kendrick name-checks Bugs Bunny, Scrooge McDuck, Wile E. Coyote and Dark Wing Duck.

When

discussing

rap

songs

that

reference cartoons, there’s one that stands tall among the rest. That song is Ghostface Killah’s ‘The Forest’. Produced by Alchemist, the track is a psychedelic romp through the history of American cartoons, referencing old and new. Ghost’s no stranger to ‘toons, rapping over an MF DOOM beat on ‘Underwater’, he casually throws in a reference to the world’s favourite sponge: “She quoted I took notice, SpongeBob in the Bentley Coupe.” On ‘Outta Town Shit’ , he again referenced him saying someone had a “Face like SpongeBob.” Lil B paid homage as well, on ‘Breathe Slow’ when he said: “I’m SpongeBob SquarePants, I’m strapped with the heater.” The Based God continued the Nickelodeon theme with a freestyle entitled, ‘Swag Like Dora’, showing references spread deep into the world of animation.

It seems SpongeBob is one of the most

mentioned cartoons in rap culture, having been name checked by everyone from Meek Mill to Childish Gambino. Even the UK’s Grime scene has taken note of life as SpongeBob SquarePants with C4’s insightful insult, “You man are drier than SpongeBob when he’s at Sandy’s house” on Lay-Z’s ‘Pride’, produced by Preditah. Prince Paul went a step further and contributed a song for the film’s soundtrack, ‘Prince Paul’s Bubble Party’, a pop track detailing Patrick the Starfish learning to blow bubbles. Unfortunately his mellow mix of the SpongeBob SquarePants theme song didn’t make the cut.

Words by Lily Mercer Photo by Eddy Leonardo

has stayed in other people’s mouths. Pause. Paul

A recent collaboration with Ice Cream brought Bob

Wall has one of the most memorable references:

back into the spotlight, as his wide eyes and square

“Say “cheese” and show my fronts, it’s more karats

pants appear on a line of T-shirts, hoodies and

than Bugs Bunny’s lunch.”

more. The collaboration comes as no surprise, since

Pharrell’s been rocking a SpongeBob chain for a few

Tunes references in rap came from Wu-Tang Clan’s

years now. The super rare lego Bwoywonder piece

Method Man on his self-titled anthem: “Hold up,

is rarely seen but is bigger than his head. Just as

I tawt I taw I putty cat / Over there, but I think

rare, his friend Nigo is known to have a SpongeBob

he best to beware.” Meth began his references to

chain with a moving arm. Their mutual love for the

animation on ‘36 Chambers’ with: “We form like

yellow superstar has led to a number of streetwear

Voltron, and GZA happen to be the head.” A slightly

collaborations for the cartoon character.

more grown-up reference out of the Wu-Tang camp,

Prior to Ice Cream’s recent capsule

Raekwon also stated on the track ‘Shame on a

collection, A Bathing Ape released the patent

Nigga’, “So, when you see me on the real, forming

yellow Bapesta in 2007 and Pharrell was later seen

like Voltron.”

in a custom-made crocodile pair. In 2008, Bape

expanded the collection to include a range of tees

about beat-riding and flow from Bugs grew up

with SpongeBob and his starfish homie, Patrick.

to appreciate more adult themes with Beavis and

SpongeBob has infiltrated many avenues outside of

Butthead, a cartoon adult enough to be liberally

children’s TV, including art and fashion. Artist Mike

enjoyed by fans familiar with Parental Advisory

Frederiqo’s collection of tees depicts a range of

stickers on their purchases. One of the coolest

cultural icons in sponge version, including Pharrell

rappers of the era, Big L had no shame when it came

who appears wearing a NERD belt and hugging

to referencing the animated stoners: “Ask Beavis, I

the SpongeBob toe socks he’s expressed love for in

get nothing Butthead.”

several interviews.

When considering the history of cartoon

of animated rap references, there’s no avoiding

characters in streetwear, it’s important to pay

MF DOOM. With more superhero references than

homage to Iceberg History who defined an era of

Marvel back issues, DOOM has established his

fashion with their cartoon emblazoned clothing.

territory. His friendship with Ghostface, a.k.a. Tony

Iceberg’s designer, Jean-Charles de Castelbajac,

Starks, led to an inundation of rap-animation puns.

is a master of animated design, having featured

When discussing DOOM, it’s hard to think of a

timeless cartoon characters like Sylvester the Cat

song that doesn’t feature a reference to a legendary

and Popeye. With cartoon characters emblazoned

comic book hero. Though it’s possible to write a

across Iceberg’s T-shirts and denim, the clothes

dissertation on super hero references in rap, this

were adopted by rappers like Jay Z and Pimp C. The

brief essay seeks to simply explore the cartoon side

machismo nature of rap music makes it an unlikely

of animation.

backdrop for animated characters but the nineties

Likewise, Pokémon and Dragon Ball Z are

saw the two interact in a way we’d never seen before.

equally popular in hip hop, both Robb Bank$ and

The innocence of children’s entertainment, and the

Danny Brown’s lyrics are littered with references to

blatant aggression of rap music are beautifully

the cult anime series’. Brown’s lyric on ‘Shooting

oxymoronic.

Moves’ is a great example as he compares his weed

For many people in their twenties,

to Goku, rapping: “Smoking on some Goku, buds

Space Jam was the definitive film for merging rap

like Dragon Balls.” More recent addition, Adventure

and cartoon icons. The soundtrack, featuring

Time, deserves a special shout out for infiltrating

Busta Rhymes, LL Cool J and B-Real, was the first

rap culture in record time. As Tyler, the Creator

exposure to the genre for many kids at the time.

said, “We can begin the pretend game. I wanna be

Bugs Bunny even spits a verse - a full on collision

Finn from Adventure Time.” Don’t we all Tyler, don’t

between the two worlds. The verse is credited

we all.

Another of the most memorable Looney

The same generation that learned

When stepping into the more adult side

to Shawn Carter a.k.a. Jay Z. Boasting lines like “Who says the bunny can’t rhyme, you’re buggin’/ If Bugs don’t make you hop, you’re buggin’” and “I’m a bunny, right? All we do is hip-hop.” he raps mildly off beat to an eerie, mock-rap instrumental.

Mike Frederiqo’s Pharrell tee is available at www.

Following on from his solo rap record, Bugs Bunny

mikefrederiqo.com

: :

LUCKI ECKSI ANYONE WITH AN INTERNET CONNECTION AND A VOICE CAN RELEASE A SONG, BUT THIS CHICAGO TEENAGER STANDS OUT AMIDST THE COMPETITION

L

ucki Eck$ prepares a blunt inside a

opening track ‘Count on Me II’ when Lucki

tiny room at Chicago’s Rosemoor

raps: “I keep ‘em hooked and hungover, I’m

the first single for ‘Eck$ism’, ‘Want More’.

In October, the teenager dropped

Hotel. A manager sitting behind bulletproof

the drug dealing closet.”

After only a week, the track had reached

glass buzzed me into the hotel, the home

‘Alternative Trap’ combines the

10,000 plays on SoundCloud. At that point,

of Hippie Dream, an in-house producer for

strong personality of Lucki with the abstract

music videos ‘Love It’ and ‘Everything

the rising rapper. The third floor hallway,

styles of Chance the Rapper and the Chicago

Out$ide’ had generated over 50,000 views.

forever reeking of old cigarette smoke,

street struggles of Chief Keef, creating a sub-

Despite his half-asleep, monotonous flow

contains the front door of the apartment.

genre of hypnotic, meditative rap that begs

patterns, Lucki speaks quickly. If you don’t

In Hippie’s room are two desks: one covered

for more listens. The new sound was born

listen closely, if your mind is somewhere

in blunt roaches, the other with a laptop

in the mind of a kid sitting in high school

else, you’ll miss what he’s saying. On top

hooked to a flat screen television. With

taking his English homework assignments

of the speed, his slang, also apparent in

the beat-making program Fruity Loops on

seriously, while envisioning dreams of a rap

his songs, is hard for outsiders to pick up.

both screens, Hippie and Lucki are hard at

takeover like the ones he had heard about

For example, after removing a joint that

work on a new instrumental for the latter’s

throughout his city. Rappers like Fredo

was in the microwave for twelve seconds,

upcoming album, ‘Eck$ism’.

Santana, Rockie Fresh and King Louie.

he explains to me, “If you fufu a blunt, it’s

Creating a reworking of Juvenile’s

But Lucki doesn’t want to sound like other

gonna make it pearl.”

2004 classic ‘Slow Motion for Me’, Hippie

rappers. He knew that even before he began,

has turned the track’s smooth guitar into

a rare feat for such a young artist.

stays restless. His huge, child-like eyes

a slow-motion groove, transforming the

Producer Plu2o Nash tells me

move just as quickly as his words. He’s a

requested sample into a hazy, opium high.

he started sending beats over to Lucki back

monstrous melting pot of influential hip

Hippie Dream’s production is known for its

in the fall of 2012. “He wasn’t comfortable

hop, a teenager draped in tie-dyed hoodies

mellow tempo, a style that complements

[rapping over] the trap beats. He was

and camouflage. The rainbow and floral

the rapper’s flow. After all, it was Lucki who

really trying to start a sound no one heard

patterns represent the psychedelic waves

requested the sample.

before.” Having produced three tracks on

sprouting throughout rap: a direct result

Since dropping his first project,

‘Alternative Trap’, Plu2o is assisting even

of artists like Clams Casino, A$AP Rocky

‘Alternative Trap’, back in July, Lucki’s buzz

more with ‘Eck$ism’. He says that ‘Interest’;

and Flatbush ZOMBiES turning today’s

has been spreading like a new street drug.

a minimal beat that sounds like a sewer

rap shows into blunted acid parties. The

The project is not just another project by a

chase in slow motion, was the first track

camo represents the militant mindset

Chicago teenager (Eck$ only recently turned

that Lucki approved of. When asked his

of the (aspiring) gangbangers, dealers,

seventeen), but a new branch growing on

thoughts on ‘Alternative Trap’ being not just

trappers, plus the lives of handguns and

the hip hop tree. With beautiful melodies

a mixtape but a new genre, Lucki says, “You

probation officers demanding drug tests.

and original rhythms as the backdrop for

just feel what’s you and what’s not you.”

Like most kids his age in Chicago’s public

Like his speech, Lucki’s body

quick-witted wordplay about drug-dealing,

schools, Lucki is a bridge between drill and

‘Alternative Trap’ is a blend of trap music

expressionism; he has friends that tote

and cloud rap; a product of producers who listen to both Beach House and Lil Durk. The result is a series of druggedout, sleepy mumbling verses of genius over instrumentals that sound like they came out of a Spike Jonze film. Like on the

“HE’S ONLY 17 YEARS OLD. CAN YOU IMAGINE WHAT HE’S GOING TO SOUND LIKE AT 21”

guns and he has friends with pockets full of mushrooms.

As the air dances with smoke in

the small hotel room, Hippie plays the first draft beat and Lucki instantly tells him to speed it up. “Is it finished yet?” he asks

THE LIFE OF AN OUTSIDER Words + Photos by Ben Niespodziany

“

“

If you fufu a blunt, it’s gonna make it pearl

impatiently, eyes fixed on his iPhone. “Well we ‘bout

influential Chicago rap blog, Fake Shore Drive,

had struck twice. A lot of times, great songs are a

to finish it,” he continues, even before receiving an

was one of the first to begin heavy promotion and

fluke, but this was no fluke. I reached out to him

answer from the producer, “I’m on a roll, dawg,

support for Lucki Eck$. I asked Barber to explain

and I had him come by the office the very next day.

you don’t understand!” No one disagrees. Lucki is

his draw toward Lucki. “[Lucki] sent me the song

We immediately hit it off, and the rest is history

days away from his first headlining show. They’re

‘Count on Me’ in April. I don’t know why I decided

in the making.” Since those emails were first sent,

calling it ‘Everything Alternative’, with Lucki and

to open this particular e-mail as I get so many

Lucki has experienced his first listening party, his

three of his close friends/fellow rappers opening

submissions every day, most of which are junk. I

first three music videos, his first live performance,

for him: Monster Mike, Mic Vic, and Wteve Baker.

opened it and was immediately drawn to it. I played

plus notoriety from high-circulation music sites

The group fall under the Out$iders Clique moniker;

it over and over that day, and then kept going back

like Pitchfork and Complex, who listed him as one

a group of rappers, producers, and directors, many

to it. That’s a rarity for me, since music is pretty

of “25 Rappers to Watch Out For.” Lucki was the

of whom rep’ 48th Street, South Side Chicago.

disposable nowadays.”

youngest on the list.

Maybe Lucki Eck$ didn’t expect to

Barber explains how Lucki later sent

Lucki loves the attention. He devours

receive fame this fast. Maybe he expected it all

him the Nate Fox produced ‘No Troubles’, which

the spotlight, especially when I take pictures of him

along. Regardless, all buzz begins somewhere.

features a Bob Marley sample and some of the

in the hotel’s “Pulp Fiction hallways,” as he calls

Andrew Barber, founder and editor-in-chief of

smartest bars of the year. “It was like lightning

them. An only child, Lucki rarely does features. He

doesn’t like guest verses on his tracks. If you’re on

within the rap game. According to Barber, 2014 will

along. Although only a teenager, he is an intelligent

a Lucki Eck$ track, you’re kicking it with him on

be even more intense. ‘Eck$ism’ will be dropping.

rapper who is learning every day, who is building on

a Tuesday afternoon. You’re not an e-mail address

More videos. More press. More buzz. This is simply

past accomplishments and errors. He wants people

and you’re certainly not a money offer. The only

the beginning.

to praise him on the streets and hail him as the

rapper on ‘Alternative Trap’ is Monster Mike, a

“This is only the tip of the iceberg for

next powerful voice in the overwhelming world of

close friend who was Lucki’s hype man for his first

Lucki,” Barber adds. “He’s only 17 years old. Can

Chicago rap. As he smiles and bobs his head to the

show. “Gotta stay exclusive,” Lucki mumbles.

you imagine what he’s going to sound like at 20, 21?

new instrumentals in the hotel room, Lucki Eck$

couldn’t be enjoying it more.

While ‘Alternative Trap’ contained eight

At first, I thought it was impossible that someone

producers, Hippie Dream and Plu2o Nash being the

his age could rap as well as he could and come up

only repeat producers on the project, Lucki plans

with the metaphors and similes he was creating. My

for ‘Eck$ism’ to be more about family. Hippie and

mind was blown. His future is very bright.”

Plu2o will handle the majority of the production

with “only a few others” adding their sound. The

and more attention is on its way. This is simply the

“no new friends” method has been effective,

beginning. On ‘Count on Me’ he says, “So it’s real,

making Lucki even more appealing and unique

the streets talkin’, huh?” as if he knew the future all

Lucki’s climb has barely begun. More

soundcloud.com/boob7 @LuckiECKS197

TWEETS, VINES AND STRIFE S

talking is not a new thing. Celebrities aren’t a new thing; even the much derided ‘celebrity culture’ isn’t a new thing. Back in the day, instead of people commenting on Jesus’ (not Yeezus) Instagram, they followed him around his whole life then wrote a book about him.

If that’s not the original testament to the power of celebrity culture, I don’t know what the fuck is. Even the quintessential ‘nothing’ celebrity and human blimp Katie Price wrote numerous autobiographies and she doesn’t even have opposable thumbs. It’s in our nature to idolise and to communicate, but with technology making our lives easier and more accessible; the darker side of our natural instincts now have the time and the medium to express themselves in more extreme ways.

With the permeation of social media, interaction with our modern day prophets has never been more common. The ivory towers our idols reside in have not just been breached; they’ve been breached, photographed and set up with a magical mind reading device that collects

tiny chunks of consciousness, regurgitating them to the masses via invisible laser beams in the ground.

In some respects it’s a great thing. Traditionally fans have always been kept at (a steroid-riddled bodyguard’s) arms-length, so this breakdown of the fourth wall has given a unique insight into the lives of those we admire. More often than not it reveals a more three-dimensional character than the one PR companies feed to the media. The only problem, as is usually the case with any good thing used en masse, is the fucking weirdos.

The traditional image of the celebrity stalker has become so accepted that it is beyond cliché. When we hear stories of maniacal fans routing through rubbish bins or hiding in the bushes outside a mansion we collectively shrug our shoulders as if to say, “I wish someone would want to smell my pants whilst I’m at work.” What we don’t really consider is how fucking scary that is. Before the Internet, stalking was hard. That

The inexorable rise of social media has changed the way we interact with our idols in the rap game forever, but what happens when it goes too far?

Words by Thomas Usher

shit took research, and in some cases a reasonable level of fitness. Have you ever tried climbing over a 15-foot wall just so you can ecstatically cover yourself in MC Hammer’s Nutella?

That shit is crazy, because it’s disciplined crazy. Those types of stalkers probably had a gym membership, enjoyed rock climbing and loved map reading in their spare time. When people are that dedicated you’re almost inclined to feel not just sorry for them, but also on some level want them to succeed. I’d be inclined to say, “Listen MC Hammer, crazy Vanessa only wanted to express her undying love for you via the medium of Nutella, just let her get on with it and stop being such a killjoy.”

But these days technology has made stalking too easy. Crazy Vanessa is now @CRAZYV894 and she’s given up on Hammertime. She is now following Drake, Kendrick Lamar and A$AP Rocky on every public media platform that exists. Crazy Vanessa has got lazy. She no longer needs to break into the mansion and sift through the rubbish because her idols

have already selfied from their bed, tweeted about how much Nutella they had for breakfast and updated their facebook status to a satisfied smiley face.

With the proliferation of celebrity information in social media, your typical obsessive compulsive stalker can gorge themselves on more pathetically insignificant details than ever before. They don’t even need to hide in a dark room in front of a whirring PC anymore, with smart phones they can become mobile stalking machines, capable of stalking multiple rappers and paying for their hazelnut latte at the same time.

This level of freedom in relatively anonymous communication has totally flipped the way we talk with celebrities. While before they would receive a deluge of fan mail through traditional means, now the fan mail is plastered right on screen for the whole world to see.

What was ONCe a personal monologue between an artist and their fan, has been turned into an echo-chamber of caps-lock-filled threats and premature sexual advances, all played out in front an audience of millions.

Some online stalkers can be quite sweet, in a creepy way; for example this typical fan on Drake’s twitter: @justinsdrizzys: @Drake I love you so much then: @justinsdrizzys: @Drake I love youuu

and then more desperately: @justinsdrizzys: @Drake ilysm pls (i love you so much please) All in the space of three hours, which with expert speed leads rather worryingly on to: @justinsdrizzys: @Drake YOU TWEETED THREE TIMES RECENTLY WHAT THE HELL Just quickly imagine if you were out getting coffee and someone was actually saying these things in your ear. But these are just normal fans, interacting normally. Some of them seem to have deluded themselves into believing they are actually close with the artist, for example, the author of this comment on Nas’s Instagram: gold_d_loxs: @nasnyc Hey babe, just thinking about you. Hope you’re okay. Hit me up when you get a chance. TTYL Now, that may seem a normal message. What’s wrong with saying that?

Plenty of people talk like that in relationships. But she seems to think that she’s actually in a relationship with Nasty Nas. In this person’s head, they are simply dropping a casual, loving note to their ‘babe’. On Instagram.

Because that’s how people in relationships talk. In the comments section.

Of Instagram! This is my absolute favourite stalker quote because of her nonchalant intimacy and bewildering ability to ignore her own insanity.

My mind immediately pictures the girl waiting by her phone, furiously swiping and re-swiping her phone, refreshing her Instagram account, collecting dust on her furrowed brow as she sits happily unaware and in complete denial of reality.

And all of this is before you enter the lurid world of the sexual stalker. Check out these gems on Kanye’s Twitter account: @ForJLo: @kanyewest i wanna eat your big dick And also: @ForJLo: @kanyewest fuck me so hard and call me puta And this all-cap beauty:

@illuminabi: @kanyewest FUCK ME ON THE BIKE LIKE U DID WITH KIM Wait, what? People actually aspire to the ‘Bound 2’ video? Bloody Hell.

And these were just comments on his inane tweets about his new clothing collaborations. Imagine if he actually tweeted about something remotely sexual. These fans would probably CAPS LOCK and heart emoticon until they had sexual aneurism.

All of this points to a form of communication that’s allowed people to forgo inhibitions, whilst simultaneously giving their new found recklessness a bigger platform. With more direct channels to their targets than ever before, the Internet has streamlined stalking so much that it has become completely unabashed and unapologetic.

So yes; stalking isn’t new. But with these new methods of communication it has suddenly become a lot easier to do. And as long as rappers are reaping the rewards for their increased media profile via basically free means, they will have to learn how to deal with ever more insidious levels of fan interaction.

Photos + Words by Ben Niespodziany

VERLUXE

Chicago’s Spice Girls Maybe if they were raised by Hype Williams.

Regardless, Verluxe have become the go-to visual production team for Chicago’s rap scene.

T

he music video/art collective known as Verluxe sit on the floor of their northern suburbs Chicago apartment. The pad is walking distance from Northwestern University, one of the more well-respected universities in the Midwest. Despite the prestige, the three women, Eva, Danielle and Sofia are sitting on a blanket on the floor. “Sorry,” Eva apologises, eating chips and salsa while preparing a hookah, “my roommate moved out and took most of the furniture.”

It’s a Tuesday night and it’s freezing outside. I ask how 2013 treated them and they all exhale. Danielle speaks first, “Hopefully 2014 is better.” She is certainly the most talkative of the three, but she’s happily aware of it. “A lot of work,” Eva reflects.

“And no money,” Danielle continues. “We worked so hard. We’ve never worked that hard in our lives. It was mentally satisfying.”

“You gotta grind,” Eva adds. “It’s not like it’ll fall on our laps. But it’s not really work ‘cause we super fuck with it. We will shoot from nine am to five am and love it.”

“We take dance breaks,” Sofia adds. “Like, ‘I wanna die, but let’s dance instead’.”

Verluxe are currently taking aim at the hip hop scene, hoping to leave their permanent mark on Chicago’s sprawling culture and, eventually, the world. They started the hustle back in early 2013 and have since made some of the biggest music videos to come out of Chicago. For artists like Chance The Rapper, Twista, Sir Michael Rocks, King Louie, Katie Got Bandz and, most recently, Leather Corduroys; the SaveMoney duo composed of stunning lyricists Joey Purp and Kami de Chukwu.

A few hours prior to Viper’s interview, their Leather Corduroys video for ‘Still Alive’ had dropped. While Verluxe are familiar with directing videos that have seen over a million views, they insist it’s rewarding every time a music video receives a good response. Especially when it’s with SaveMoney artists that Danielle went to high school with. “It’s interesting to see the people you grow up with take different paths. Maybe you didn’t talk much in high school, but now you’re working together. I knew where they were coming from; Similar vision, same parties. We first started with King Louie but with SaveMoney, it became organic. We admired

“This dude in a ski mask came up behind me and the camera and put a gun to my head.”

what they were doing.”

By the time we finish the interview, ‘Still Alive’ has reached over 10,000 views and been re-blogged on virtually every hip hop site on the net. And the video deserves it; a smoked-out shadowy haze of SaveMoney members puffing away and tweaking. Dally Auston can be seen in producer Peter Cottontale’s attic playing a guitar in slow motion. Dressed in a Bape hoodie, Tokyo Shawn continues to fall asleep at the wheel of a car. The video represents the colour and energy of Chicago outlets. Groups that embrace the shine, who wear feather earrings and purple shoes; Fashion is in the Windy City air.

Eva says, “I got a text from a friend who said ‘’Still Alive’ is unreal’. Always a proud moment. Like, ‘It’s out. Cool.’ It’s validation. After [Tokyo Shawn’s] ‘World Turning’ came out, Shia Lebeouf started following us on Twitter. When the videos drop is when we get some love back and when new artists hit us up.”

They talk about ‘Still Alive’ and how the first attempt at filming the video was halted after they were robbed at gunpoint. “It was about

a year ago,” Danielle says, “Definitely cold outside. We were at a friend’s place. He doesn’t live in the best area, but he has a really nice place, so we didn’t think anything of it. When we were filming the car scene, we had the garage door open, we didn’t think it would be a problem. I remember thinking, ‘You should close the door’, but I just said, ‘Fuck it’. 30 minutes later this dude in a ski mask, who had walked past us earlier, came up behind me and the camera and put a gun to my head. At first, I thought it was my friend, but when I saw everyone’s face I thought, ‘This is a serious issue right now’. All he got was empty wallets and broken iPhones, but he smashed the light bulb we needed to shoot, which was the only reason we stopped.”

The gun didn’t stop Verluxe. The difficulty of entering a competitive scene didn’t stop Verluxe. When asked what they think about the Chicago music scene, something they are very much helping to grow, they smile. “It’s on and poppin’,” Danielle says. “There’s finally a spotlight.

And the city has two different sides. When they come together, it’s great, but it’s drill and conscious. I hate describing it as conscious, but music

like SaveMoney. It’s a great opportunity for Chicago right now. Not just rappers, but producers, designers, fashion, everything. Chicago’s expected to prove itself to New York and LA. It’s very different from [them], but good different. A lot of dope people come from Chicago. Kanye, Common.”

“Oprah, what the fuck?” Eva adds.

“Obama!” Sofia shouts.

They share roles and responsibilities, “Danielle is always the director of photography,” Eva says. “We all give inputs with editing and directing.”

“The concepts are also collaborations,” Sofia adds. She is the quietest of the three, but every thing that she says is beneficial. She is the graphic designer in the group, listening to everything and taking it all in. I ask them to explain how they collaborate on concepts with their musicians, like the video for Vic Mensa’s ‘Orange Soda’. “It was very collaborative,” they state, finishing each other’s thoughts and speaking over one another like happy siblings. “We thought to ourselves, ‘What could be orange? What’s orange?’ More than anything, it was a good time.

We had people telling us that it looked like one big party and that’s what it was. We filmed us partying for like 12 hours. On set, no bad vibes. No divas. It stems from trust. Come correct.”

They tell me how they thought of the Verluxe title at the south side Chicago offices of Lawless Inc., home of Katie Got Bandz and King Louie. “King L wanted us to call it Drilluxe. ‘I’m’a make a T-shirt,’ he said.”

The trio are planning more videos with Katie Got Bandz. “She’s this badass drill girl and we work with her,” Daneille says. Katie will be on the cover of their February issue of Verluxe Mag, a monthly magazine in which all photography and journalism is their own. “There’s so much cool shit in Chicago right now. That’s why we decided to make a magazine.” They have plans to make a printed version of it as well, to sell in boutiques around Chicago that they respect and adore.

Even before interacting with them, it’s apparent Verluxe is a visually-based creation. They take pictures. They film. They watch music videos and movies when they’re not behind the cameras. When we sit on the floor of their apartment, I take out my camera to capture pictures of the hookah smoke and Eva looks at the world outside of her window and says, “Let’s turn our bodies to the city.”

The ambition is real. The art is present. The three talented creatives want to work with artists like Jean Deaux, Isaiah Rashad and “Beyonce, obviously.” They admire and respect American artist/designer/ promoter Va$htie as well as Nabil Elderkin, the director of music videos

like Kanye’s ‘Mercy’ and Frank Ocean’s ‘Pyramids’.

“I wanna work with Nicole Richie,” Sofia adds, “She’s funny as hell.” She explains their further endeavours, “People always tell us, ‘You should DJ at parties’. That’d be raw. We get it crackin’.”

“Fashion is a huge hobby,” Eva adds. “We’ve been doing promo videos for fashion websites.” On the topic of clothing and fashion, they express a desire to create a clothing line. Verluxe even want to make short films and send them to film festivals. “I should go on a dating reality show,” Sofia says. “Rock of Love was the shit. I like weird things in general.

You know the show Ja’mie: Private School Girl? She’s like me when I was twelve.” They talk about American Horror Story, laughing that Danielle isn’t against the idea of having a ghost for a boyfriend. They show me a raw Psycho-inspired short film they made in which “Verluxe” drips down the shower curtain in blood. “We’re definitely into some dark shit,” Sofia says.

It makes sense, especially after they play the music video they recently filmed in their apartment for Njomza’s ‘Ridin’ Solo’, a video involving lingerie, a stalker, a chainsaw and plenty of blood.

They talk about a slow motion boxing video for Hollywood Holt that’s yet to see the light of day. It’s a beautiful track with equally stunning visuals. Life in slow motion. The chorus wraps up Verluxe in a nutshell: “All I ever wanted to be was perfect. All I ever wanted to be was flawless.”

When asked how it is to be females holding it down in a market dominated by men? Danielle responds, “Very, very hard in the beginning.

At first it was, ‘Are you video hoes? Oh, you direct?’ A lot of people try to take advantage of the fact that we’re young, naïve, attractive women.”

“I guess it’s a shock factor, but our work speaks loudly,” Eva says.

“There’s a certain aesthetic women have that can contribute.”

“Now it’s hard for anyone to say shit,” Sofia concludes.

As we wrap up the interview, Viper asks them if they have any final words to say. “Be yourself,” Danielle says. “It’s really important to know your audience,” Eva adds. “Know how to cater to that and be yourself. Manage what people want to see and what you like.”

“Take risks,” Sofia continues. “It’ll pay off. People are surprised by us. Being consistent is great, but topping yourself is better. Also, Girl Power. ‘Cause [of the] Spice Girls. This is for London, right?”

“Yeah. We’re the Chicago Spice Girls,” Danielle finishes. “Shoutout my connect.” verluxe.com @verluxe

It’s a UK Ting Gangs: a very British Institution.

BRITAIN HAS LONG HAS A RICH HISTORY OF GANG CULTURE. VIPER EXPLORES GANG SOCIETY IN THE UK Words by Rosie Knight Photos by Eddy Leonardo

W

hen you hear the word ‘gangs’ it’s possible the first things that come to mind are Bloods and Crips, Bad Boysstyle shoot outs, sagging jeans and drive-by’s. The addictive coverage of American youth culture has permeated the consciousness of anyone that’s watched films, the news or listened to the radio since the nineties. But gangs were in Britain almost a hundred years before Stanley “Tookie” Williams and Raymond Lee Washington even met. Street gangs that defined themselves with uniform clothing and colours, who could be determinedly violent in protecting their reputations and homes. Welcome to gang history, UK style…

Victorian Britain was a dangerous place run by a recently-formed and hugely corrupt police force. With sky-high crime rates, body snatchers and the threat of one of the most infamous serial killers of all time, “Jack the Ripper,” British cities were a violent place to live. Add the huge wealth divide and the fact England was almost constantly at war, and it’s hardly surprising that one of the first recorded spates of youth gang culture occurred during this period. While today the media use fear-mongering to convince people that kids are threatening hoodies with knives in their pockets, in the 1870s young people didn’t need the media to turn their clothing into signifiers - they identified themselves with a sense of purpose.

One group which ran riot in the workingclass areas of Manchester, and later in other cities, were known as “Scuttlers” and were recognised by their bell-bottom trousers, caps worn at an angle and

so called “Donkey fringes” - a heavy fringe worn with short back and sides. Less condemning than today’s media, newspapers at the time reported the gang’s exotic names; The Bengal Tigers, The She Battery Mob, The Meadow Lads. They wrote stories charting gang fights that were five hundred strong, sometimes spurred on by so called “Scuttlerettes” - teenage girls who would flirt and encourage rival gang members.

Although female membership in gang structure is less focused on today, British culture does have a tradition of girls who are seemingly attracted to male gang-members. In 2008, the “Honeytrap Killing” of Shakilus Townsend in South London reminded us of female involvement in gangs, as Townsend was lured to his death by his teenage girlfriend at the hands of her ex-boyfriend’s gang. She was later charged alongside the perpetrators with his murder.

Back to the 19th century, and the Scuttlers were becoming a huge problem. To counter their growth, the Home Secretary brought back flogging and Strangeways prison became the home for many gang members. In 1890, more young people were held there for Scuttler membership than any other offence. At the turn of the century the gangs were dying out, due to these punishments and the regeneration of the slums, plus newly-founded social projects such as The Salford Lads Club, which aimed to “Keep boys off the streets” and make them “good, God-fearing citizens.” But while Scuttlers were dying out, there were others keeping gang culture alive in the UK.

In Birmingham, “Peaky Blinders” were taking the spotlight. Their notoriety was such, that

it was widely believed they got their name from the razor blades they would sew into peaked caps.

These were used in attacks that would leave their victims blind. In reality, “peaky” was a popular term for the caps they wore as they roamed their native Birmingham, but the legend did help the Peaky Blinders gain their infamy. Sharing a similar style with the Scuttlers, this subculture of Britain was known for the lascivious attention the media at the time paid to them. Remember, Britain is the nation that brought you the penny dreadful, which would later become one of the first iterations of comic books. The Blinders and Scuttlers were both noted for their sartorial style, large numbers and violent fights armed with belt buckles and homemade knives. The use of brightly coloured scarves to display their membership was a very early use of gang colours.

Although generally founded on violence, at the beginning of the 20th century there were some gangs that were politically minded, most notably “The Yiddishers.” In the 1930s, the Whitechapelbased street gang was a mobilising force behind an attack on Oswald Mosley’s Nazi-affiliated “British Union Of Fascists.” In an event that would later become known as the “Battle of Cable Street,” over a hundred thousand protesters objecting to Mosley’s fascist views, stopped a planned march of his notorious “Black Shirts” through a predominantly Jewish area of East London.

Like the Yiddishers, many British gangs in the 20th century became less like street mobs and more like seriously-run organisations. Although

One trend that’s remained consistent throughout the 20th century is the media’s view of subcultures as “youth gangs”

The use of brightly coloured scarves to display their membership was a very early use of gang colours.

street gangs were still around, groups like “The Birmingham Boys” became more prolific, moving from Southern England into London.

These turf gangs evolved into higher levels of organised crime with the introduction of the 1845 Gambling act, which meant the only way to gamble was betting on horse-racing. With the industrial revolution came a greater train service and increased tourism. Suddenly race courses were popping up all over the country, gaining huge popularity. Bookmakers were swiftly making a large amount of money, so gangs like the Birmingham Boys began extorting protection money from them, under the guise of protection from other gangs. The Birmingham Boys reigned supreme over the lucrative race courses for decades, until the thirties when they lost control of the South Eastern race tracks to the “Sabini Gang,” led by the son of an Italian immigrant known as “Darby Sabini.” Not only did the Sabini Gang have a huge hold over the underworld of London for nearly 20 years, they also marked the start of a new era of British gangs that is still active today; the family style, immigrant based gang.

The most famous example of a British family gang was the Krays and their “Firm.”

Their infamy in British society highlighted the prominence of organised crime as opposed to youth gangs. These were gangs based on the idea of a Mafia-type criminal organisation, who worked for financial gain and social stature. The Kray twins were notorious criminals, but also high profile club owners who became celebrities in their own right by mixing with the stars of the day. The Krays were by no means the most violent gang, they were said to only be involved in a handful of murders and were mostly involved in extortion. Despite this, they are the most well-known gang the UK has produced.

Their influence in pop culture was such that they are still viewed as celebrities to this day. The

famous Jay Z/Kanye West line, “that shit cray” is said to refer to the famous twins’ surname.

Some modern London crime families, such as “The Adams Family” who have dominated North London since the 1980s and are believed to be responsible for many more murders than The Krays, have a far more formidable history but a more underground reputation. Their profile is far more low-key, in part due to their subtlety.

In addition, the British media is less fond of glorifying criminal gangs today.

Immigration has also played a key part in gang culture in the 20th century, with gang identification based heavily on cultural backgrounds. As various ethnic groups have settled in the UK, some gangs have taken over lucrative rackets - from as far back as the aforementioned Sabini family to the Triads and more recently, the Albanian crime families.

One of the most common forms of immigrant entry into gang life is through being hired muscle, the Adams Family were famous for using Jamaican Yardies as enforcers. But some of these immigrant groups become powerful gangs in their own right, such as the Turkish Mafia that have dominated Hackney for decades. In the late nineties, over 20 execution-style murders were credited to the Turkish Mafia who were highly prolific in the multi-million-pound heroin and extortion rackets. But several other ethnic groups were seeking to take their crown including the Yardies and Pakistani gangs. In 2003 there was even a police operation codenamed “Narita” to crackdown on these newly formed crime rackets, all of which has seen the media’s focus move away from the British families to immigrant gangs. Though these gangs have inevitably been drawn into the more recent “Postcode Wars,” the majority of these immigrant gangs are not necessarily exclusive to their postcode. With their mind set on more lucrative trades, postcode wars have been left to the younger generation.

Young people have always been seen to be at the root of gang culture. One trend that’s remained consistent throughout the 20th century is the media’s view of teenage subcultures as “youth gangs” since they emerged around the 1950s. This was due in part to the invention of the “teenager,” a phenomenon that started in America with young people having more free time and less responsibility early in life, which was seen to easily lead to gang life. Teds, Mods, Rockers, Punks; as youth subcultures grew more prominent in the following decades, gangs were never far behind. Certainly the infamous Mods and Rockers clashes helped reinforce that stereotype. There were brutal battles in Brighton and other seaside towns across south eastern England that were widely covered in the press and led to multiple arrests. Certain Ted gangs were also known for their fights in social housing estates which large numbers would attend. In these fights, home-made weapons were used and different groups defined themselves through uniform, reminiscent of the Scuttlers and Peaky Blinders. The original presence of youth gangs in society has been noted in popular culture, with Graham Greene’s ‘Brighton Rock’ and Anthony Burgess’ ‘A Clockwork Orange’ as two literary examples.

In modern Britain, the media portrayal of gangs is often of hoody-clad feral youths, haunted by the emptiness of their lives, desperate to live up to American style “gangster life.” But with a history of gang culture like ours, isn’t it possible that they are just living out a systematic structure which has been in place for well over a hundred years? Whatever the case may be, next time someone talks about England, remember what Dizzee Rascal said, “it ain’t all teacups, red telephone boxes, Buckingham Palace and that.”

DENZEL CURRY

Photo by Devin Christopher Words by Ashley Outrageous

don’t label him a gangster, because that would be your biggest misconception

Artist to watch in 2014? Denzel Curry without a doubt.

F

ormerly a member of SpaceGhostPurrp’s Raider Klan, the 18-year-old Miami native experienced a breakthrough year in 2013 when he followed an appearance on MTV’s RapFix and AXS Live with a performance at Coachella. From booking shows out of state and releasing his debut album, all while completing his last year of high school, Curry began to take the first steps on his yellow brick road to success.

Stemming from his upbringing in the dangerous settings of Carol City, Denzel is known for delivering dark and ferocious, yet enticing rhymes that offer an open invitation into his mind.

Often backed by eerie, bass-heavy production, he’s able to easily give listeners something real and raw; you know, some shit you can feel. Although his stories touch on subjects like murder and death, he’s simply a spectator of the violence that has plagued his hometown since a young age. So don’t label him a gangster, because that would be your biggest misconception about Denzel.

Looking to balance things out, Denzel slides in references to his interests from Dragon Ball Z to Nintendo. Growing up, video games and movies were an escape for him and his older brother, who would watch and play to avoid the crime just outside their doorstep. Their choices of entertainment, from badly dubbed samurai movies to Donkey Kong, played a major role in igniting the imagination and creativity we hear in Curry’s music, making it apparent that his talents would stretch further than just rapping. That’s right, Denzel is also a visual artist. When he’s not writing verses, he can usually be found illustrating

characters that look like they came straight out of Adventure Time or The Intergalactic.

After learning to rap at the age of 12, it was four years until he released his first song on YouTube and became a part of the so-called “Cloud Rap” scene alongside rappers like Lil Ugly Mane, SpaceGhost and Metro Zu. While at the time you probably wouldn’t find these guys on the average music blog, they were using YouTube to their advantage and building a cult following on their own.

At age 17, Curry linked up with Mark Maturah, a Miami native who’s played a role in setting off the “New Miami” movement. Maturah was all for taking Denzel’s lo-fi underground popularity to the next level by becoming his manager. At the time, Denzel had around three thousand followers on Twitter, no SoundCloud, no major rap blog presence; nada.

In early 2013, after a few weeks of recording and strategizing, in came ‘Threatz’, the hard-hitting lead single from Denzel’s then soonto-be debut album, ‘Nostalgic 64’, featuring Yung Simmie & Robb Bank$. The audio surfaced first and quickly became infectious, making its way onto a few sites, gaining more and more plays as the days passed. The visual, shot in the Florida Everglades at an abandoned military base, surfaced two months later in March and has since acquired over a million views.

Building on the positive response of ‘Threatz’, Curry went on to release a few more singles leading up to his album release. His lyricism and sound quality began to catch the attention of

Denzel landed the nO. 21 spot on the iTunes hip hop chart within a day

influential publications such as Pitchfork, HypeTrak, Noisey and 2DopeBoyz, bringing him to the attention of a whole new demographic.

With no label backing or PR, just word of mouth and conditioned content, everything was happening organically.

It was evident that people had their eyes and ears on this new fresh talent and on September 3rd, Denzel released ‘Nostalgic 64’ to critical acclaim. Curry did the unexpected and took an approach not many new artists have the guts to do. Rather than following the norm and releasing the album for free via webhosting, his small team decided to shake things up and go straight to iTunes. When asked about this decision, Maturah says, “It was a matter of demanding respect out the gate.”

The choice was a risk they were willing to take, as fans showed their support and a rare achievement for an independent artist of his stature. What may have seemed as an absurd

move for an artist fresh out the music industry’s womb, was nothing more than proof you don’t have to follow the routine formula to reach success.

As the album continues to spread through the ears of the world, Denzel has received rave reviews of his dark, Southern-style flow of words. Landing an interview here, booking a show there and major labels blowing up the line, DC’s career is reaching new heights. While at face value, you can file him somewhere in between the likes of Three 6 Mafia and Outkast, there is certainly room for the budding emcee to grow into a realm of his own.

With a new project entitled ‘Planet Shrooms’ on the table and plans to embark on his first US tour this spring, the future looks bright for the young Denzel Curry.

Introduce yourself.

I’m Denzel Curry A.K.A Aquarius’killa, Raven Miyagi, Denny Cascade.

Since the release of ‘N64’ this past September, it’s safe to say your name has been buzzing, from booking shows out of state to landing on a few year end lists. Tell me how you’re feeling now versus pre-‘N64’ days.

I feel more accomplished than ever after creating ‘N64’ and garnering a lot of buzz.

I feel way better since my mixtape days.

Describe the moment you decided to take on music full time.

The moment I took music really serious is when I got kicked out of Design and Architecture senior high school, that’s when I decided to do it full time.

How would you say that your music is different from other artists and what’s out there now?

My music represents my own world and reality blended together to create a series of epic proportions. Because I’m not the next man, I rap about what I relate to and the next artist raps about what he relates to. That’s how me and the next artist are different.

So you graduated high school a little over six months ago and you’re booking shows out of state. But I’m curious, was college ever in the picture for you?

Honestly college was in mind for me. I was thinking about going to Miami-Dade and then later going to places like UM or FIU but it seems the universe took a turn on its own.

Is there any advice you would give to aspiring emcees that are still in school?

I would tell them keep doing music and work on their craft but also I would tell them to get their education because it will carry them a long way.

Not only do you rap, but you’re also a visual artist. You drew all the artwork/ packaging for ‘N64’ as well as some single covers. Do you plan to draw the artwork for all of your projects?

My father taught me how to draw when I

was only three years old and it just stuck with me. Seeing other art in books really inspired me to keep going and I wouldn’t describe my style as anyone else’s. It’s how I feel. Yes, you will see more artwork from me for my future tapes and albums.

When it comes to nicknames, you’ve got quite a few. Can you tell us how each of them are different from one another?

Aquarius’killa – I was born February 16th and when it comes to music I felt like all my lyrics should be as cutthroat as possible hence forth the name Aquarius’Killa.

Raven Miyagi – Yung Simmie and I created a group called Black Raven, told Purrp (SpaceGhostPurrp) and he gave me the name Raven Miyagi and I created his persona when I released King Of The Mischievous South Volume. 1 as a samurai from another dimension.

Denny Cascade – Is an intergalactic space pimp from Planet Shrooms trapped in Blackland CC Zone 3 in Denzel Curry’s body when his starship, which is now Sun Life Stadium, crash landed.

You once stated in an interview that you’ve got different flows for each. How do you decipher which character you’ll tap into on a certain song?

It’s all in the lyrics, You can tell who is who. Aquarius’Killa talks about killing all the time in the most descriptive way, Raven Miyagi is like the most lyrical style and Denny Cascade is a surprise.

Let’s chat about your upcoming project, ‘Planet Shrooms’, why did you choose to call it that? You believe there is no such thing as earth and other planets, that Planet Shrooms is where you live, are you into Astronomy at all?

I’ve been talking about Planet Shrooms since my mixtape days and it just stuck with me. I used to be into astronomy as a child because I wanted to be an astronaut but it was just a phase in my life. I was always into space growing up watching Star Wars and shit.

Do tell, how does one get to Planet Shrooms?

If I tell you I would have to kill you.

Fill in the blank: money over bitches In my pocket there’s a magnum for yo bitch I’ve never done anything that fuck me up in long run I can’t live without God If it wasn’t for my daddy then I wouldn’t exist If it’s the last thing I do, I’m going to make sure I control the Galaxy

Over the past few months you’ve garnered somewhat of a cult following online. How does it feel having people follow you so closely and even look up to you?

It feels good. You get haters here and there but it’s cool though, having people saying I’m their idol is really uplifting because it shows I have a voice.

So you’re set out to go on your first US tour this spring with The UnderAchievers. Do you have any special plans for your set?

I’m excited to go on tour with the homies AK, Issa and Dillion. My set will be awesome as fuck, I can’t tell my plans I want people to come see for themselves.

2014 is looking up for you so far! Do you have any goals set for this year?

My goals this year is to take over the game and make it bow before me and my squad.

Ok now let’s have some fun… Here’s the shot out of the cannon: Vashtie, Erykah Badu, Sade - You gotta fuck one, marry one, kill one, GO! Kill Sade. Marry Erykah Badu. Fuck Vashtie…. I really don’t wanna kill Sade though.

If you could do a collab album with anyone, like on some Jay-Z / R.Kelly ‘Best of Both Worlds’ type shit, who would it be with?

Man……R.Kelly got hoes….Underage hoes LMAO. You have a chance to go anywhere in the world... where would it be and why?

Tokyo, Japan because I love Asians and they have a Gundam Wing Statue.

What’s the most outrageous thing to happen in your career thus far?

Honestly a lot of outrageous shit happens, it’s hard to say what’s the most outrageous moment has been. denzelcurry.com @ravenxmiyagi

: The God Delusion Rappers and their God complexes.

Illustrations by Mark Dear Words by Nick Bam

SEPARATING RAP’S FALSE IDOLS FROM THE TRUE PROPHETS. W

e know Jay Z goes by ‘Jay Hova’, an appropriation of the Hebrew term for God and Nas is ‘God’s Son’. More recently, Kanye West is apparently ‘Yeezus’ and Eminem a ‘Rap God’. Where do these boasts of deity come from? Why are America’s most successful emcees looking increasingly like a line up from Mount Olympus?

Is there a conspiracy? What’s the deal? Lets take a glimpse at the egotistical world of Rap deities (aka gawds) and separate the false idols from the true prophets…

The term ‘God complex’ was first coined by the the psychoanalyst Ernest Jones in 1923 referring to ‘a belief that one is (a) God’. If we look at the ever educational, Urban Dictionary, their current definition is described as “a psychosis based in uncontrolled narcissism, inflated arrogance and a perceived need to subjugate and/ or ridicule other individuals deemed to be inferior of unworthy.” A condition which applies to almost all rappers, you could argue.

People have been claiming to be God and/or Jesus for a very long time. To this day there’s still much speculation as to whether Jesus Christ actually existed, as many historians dispute there were many cult leaders with names a bit like Jesus who were performing miracles about 2000 years ago, such as Yeishu ha Notzri (note the resemblance of the name to “Jesus of Nazareth”), who traveled and practiced magic during the reign of Alexander Janneus, who ruled Palestine from 104 to 78 BCE. It’s accepted that the letter J didn’t even exist until about 500 years ago, so even if Jesus was a real person, his name wouldn’t have been Jesus, it would have been more like Yahshua (Hebrew) or Yoshua (Joshua) or something, ya get me?

Some people even think there was more than one Jesus, or he had a twin. This theory is widely taught in secret societies such as the OTO (Order of Oriental Templars) and other clandestine, occult groups that study old gnostic texts, which originally formed part of the Bible but were later omitted, such as Book of Enoch. Also clear to any student of mythology and religion, the Jesus story is clearly an allegory for the winter solstice. Jesus is literally the “Sun” of God, or Sun God, his resurrection heralding a new cycle of the equinox in late December.

And of course the notion of multiple Gods or Godheads predates Christianity: the Vikings, Greeks, Romans, Egyptians and many more cultures all have a wide array of Gods to choose from, a bit like choosing your favourite X-Man or superhero. Babylonian mythology, even suggests that there was once a time where Gods (or aliens?) and humans intermingled; we are believed to be the offspring of this divine union. A lot of myths and even Christianity also explore similar themes, where Gods/divine beings and humans procreate.

So perhaps it’s only when viewing rapper’s claims of divinity through a Christian lens that their boasts seem strange.

Members of royalty, have been claiming their divine right to rule for centuries. Louis XIV called himself the Sun King, Egyptian Pharaohs were worshipped as God Kings and Julius Caesar thought he was a living deity. Once we take a wider historical view of men claiming to be gods, rappers boasts of God-hood don’t seem so misplaced. With their opulent lifestyles, large bank accounts, worldwide business empires and such a wide reach of influence, rappers are the new royal class, the new age Pharaohs, the ones at the top of the pyramid.

From Brand Nubian and Big Daddy Kane to the Wu-Tang Clan, the Five Percent Nation of Earths & Gods has had a tremendous impact on the philosophies of many emcees. The Five Percent ‘lessons’, which are themselves a reinterpretation of the Nation of Islam’s teachings, were intended to appeal to disgruntled urban youth in America’s East Coast and teach them facts about history and science that would empower them and add to their sense of worth.

Young American black men were taught that they were Gods, masters of their own universes and destinies, descended from African Kings and Queens. For example Grand Puba, a fervent Five Percenter said on the Brand Nubian song ‘Wake Up’: “this Asiatic black man, is a dog spelled backwards.” The term “Asiatic” refers to a period in history where Egypt’s rule extended as far East as Asia. His afrocentric views were typical of many emcees at the time, and many emcees aware of the 5% philosophy still share similar views, Nas and most of Wu-Tang included. Five percenters popularised terms like “God” and “Sun” amongst New Yorkers to refer to each other, these terms have since become part of the wider, global hip hop lexicon, but not everyone is aware of the etymology.

“I call my brother Sun, cos he shine like one” Raekwon, Wu Gambinos

Now lets cast an analytical eye over some of the rap game’s biggest god complexes in an attempt to examine and understand their lofty boasts:

Rakim

Also known as the God MC, Rakim is the quintessential Five Percent rapper, he popularised rhyming with an intelligent, complex rhyme pattern and is acknowledged by many emcees to be one of the greatest MCs of all time and the father of intelligent rap, his verses near enough biblical scripture:

“Check revelations and Genesis, St Luke and John/ It even tells us we are Gods in the Holy Qu’ran/ Wisdom Strength and Beauty, one of the meanings of God/ G.O.D you and me Gomar Oz Dubar/ Knowledge Wisdom Understanding Sun Moon and Star Man Woman and Child and so is Allah.”

From the song ‘Who Is God’ released in 1997 from the album ‘The 18th Letter’.

Big Daddy Kane

On the 1988 cut ‘Just Rhyming WIth The Biz’, Big Daddy Kane asserts, “You see, the name Kane is superior to many people/ It means King Asiatic, Nobody’s Equal.” Although the rapper got his name from the hit TV show ‘Kung Fu’, Kane makes use of this acronym throughout his rhymes, a nod to the prevailing Afrocentricity at the time and his membership of the Five Percent Nation of Earths & Gods. In true Five Percent fashion Kane constantly referred to himself as a God, “Took a swing at the God, and all you got was a strike,” he also plays the role of the King God Caesar on the cover of his album ‘Long Live The Kane’, draped in purple robes and gold, adorned with beautiful women feeding him grapes.

Wu-Tang

RZA The Resurrector, Ol Dirty Bastard: Big Baby Jesus/Osiris & U God.

With Wu, the clues are in the names. RZA is definitely the leader of his crew and the rest of the Wu could be seen as his disciples, although ODB was called Big Baby Jesus, Allah, God Ason and Osiris, much of Wu lore is steeped in five percenterisms. On the track ‘The Projects’, Raekwon can be heard in conversation with Shyheim, who explains he is “Studying one twenty right now…call me back at the God Hour”, which translated means he was studying Five Percenter lessons and he’d like to be contacted at seven o’clock. Understanding the culture of the Five Percent Nation of Earths & Gods helps us to understand what the Wu were talking about. Their personal philosophies aside, having been in the game for over 20 years, with over 30 releases between the group, I think it’s safe to say The Wu have earned their “rap god” statuses and monikers.

Jay Z - Jay-hova.

A play on the Old Testament names of God, Jay-Hova or Jehovah was a nickname Shawn Carter received back in 1993, after astounding those around him in the studio with his amazing ability to improvise his lyrics, a feat that was “nothing short of miraculous” according to Gavin Edwards in his book Tiny Dancer. Despite referring to himself as Hova, Jigga says on the tune ‘Breathe Easy’, “I’m far from being God/ But I work

goddamn hard.” Although the rapper employs more of a Five Percent mentality on the track ‘Jigga My Nigga’, explaining: “The God, send you back to the earth from which you came.”

And more recently on ‘Oceans’: “Arm, leg, leg, arm, head: this is God body/ Knowledge, wisdom, freedom, understanding, we just want our equality.” Jay is spelling out Allah, the Arabic word for God, a Five Percent lesson that equates man’s body with that of God’s.

Although Jay Z admitted he was affected by ‘D’evils’ on ‘Reasonable Doubt’ in 1996, ten years later, on his ninth studio album, ‘Kingdom Come’, Hova assumes the role of Jesus figure, returning from retirement to save the game, “Not only NYC, I’m hip hop’s saviour/ So after this flow you might owe me a favour.” While the term ‘Kingdom Come’ is a reference to the Lord’s Prayer, it is also the name of a DC graphic novel where Superman and Batman come out of retirement to save the world. Jay Z likens himself to DC’s Clark Kent, “Take off the blazer loosen up the tie/Step inside the booth, Superman is alive.” Probably the most successful rapper of all time, it’s not hard to see why Jay likens himself to Jesus or God or even Superman.

On the track ‘Heaven’, from Jay’s most recent album ‘Magna Carta Holy Grail’, the Jigga Man’s gloating won’t stop: “Fresh in my Easter clothes, feeling like Jesus” and “I confess God in the flesh/ Live among the serpents, turn arenas into churches.” Jay Z also compares his lyrics to scripture “These are not 16’s/ These are verses from the Bible.” Not forgetting, “Tell the preacher he’s a preacher/ I’m a motherfucking prophet, smoke a tree of knowledge/ Drink from a gold chalice…” Jay Z does a great job of fusing religious and mythical imagery with his lyrics and persona. His ability to associate things like Jehova plus important political treaties like Magna Carta and mythical symbols such as the Holy Grail with himself, only helps to add a certain sense of importance to his own legend.

Nas - God’s Son

It’s not hard to see the influence of the Five Percent Nation in Nas’ early lyrics: “I’m the Afrocentric Asian, Half man half amazing,” this is another reference to the Asiatic black man, an ideal purported by the Five Percent Nation. Like Jay Z, Nas incorporates a great deal of religious imagery into his lyrics, likening himself to Jesus: “God’s Son across the belly, I see you lost already” on ‘Ether’, an epic diss track aimed at Jay, which saw the two emcees engage in epic lyrical warfare for the title of “King of New York.” ‘God’s Son’ is probably also a reference to Rakim, who “fathered’ his style and was also known as ‘The God Emcee’.

On the cover of Nas’ 1999 album ‘I Am’, in true Five Percent Asiatic fashion, Nas is depicted an Egyptian Pharaoh, wearing a King Tut mask. The cover art simultaneously conveys his afrocentric sensibilities, as well as his status in the rap game at the time.

“My features are that of a God, It’s not a facade, it’s a fact these rappers want to be God.” Nas, No Ideas Original

Nas is no stranger to repping his status as God’s Son. In the 1999 video for ‘Hate Me Now’ featuring Puffy, he carries a cross and appears to be crucified. And on the 2002 track ‘The Cross’, he states, “Even if the Virgin Mary had an abortion I’d still be carried on a chariot by stampeding horses.” This theme is continued on the 2004 ‘Streets Disciple’ album, where Nas is depicted as Jesus at the Last Supper on the album cover.

On the 2008 track ‘Queens Gets The Money’, Nas states: “You ain’t as hot as I is, all of these false prophets are not messiahs,” a shot at Jay Z that simultaneously reinforces his Christ-like image.

Now Nas’ rap beef days with Hova are over, he’s certainly managed to cement himself as a permanent prophetic voice of New York rap. In the ‘Patience’ video for the 2010 collaborative album with Damian Marley, ‘Distant Relatives’, Nasir Jones is depicted as a King in a luxurious robe with a crown. The song is dedicated to “all the wisdom and knowledge seekers of the World.” The man known as God’s Son has kicked knowledge since the release of ‘Illmatic’ in 1996 and continues to drop knowledge to this day, take heed.

Eminem - RAP GOD

Jay Electronica

Rap’s most mythical and mystical emcee references the Nations of Gods & Earths on ‘Exhibit C’, produced by Just Blaze: “The Five Percenters rolled up on a nigga and informed him… Its quite amazing that you rhyme how you do/ And that you shine like you grew up in a shrine in Peru.”

Jay takes the God complex to the next level with his Hebrew/ Islamic hybrid title of advanced, astral godhead:

“They call me Jay ElecHanukkah, Jay ElecYarmulke, Jay ElecRamadaan, Muahammad A’salaamaleikum RasoulAllah Subhanahu wa tamale through your monitor...”

No wonder his album on Roc Nation still isn’t out, there’s no way Hov was gonna let Jay Elec outshine him.

While we’re pretty sure Marshall Mathers has no ties to the Five Percent Nation of Gods & Earths, that didn’t stop him from calling himself a ‘Rap God’ on a recent single from his latest album, ‘The Marshall Mathers LP II’.

Aside from asserting himself as one of the highest earning, widely revered emcees of all time, this song is probably also a shot at Jay Z, who many consider to hold rap’s top MC crown currently, probably owing more to his staying power and business acumen than raw lyrical ability.

Eminem explains, “Everybody want the key and the secret to rap immortality like I have got/ Well, to be truthful the blueprint’s simply rage and youthful exuberance,” he also stresses that, “I’ll be Odin, you rodent, I’m omnipotent.” Eminem’s claims of divinity lack the gravitas of other Five Percent rap, while his displays of lyrical dexterity on ‘Rap God’ are an attempt to show he’s still relevant by taking shots at other rappers employing God rhetoric, such as Kanye and Jay Z. Not that anyone was ever questioning Em’s ability to rhyme.

SPVCE Ghost Purp - BLVCK GVD

Kanye - Yeezus

Honorable Mention:

Before asserting he was ‘Yeezus’, on ‘Jesus Walks’ in 2004, Kanye asked God to “show me the way because the devil trying to break me down.”

Later in 2008, Ye told Fader: “I’m like a vessel, and God has chosen me to be the voice and the connector.”

`On the song ‘No Church in The Wild’, which appeared on ‘Watch The Throne’, Kanye almost displays some divine foresight: “We formed a new religion/ No sins as long as there’s permission.” And it’s been reported in America that some people are viewing ‘Yeezianity’ as an actual religion with, you guessed it, Kanye as their Christ figure/saviour.

Kanye West, no stranger to comparing himself with great men such as Beethoven and Picasso, rubbed a lot of people the wrong way with the track ‘I Am God’, many thinking it a boast too far. However Kanye’s rap friend Malik Yusef clarified the point Kanye was trying to make before ‘Yeezus’ was released, explaining via Twitter that the song’s title refers to Psalms 82, which states: “You are Gods, and all of you children of the Most High. But you shall die like men, and fall like one of the princes.”

Kanye’s outrageous boasts aside, here’s a thought, which many music critics failed to consider while reviewing ‘Yeezus’: all of these rapper’s assertions and comparisons to Jesus/God are an attempt to push the notion that Jesus was black and an attempt to move away from Leonardo’s misleading depiction of Jesus, which was painted in the early 1500’s using an Italian model. Viewing God or Jesus as dark-skinned is still considered fairly taboo in many Western facets of Christianity. And some may applaud rappers like Kanye for associating the notion of Jesus with a black man to help restore historical accuracy to the Christian faith.

Don’t let the omission of vowels and the platinum grills fool you, SpaceGhostPurrp, leader of the Raider Klan, is preaching a philosophy in which he is a Black God, harkening back to ideas from earlier Five Percent rap such as Brand Nubians and Rakim. Check out the song ‘The Black God’, where he proclaims on the chorus, “The Black God, I gotta have the world in my hands/ I’m a God, I’m no longer a black man/ The Black God,” from his ‘God of Black EP’ released in 2012.

The UnderAchievers

These young whippersnappers practically refer to themselves as Gods and Indigo children in every song. On ‘Gold Soul Theory’, they ask, “You’s a fucking living God, why you bowing down to Christ?” A perfectly genuine reflection on Jung’s theory that God is Self and of course Five Percent teachings.

King Louie

Simply for his “I’m godly like God” lyric on ‘Rozay Flow Part. 2’ from 2014’s ‘Drilluminati 2’.

Since the inception of hip hop, rappers have been giving themselves lofty titles such as Grand Wizard Theodore, Lord Finesse or Slick Rick The Ruler, perhaps it was only natural that today’s rappers take it to the next level. After all, Tupac did once call himself Machievelli and Snoop is now apparently a lion.

Whether these rappers preach the gospel or not, there is no denying today’s rap superstars are the new prophets, and the fans their disciples, worshipping the ground their Nikes tread, learning lyrics like scripture.

Whether you follow Yeezus or Hova, we all move to the same beat and bow our heads in the Church of Hip Hop.

“In America people are viewing ‘Yeezianity’ as an actual religion with Kanye as their saviour.”

KALI UCHIS

Photos by Jabari MXXM Jacobs Words by Lily Mercer Styling + Make Up by Kali Uchis

SINGER, SONGWRITER, PRODUCER, DIRECTOR. KALI UCHIS CAN DO IT ALL

I

n the world of popular music, it often seems like there are two opposing types of female artist. You have the mannequin-perfect, triple-threats with the skills to break into a choreographed dance routine without breaking a sweat. And then you have the women that curse, drink, say outrageous things in interviews and tell you who they’re fucking. The latter are far more interesting. They’re real characters, complete with scars and stories, often poured into the lyrics of the songs they sing.

Look at Amy Winehouse, M.I.A., Madonna and Adele.

It’s been a minute since such an icon has shown up in the music sphere. Or at least one that has the personality to captivate a whole generation. More recently the mannequins have been behaving like bad girls, trying to fool us into thinking they’re the latter. Yes, you Rihanna. We love the way you roll a blunt on a guy’s head but we wish you could write your own songs. In this climate, it’s no surprise that Kali Uchis is about to be the next big thing. After releasing her selfproduced debut mixtape, ‘Drunken Babble’, the 20-year old caught the ear of a number of industry kingpins, including Snoop Dogg and Diplo. And though she looks like she could be a manufactured pop princess, dig a little deeper and her haunting voice and reckless abandonment will leave you dazed. Get lost in her world and you’ll feel like an extra from Pleasantville that’s stumbled into Reefer Madness.

Some assume Uchis is going to rap when she opens her mouth, but she sings like Cory Daye from Dr. Buzzard’s Original Savannah Band.

Her vintage musical influences are evident in her music, particularly her song, ‘Table For Two’, which could have been released the same year as The Flamingos’ ‘I Only Have Eyes For You’. Having grown up in Virginia, her early life in Colombia has instilled a great independence in her. Her lack of desire to fit in has served her well as she idolises mavericks of the music industry, from the aforementioned M.I.A. and Amy Winehouse to Gwen Stefani. Her biggest idol of all is Billie Holiday, who Uchis notes died on the day she was born, decades prior.

Kali’s the girl you want to be. Or the girl you wish would simply look at you, let alone turn down your advances - probably with a middle finger raised. Cher Horowitz, if she wasn’t a poor little rich girl, but a feisty, weed-smoking, guntoting bad girl. In fact, she makes Cher look like a prissy daddy’s girl. And though Kali Uchis is the nickname she inherited from her father, you’re more likely to find her singing about sneaking out of her parents house at night. With that said, she displays a closeness to her father. One of her tattoos is his signature from his first passport, used when he moved to United States from Colombia.

How would you describe your music?

I don’t know! With my new songs, it seems like every song is not even a real genre because I take inspiration from so many different types of music that it becomes weird. I love the new music, I like it more than my mixtape. I know it works but it’s not really any type of genre. I guess the singing is more soulful but then the rapping… I wouldn’t even call it rapping. Like M.I.A, she doesn’t really sing or rap, she just in a melodic way puts her words into motion and rhythm. Lily Allen does it sometimes too. There are a few female artists that do it but it’s a weird thing to describe. Welcome to Kali’s world...

You released a teaser video with your new music, is ‘Por Vida’ going to be an album or an EP? I’ve had it done for a while but I’m just working on more and more songs. Right now I’m kind of confused about what direction to take it in because so many people have wanted to come behind it and try to sell it and turn it into a label situation, but I kind of wanted it to be free. With my first mixtape, I just put it together myself. As my first body of work I wanted to release it for free and not have any income behind it. It’s not going to be an EP, I think there will probably be 17 songs so it’s going to be pretty big. That will probably come out early 2014. I just don’t know what it will come under. I’m in a transitioning period right now – I’m getting ready to sign with someone so it might come out under their group.

“I would rather fail being original than succeed in imitation”

“I’ve been doing everything completely alone. It’s nice that people notice I’m not a man-made machine.”

When do you think you’ll release ‘Por Vida’?

I really can’t say for certain. Springtime will probably be sweet for that.

Who have you been working with since the release of ‘Drunken Babble’?

So many amazing, talented people have reached out off the strength of my homemade mixtape and videos, it’s a blessing and an honour. A$AP Rocky, Snoop Dogg, Chris Braide, Diplo, Tyler the Creator and I’m also working closely with Bunx Dada, formerly known as JFK. You recorded ‘Drunken Babble’ on GarageBand.

How did you set up the recording process, were you in your bedroom?

I was in my bedroom, sitting on my floor, singing into a Yeti mic that I bought from a friend of a friend.

Who produced the songs?

I did it entirely alone, I used samples of songs I loved, looped them and did all the production myself for all vocals. That’s what seems to really intrigue people, that I’ve been doing everything completely alone. It’s nice that people notice I’m not a man-made machine.

Have you experimented with production at all?

Before I chose to use samples for everything on the tape, I actually had started making my own beats on an Akai at a friend’s house. One day I brought this girl over to vibe while I was making music. A lot of people were over but it was just us two in the studio, then the friend busted in and started accusing us of stealing some shroom pills that he was distributing out of his house, because apparently they disappeared out of the studio. So anyway we got into it over that, it escalated pretty quickly and the falling out was strong enough that I never spoke to him again. He can sell those beats in a few years if it makes him happy. Anyway, my songs come from the root of my inner subconscious, so randomly I’ll hear melodies and verses or chords and I’ll jump over to my keyboard or record an acapella. I work very closely with whoever’s helping me produce a song. Once I have the proper funding I want to do all of my own production.

You direct your own videos. Where do you get your visual inspiration from?

I love films and I love music videos, I brainwashed

myself growing up with excessive cinematography. I can’t pinpoint what’s inspired those videos, it has to be some strange mutilated smoothie of a billion things I’ve seen at points in my life. Mostly I’m inspired by dreams, I like videos to be like that. Not really make sense all the way or be sequential, but make you feel something and take you somewhere.

How does it feel having done much of your work organically or by yourself?

It’s an amazing feeling to not be afraid to stand on your own, it’s a sense of independence that no one can take from you. I only hope that it will inspire more people to be freethinkers and open their minds to the possibilities of tapping into their own endless potential, instead of relying and depending on others to make things happen for them. I may not be where I want to be but I’m blessed to have gotten where I am within the year I’ve been working on music. I got here by being myself, I would rather fail being original than succeed in imitation. That was never a hard decision to make and I never once questioned myself on who I wanted to be or how I wanted to sound. I had my sound, look, brand, everything on my own because it’s who I am. I genuinely love to write, make music and direct. I would never insult God by not utilising the talents He gave me.

When did you write your first song?

I remember writing my first song in kindergarten. It was about how I wondered what the cat was doing when he ran away from home. We found this cat one day in our house when we lived in Colombia. It was Halloween and I remember when we got home he was hanging upside down from the ceiling all sketchy. I don’t know why we kept him but he was cool because he used to let me dress him up in baby clothes. He would always disappear and come back so I thought he had a girlfriend or a secret life. Anyway, I wrote a lot. I used to win poetry contests in elementary school.

You grew up in Colombia before moving to America, how does the culture clash influence you?

My rare personal experiences, along with my family background and not staying in one place are probably what have made me so difficult to pinpoint as an artist, or an entity. My family is from all over the world, not just Colombia, we look like a bunch of strangers if we get together. People used to ask me if my sister was my

sitter; my sister is Thai.

Virginia has a great roll call of musicians and producers from the state, did growing up there attract you to making music?

Not at all. I was attracted to making music because since a very young age I had a very strong passion for music, writing and art. Looking back at old family footage, I think it may have stemmed from being left alone just playing my moms tapes on the boom-box or dancing in my diapers to MTV videos. My aunt has endless footage of that, you would think she was making a documentary instead of baby sitting. I love her.

You have great style, do you have good thrift shops in VA? They’re decent. Nothing compared to LA or New York, but enough to get by so I never have to resort to the mall.

Your style of dress is obviously a big part of your identity. Was that something you were into before music?

Before I made music, I always felt that the way you dress is an extension of your personality and it shows where you’re at and how you’re feeling mentally. So that always meant a lot to me.

There’s a vintage sound to your music, like fifties RnB and even a hint of doo-wop. Do you listen to music from previous eras?

I rarely listen to music from the present time era, 97% of modern day music disturbs me. It doesn’t do anything for me, oldies make me feel something.

Do you have any musical heroes?

Yeah - Amy Winehouse, I really liked Lily Allen when I was younger. Also Erykah Badu and Gwen Stefani when she was in No Doubt. She was my favourite female musical hero when growing up.

You sing about bad behaviour in a very pretty way. Is that something you consider when writing?

Yeah, someone else who I felt did that was M.I.A. I also looked up to her a lot growing up, like female artists who don’t talk about normal things that female artists would normally talk about. But I definitely think about that when I’m making a song, sometimes I get inspiration for things that are not the average thing that a girl would make a song about.

How do you feel about the way women are portrayed in the industry you’re going into?

Obviously with your age you’ve grown up listening to strong female artists, so do you see it as quite a powerful thing as opposed to it being over-sexualised?

Yeah, that’s why most of the female artists I like are the ones who have found a way to be sexy, because obviously sex sells and people like that, but in ways where they were never just ‘music prostitutes’ but instead creative geniuses who make their own music. I feel like nowadays it comes across as women just being told what to do by men, as the industry is mostly male dominated. It’s becoming less [about] talented musical people and more just women doing whatever they’re told to do. It’s kind of sad. That’s why I respect people like M.I.A. – she can make her own music, dress however she wants

and she never has to over-sexualise or play into that situation.

Plus all of the names you mentioned are also songwriters and that’s the difference between you and the girl who’s told to take their clothes off by a record label guy. If you’re writing your own music and it’s your voice, you have more control.

Yeah, I agree. It’s sad but in the same way it’s probably been that way forever.

As females, sex is always going to sell and you can always be a prostitute and make money. It’s going to be around forever like it always has and it’s the same with the music industry. There will always be a lot of girls who are on top of the music industry because they got to where they were by taking their clothes off and doing what men were telling them to do. So yeah, it’s the easiest thing to do but it’s repressing women because we’re still being undermined by men and have to do that in order to get noticed.

I have one final question for you, what’s your favourite animal?

Probably the tiger, I really like tigers. I’ve got a tattoo [of one] actually, I got it when I was 16. They’re supposed to symbolise anger transmuting into wisdom and being able to take all the hardships of your life and become stronger from it. And not being scared of anything, I feel like it’s really important to not be afraid to do whatever you want to do in life. That was my first tattoo. I got it done in Colombia because it’s the only place you can get a tattoo underage.

kaliuchis.com @kaliuchis

LITTLE LORD CONNOR FROM ASAP I MOB TO TUMBLR, THERE’S NO ESCAPING THIS GUY. BUT WHO IS IAN CONNOR?

A lot of people have been asking “Who is Ian Connor?” How does that question affect you?

I don’t know, I just brush it off really.

Do you ever give a fake job title?

Yeah all the time! It’s funny because I find stimulation in other people’s brains. So when someone asks what I do I just tell them I work for a plumbing company, mad random shit. See how they react cause they be like “I saw you do this.” Alright, if you seen me do that then that’s what I do. Do your research and put together the pieces of the puzzle yourself.

Don’t ask how the puzzle is put together, do it yourself.

Does it annoy you that people want to ask that question when they’re often the people that made you famous?

Fuck no, that’s just how shit is. These people boost me up and ask what is it that you do. Don’t put me on a high pedestal then ask what it is that I do.

You’re feeding into the unknown. That sucks. But, I don’t get mad. That’s just how shit is and I accept that.

Do you think people are obsessed with people they find ‘cool’, regardless of what they do?

Yeah I guess, I find shit cool so I make that a big deal. It’s just that I don’t find the norm cool or average things cool. So that’s kinda what separates me.

Do you have an icon yourself?

To be honest, for some reason I find serial killers cool. I find them really amusing and interesting. I couldn’t say a specific serial killer cause there are pros and cons for each. Serial killers and people behind the scenes.

You’ve got your rap artists but at the same time you have the people with the brains that work with the artists, mentally training them. Those are the people I look up to. I wouldn’t namedrop them because I like them to remain low-key.

Do people tend to think you’re a rapper?

Yeah all the time. Producers are always hitting me up with DMs [offering beats] and then they hit me up in the open and everyone [that sees the tweet] is like “Yo!” Yeah and based on the fact that I do a lot of work with rappers, they think I rap too.

Do you ever feel to just put out a terrible song with their beats?

No, I feel like if I’d put out one song, I’d legit have a record deal the next day, because of course there’s a lot of attention in me and on me at this point in time.

What did you want to be when you were younger?

At one point in time I wanted to be a psychiatrist, then I was like ‘Fuck college, I don’t see myself doing that’. Then I wanted to be a killer for hire, like I wanted to get paid to kill people - just based on the fact that the way that I think about it is like, people die, when it’s- your time [to go] it’s

Suit by Mr BATHING APE®

your time. So if you get killed, you get killed. I wanted to see people’s reactions and have a serious talk with them before I killed them just to see how they react. That was another form of mental stimulation for me I’d say. And of course I’ve always been into fashion, so [something] in that field has always interested me, from styling to a personal shopper, whatever. All of that amuses me.

Do you plan to follow a path in design?

I would design something but I wouldn’t want to be classified as a designer or have my own line. If I did do that, it would just be something just for fun on spare time shit. But me being a ‘designer’, I design various things from lifestyles to clothing to set ups for stages and videos. But again I don’t want to be classified as a ‘designer’.

So you’d want to be a creative director?

Yeah, that’s the secret. It’s out.

How did the Wil Fry shirt come about?

Wil Fry is a fucking weirdo. The difference between me and him is, I’m awkward and he’s awkward but he’s the type of awkward that doesn’t want to be seen at all. He’d rather just troll and play all day. He’s serious and very smart but he’d rather just play. I guess he saw that in me then we just started discussing from there. And then I was like ‘Yo Wil, let’s design something’. But we didn’t know how serious it would get. We knew we were both well looked upon, but we didn’t know it would actually get to where it got. We really didn’t give that shit to nobody but friends. It was like, pay for it if you want it. It was just about time for me to do something, I was with it.

Do you have plans of what you want to do or are you just enjoying what comes day by day?

Now I take shit more seriously. But I still just do whatever the fuck I want, like I’m still going to continue to do what I

want. Like contracts are on the table, but I’m just doing this other stuff for stimulation to be honest.

Do you feel like the ‘It Boy’ tag is something you want to shed?

Fuck yeah, I really don’t care for that. Like my idols [are] the people who are behind the scenes, behind the cool people.

Those are the people I respect because they’re the brains, they’re the cool people. That shit you find so cool that the rapper’s wearing, that’s the ultimate brain. They have a small fan base, and that’s kids like me and the select few I chose to associate myself with because they’re in the know. That’s what I’m gonna be. I am that guy right now, but the other thing I have is that ‘It’ title. I have the attention on me.

People love the unknown.

A lot of people are obsessed with what they don’t know.

They see that it’s there and they know it’s more. It’s that secret. If you know, you lose the ‘It’ factor. If you know how it’s done, you could do it yourself. It’s just like magic tricks, I’m just performing a shit load of magic tricks right now, it’s like “How the fuck is it done?” I’m like, “Nah, you’re not gonna know.” However they can assume or put bits and pieces together but you’re not gonna exactly know. Just like a lot of people are over it once they meet their idols.

Do people run up to you expecting you to be a certain way?

Yeah, they expect me to be tall sometimes. They expect me to have a deep, hood man’s voice. They expect me to be very confident and arrogant. But I’m awkward and shit. I don’t know how to react to people. Like I can read people, but when it comes to actually talking to someone or if I’m in a mood, I don’t know how to be. So I just smoke a cigarette or what comes into my mind, even if it throws them off. ianconnorsrevenge.tumblr.com @duttyianconnor

Jacket by Filippa K Sweater by American Apparel Umbrella - Archer Adams

“Don’t put me on a high pedestal then ask what I do”

Wool Jumper by BAPE® Photographer: Verena Stefanie Grotto Stylist: Violetta Kassapi Art Director: Lily Mercer Photographer’s Assistant: Sam Travis Stylist Assistant: Claudia Rach

Jacket by Ebbets Field Flannels Fur Stylists Own T-Shirt by American Apparel

CASH 4 GOLD Photographer: Kevin Morosky Art Director: Lily Mercer Models: Milkavelli + Jack Cannon

Consumerism

Wizened scholars of the rap game have told us the true path to happiness is Money, Clothes and Hoes®. But what happens when we share the vision but not the resources?

Photo by Kevin Morosky Words by Thomas Usher

I

f statistics are anything to go by (and they’re not); we are all in debt.

Apparently, according to a report by the Centre for Social Justice think tank, in the UK, consumer debt stands at £158bn. That’s not 158bn as in 158 BN biscuits; that’s £158 billion pounds. That’s a lot of debt. That’s the kinda debt that makes you wanna sit down for a hot minute and eat a fucking BN biscuit; because times are fucking hard out here, and it’s got you craving biscuits.

So why are we in so much biscuity-sounding debt? Well maybe; and bear with me here because it may sound crazy, but maybe it’s because we buy too much shit? One thing that’s most discernible in todays society is consumerism. The lovely, warm, welcoming bosom of consumerism whispering, “Hey, spend some money, it’ll make you feel good! It’s retail ‘therapy’.” Obviously, this belligerent attitude to materialism will have its casualties. Consumerism has created a dysmorphic society; where the bulbous heads of the rich shout encouragement for the tiny limbs of the poor to reach up join them, but they lack the power or comprehension to do it.

This dysmorphia is none the more prevalent than in rap. Since it’s growth from nerdy indie kid to oversexed media darling, it has slowly changed its focus from being all about the music to being all about the lifestyle. Now the only emcees that aren’t talking about how fucking great money is, are flowery dick heads trying to show off their thesaurus over a piano loop. Lifestyle bravado has permeated all of hip hop’s visual output.

The effect on the average punter in real terms, is that hip hop culture has become like a 24/7 Christmas advert. Lyrics, videos and photoshoots now play out like a debauched version of a seasonal Tesco’s ad campaign but all year round. While Christmas ads indoctrinate the public to think they’re emotionless if they don’t rack up crippling debts on Christmas crackers and Tamagotchi, hip hop barks at you in hyper-real colours that if you aren’t sipping Dom Perignon for breakfast out of your 24-carat chalice then you are probably gay, and if you are gay and don’t possess irrational fears of a particular sexual orientation then you will be beaten up and ostracized; because homosexuality is for broke motherfuckers with zero percent swag.

As you can probably tell, hip hop has a lot of weird issues bubbling under the surface, much like the aforementioned Dom Perignon; only the bubbles are made of homophobia, financial instability and tiny pieces of Hype Williams.

With a world as excessive as the one portrayed in rap, it is difficult for many a fan to keep up. When a fan looks to emulate their favourite emcees, what will they see? Gold, diamonds, cars, clothes, money and expensive alcohol.

I don’t know about you, but I can’t afford any of that shit. I could barely afford to eat this January after all the fucking Tamagotchis and Christmas crackers Tesco’s told me to buy. This is why we’ve seen the change in loan sharks and pawn shops from niche financial solution to something people rely on every month. If you like listening to One Direction you can just buy the lunch box, flick yourself off over the calendar and your only five quid down and feel sexually satisfied, if a little ashamed of yourself. If you’re a fan of Kanye West you need to sell your small intestine to afford a pair of Nike Yeezys and mug seven frightened pensioners to afford a basic white tee from his latest A.P.C clothing collaboration. Some pairs of Yeezys go on eBay for over two grand. His basic white tee can go for over 200 pounds. How does the average fan afford this? By either pawning all the valuables they own for an extortionate rate at Cash Converters, selling their old jewellery for peanuts at numerous cash for gold shops, or sucumbing to the cutesy marketing of the loan sharks, with their cuddly one thousand plus percent APR. As top Greggs fan Big Pun once said:

“The Glamour Life, blow up the kids and the wife Players who half as nice swear to, but they sacrifice”

In between bites of his sausage roll and threats to kill his family with dynamite, Big Pun lays bare in his eloquent style the traps of the hip hop life people aspire to. The fact is, not everyone can be as nice as Big Pun. I for one thought he was a terribly nice chap, if a little too fond of Greggs. But nice or not; everyone saw Big Pun living that life. They watched his videos and photoshoots, listened to his lyrics and interviews.

We are inundated with that imagery, leading to a situation where ‘they sacrifice’ just to keep up.

So next time you see a mawkish hip hop head in you local Cash Converters, selling his grandma’s telly to buy a gold watch, don’t blame him. He’s just trying to keep up with the ever more ridiculous excess of rap culture.

DBM

DOPE.BOY.MAGIC

CHICAGO’S DOPEST CLOTHING BRAND EXPLAIN HOW THE DRUG INDUSTRY INFLUENCED THEIR BUSINESS

S

Photos by Nolis Words by Bryan Hahn

ome of the realest and most memorable films centre around the drug game. There’s something about the hustle that never sleeps, it keeps you pulling for the protagonist, regardless of their ruthless or illicit means. New Jack City. Paid In Full. dope.boy.magic. You may not have heard of the last one because it’s currently being written and shot. It’s the true story of two fashion trappers from Chicago, Joe aka “JoeFreshGoods” and Vic Lloyd. In 2008, the pair took $80 and created a side hustle that’s since grown into an internationally sought-after brand. And it’s going to take more than an attempted lawsuit from Dope Couture to stop the dope empire “made in a Chicago hood.”

Spending Wednesdays and Saturdays sitting around at LDRS together, figuring out ways to make some extra cash, Joe and Vic flipped the hottest track in the streets at the time (OJ Da Juiceman’s ‘Make The Trap Say Aye’) into their first t-shirt design, and consequently, the start of their new imprint. They pushed it guerillastyle, tweeting about their first product and selling it from behind the counter without proper tags, to inquiring custos. Now they have full lines of equally high octane pieces and their own brick and mortar shop called Fat Tiger Workshop, where everyone from Chance The Rapper to Nipsey Hu$$le comes through to shop and chop it up.

Chicago rapper, Dally Auston rocked their latest collection, “October ‘96,” in the brand’s beautifully gritty lookbook. Joe sent shots of the SaveMoney rapper in a print sweatsuit featuring brand logos like Phat

Farm, Sean John and Fubu, to his “streetwear Zordon” in Michigan. He got this reply: “I feel like I’m supposed to be watching Belly hopping out of a fucking Land Rover in ‘96.” Whether it was the release of Ghostface Killah’s ‘Ironman’ or Originoo Gunn Clappaz’ ‘Da Storm’, something led to October and thus the concept that if a brand in October ‘96 wanted to be ahead of the curve, this collection embodied that.

Those trying to take the juice from dope. boy.magic better learn the rules before they step into the ring. Joe clarified that many designers have played themselves by describing their brands as “high fashion meets streetwear. No it’s not. Don’t say that. Just because you put some zippers on a t-shirt or it’s all black with some white on it, doesn’t mean it’s high fashion.”

What Joe and Vic are doing is putting the “street” back in “streetwear.” Vic wants to inject “concepts and controversy back into streetwear. We want to make [it] something that your mom doesn’t necessarily want you to wear... but you gotta have it.”

“Master P made it cool to be a street hustler, and at times it is.”

I

f you only have the sounds of GBE’s Fredo Santana and Chief Keef representing Chicago hip hop on your iPod, you have a gross misunderstanding of what the city’s youth are capable of.

Still in their early twenties, Save Money have received more props than you did at your Bar Mitzvah or Confirmation. While Chance The Rapper and Vic Mensa may have the highest visibility within the the collective, don’t think the rest of the ranks are any less talented. They’re a multi-armed creative brain out to revolutionise the rap game, one verse, one beat, and one video at a time.

On the music side, you have Chance The Rapper, Vic Mensa, Dally Auston, Kami de Chukwu, Joey Purps, Brian Fresco, Tokyo Shawn, Donnie Trumpet and Caleb James.

Outside of the MCs, you have a slew of producers, directors, graphic designers, and almost every type of creator you can think of. They do it all out of their Trap Music Garage HQ. You could call them the rap game Fedex Kinko.

If you didn’t recognise Joey Purp, Kami de Chukwu, and Caleb James in the dope. boy.magic spread, it’s time you did your homework on the SaveMoney Army.

All clothing by dope.boy.magic dopeboymagic.com/ @dopeboymagichi @savemoneyarmy

DBM’s 10 Dope Commandments VIC AND JOE’S TAKE ON THE 10 CRACK COMMANDMENTS 1. REMAIN HUMBLE:

No matter how big your brand gets, always act the same as you did when you first started, nobody likes a “fashion owner snob.”

2. KEEP YOUR IDEAS GUARDED:

Streetwear ideas don’t come a dime a dozen, people steal ideas all the time, don’t talk about it until it’s an actual product ready to sell.

3. SPREAD LOVE TO GET LOVE:

6. That God damn credit, dead it:

Fuck terms, if your product is selling fast tell the customers you need you money NOW

7. TREAT YOUR BUSINESS LIKE FAMILY IT’S THE FASTEST WAY TO GROW:

Treating my business like my first child was the best thing I ever did. Care for it, love it, be it.

8. NEVER SELL OUT THE TRUNK. DRIVE BUSINESS TO RETAIL OR ONLINE:

sometimes you have to give away FREE product to SELL a lot of product, choose wisely thoUGH.

We know Master P made it cool to be a street hustler, and at times it is... but overall, you need visuals. You need people to see it at all times so online stores plus physical stores, where people can shop are always better.

4. ALWAYS LET THEM SEE YOU IN YOUR STUFF MORE THAN OTHER BRANDS:

Some of our best sellers were things we know would simply make people talk, you get people talking and you can get in their wallets.

We’RE not saying if you have a brand you can only wear your brand, but don’t make stuff that you wouldn’t buy at a store if you saw it.

5. PROTECT YOUR STORES.( DON’T SELL TO PEOPLE IN THE SAME AREA):

your money might look good for a short time but it’s not good to sell your product to every store on the block, choose the stores you want to sell too and keep it limited. you might make more money in the long run if the demand is there.

9. ALWAYS STAY CONTROVERSIAL. KEEP HATERS AND SUPPORTERS TALKING:

10. NO ENDORSEMENTS. ROCK WITH THE PEOPLE THAT LIKE WHAT YOU DO. MAKE THE SUPPORT NATURAL: don’t send boxes of merch to rappers just cause, actually build a relationships with the streets and the streets will build back, support who supports you.

Dimepiece LA DOING IT FOR THE WOMEN OF THE WORLD

F

Photos by Christian San Jose Styling by Emma Spencer Hair + Make Up by Kristina Lopez Words by Laura Arowolo

or every 10 male-focused street

Based in LA, the brand appeals to those

wear brands, there’s only one

that are Cali girls at heart regardless of

good label for females. And even the best

their location. The culmination of two chic,

men’s lines fail to successfully adapt their

forward-thinking

clothing to suit a curvaceous woman.

fresh approach to contemporary street

And so we are thankful for Dimepiece

wear took the brand’s appeal global this

LA. When Laura-Marie Fama and Ashley

year, even making themselves at home

Jones created the label back in 2007, they

in London superstore, Selfridges. After

created relatable, super-wearable clothes

six years of dressing badass femmes

appealing

with resonating slogans such as the

girls.

to

internationally-spirited

minds,

Dimepiece’s

unforgettable ‘TrEAT Your Girl Right’ and ‘Pharrell is my baby daddy,’ Dimepiece’s tongue-in-cheek messages and feminine cuts stand out.

dimepiecela.com @dimepiecela

Haati Chai THE LA JEWELLERY BRAND TAKING CHAINS TO THE NEXT LEVEL

Photos by Christian San Jose Styling by Emma Spencer Hair + Make Up by Kristina Lopez Words by Laura Arowolo

H

aati Chai makes you want to lace your entire body in chunky chains. Based in sunny

Los Angeles, designer and founder Stella Simona blends the line of eastern and western with her historically influenced pieces. Drawing upon the intricate beauty of Asian jewellery techniques and her contemporary vision, Simona has established her brand as the go-to for body-chains and cuffs.

Founded in 2011, each piece

in the collection is either handcrafted by Simona and her team, or by specifically sourced artisans in East India. Meaning ‘elephant and tea’ in Bengali, Haati Chai blends western motifs with Indian craftsmanship, infusing organic materials and architectural design to create an impressive array of items. Not limited to the traditional pieces created by jewellery designers, Haati Chai also offers headpieces and body chains.

haatichai.com @haatichai

BOY

Photographer Kevin Morosky Stylist Luci Ellis Casting Marq Miller Model Billy Huxley

Jumper by Edwin & Coat by Albam

Shirt and trousers by Uniforms for the Dedicated

Shirt by Uniforms for the Dedicated

Jumper by Uniforms for the Dedicated

GRAND SCHEME THE AUSSIE MENSWEAR BRAND CATERS TO BEACH LOVERS THAT LIKE TO LOOK SMART Photos by Tom Spellman Words by Lauryn Tomlinson Although Grand Scheme’s graphic printed shirts and iconic logo tees have been rocked by hip hop heads like Joey Bada$$ and Danny Brown, there’s a laidback, surfer vibe at the Australian label’s core. Their bandana print board shorts, Hawaiian print bucket hats and tie dye t-shirts are representative of a brand catering to a beach-loving clientele. They also have clear rock and roll inspiration, evident in last year’s t-shirt collaboration with legendary rock artist Ed Repka who created cover art for Megadeath and designs for the cult film, Hellraiser.

He’s not the only creative talent influencing Grand Scheme, who’ve worked with an array of designers, artists and musicians. Rather than focusing all their energy on T-shirts and hats like so many other brands, Grand Scheme’s collection is just as strong in outerwear and fleeces. Their Spring collection features great patterns throughout, with some of the best prints outside of Bape.

And if you’re a fan of marijuana leaves on your clothes and accessories, their ‘Maui Wowie’ range featuring shorts, jumpers and towels is sure to appeal.

grandscheme.com/au @grandscheme1

TOO MUCH POSSE Photos by Tom Spellman Words by Duke Agyapong

Too Much Posse is a Londonbased streetwear brand with roots in the East End. Since it was launched in 2006, the brand has been transformed into a worldwide collective, affiliated with DJ’s, artists, skaters, riders and rappers.

Founded by close friends Teddy and Rich, T.M.P. continues to represent all that London stands for. Sported by the likes of Action Branson, the brand has expanded outside of its home city but remains a definitive London brand. Using the Internet as a platform Too Much Posse has managed to break barriers by making their one of a kind garments available to the world.

Skating and graffiti culture play a part in what inspires the brand, meaning good quality fabrics are essential, along with wearable clothing. This has helped the brand remain true to the culture it sprung from, cementing a loyal fan base.

toomuchposse.com @toomuchlondon

GRIND LONDON Photos by Tom Spellman Words by Lauryn Tomlinson

REINFORCING THE IMPORTANCE OF SIMPLICITY If you’re going to have ‘Badman Attire’ printed on the labels of your clothes, your designs had better be good.

Well Grind London do. And they are. They started off in 2008 printing T-shirts to sell online, as so many budding streetwear brands do. What’s set it apart is a mixture of great marketing, clever expansion of their product line and of course, really great designs.

Now producing printed shirts, shorts and hats, this British label first set itself apart with the perennial favourite, the T-shirt. International success is the goal but they’re clearly proud of their London roots. The Grind lookbooks feature classic scenes every young Londoner will recognise, from market stalls to council flats. Naturally inspired by the plethora of cultures those raised in London are exposed to, head of design, Youssef Metwali, has said his mixed Egyptian and English background has

also helped form the brand’s signature style. Though their expanding selection of graphic shirts are becoming a larger part of their collection, it’s their classic white logo tees that remain Grind’s signature look. www.grindlondon.com @grindlondon

REBORE COUTURE Words by Lily Mercer

FAUX DESIGNER KILLED THE FASHION LOGO

F

ashion relies on a snowball effect. You

Shepherd Fairey’s Obey.

see something, you like it, you adopt

it, you spread it. You probably infect

entering street culture is nothing new. For

around 10 people with the bug, who in turn

decades faux designer items have been sold

probably infect 10 people. And before you

across markets in major cities. Most people

know it, you’re all sick of whichever trend it

that have visited London’s Camden Market

was you helped transmit. Think of five fads

will recall spotting ‘Adihash’ or ‘Cocaine’ tees

you’ve picked up on. That’s probably a tiny

modelled on Adidas and Coca-Cola logos. But

percentage of the short-lived fashion items

today high-fashion has become the desirable

you’ve incorporated into your wardrobe

look. Sweatshops churning out cheap high

throughout life.

street clothing have caused people to expect

The concept of recognisable brands

There’s one trend that’s rapidly

fashionable, on trend clothing, regardless

approaching death, at least we hope so,

of their low-incomes. And so people want

a trend that Viper has coined “Rebore

unique, flashy clothes for less.

Couture.” It started out as a tongue in cheek

dig at high-end designer brands by broke

new logos to flip. No one was safe, as cult

fashion students, keen to wear Chanel but

Japanese/French design house, Commes de

not buy Chanel, and so the interlocking C’s

Garçon was unfortunately adapted into the

were vandalised in various ways. The trend

far less classy “Commes des F*ckdown.”

can be traced as far back as 2004, however

You can visualise the Eureka moment when

the Tumblr age sped up the lifespan as images

some uncredited Einstein cracked that code.

of paper bags plastered with Chanel stickers

On a more genuine note, this sarcastic writer

were constantly reblogged. Soon skater

would like to express shock and sadness that

brands jumped on the bandwagon, happy to

not a single lame T-shirt brand managed to

help mock any symbols of wealth and luxury

figure out that Fendi can be flipped into Fiend

they could. Pretty soon other logos fell victim

with just one letter shifted. Luckily this was

to these wannabe anarchists, including Gucci

left untouched, allowing Viper to make a

whose gold G’s were flipped in honour of

statement with our own tee, a comment on

Soon the race was on to find

Brian Lichtenberg will nEVER reside besides Pierre Balmain in the fashion archives

the state of rebore couture.

It didn’t take long for sweatshops to catch

onto the trend and any vaguely cool aspect of Rebore Couture died. And now the synthetic wholesalers that reside at the grim end of London’s Oxford Street and New York’s Broadway are inundated with

REBORE /ree-bor/ adjective

faux branded garments, cheapening a trend that had already become passé. Adding to the already desperately short life of the trend, the brands keen to enter into the trend without facing legal action are small, transient companies, ones able to quickly shut down and disappear. Were a high street brand to rework another brand’s logo, they would risk a lawsuit but wholesalers, independent T-shirt brands and online retailers are managing to get away with their usage by being less visible as a brand.

This is not the case for all of the Rebore

Couture additions however. Brian Lichtenberg has based his career on designing clothing that mocks the logos of well-known designer brands. Calling himself a fashion designer, Lichtenberg is more skilled in forgery than design, as he replicates the logos with a similar but less significant phrase. Examples include Celine into “Feline,” Balmain into “Ballin’” plus Gucci into “Bucci”; his best known however flips Hermes into “Homies.” Having undeniably made several thousands from sales of his Rebore Couture, Lichtenberg could be identified as the man responsible for killing the trend as his reworking of so many brands has cheapened the labels. His desire to link it with rap culture, as seen with the use of phrases like “homies” and “ballin’” suggests a need to be accepted by the streetwear scene. Unlikely to ever become a fashion mainstay, we’ll undoubtedly look back on Lichtenberg’s clothing one day the way we look at Von Dutch.

Rebore Couture relies on the recognisability

of a brand logo, the Hermes brand has become iconic enough to be recognised, even when it reads “Homies” instead. Yves Saint Laurent rebranded their label, not necessarily as a result of the popularity of this trend. However it was potentially inspired by the popularity of faux fashion labels. The iconic French label nearly fell victim to the pitfalls of having such a great logo, but one that is so easily manipulated.

Sadly the change of name to Saint Laurent Paris, and subsequent ‘SLP’ logo didn’t save them, with the arrival of a tee stating, “Ain’t Laurent without Yves,” a statement which dragged them back into the Rebore Couture debacle. However, the classic French label

The term refers to a copy or fake and can be used to describe a person or object which resembles another.

had already inspired one reworking that was

in 1899. Writing at a time when fashion and

more tongue in cheek than the other logo

class were mutually exclusive, his theories

destructions. LA women’s streetwear brand,

don’t have the same significance today. But

Dimepiece, adapted the YSL lettering into an

they do show that fashion is still influenced by

ode to psychedelics, with their LSD re-working

the Trickle Down/Trickle Up theory. German

from their 2011 collection.

sociologist and philosopher, Georg Simmel’s

Supreme attempted to sue Married

exploration into the dualism of fashion and

To The Mob’s designer, Leah McSweeney,

the representation of sameness/difference

due to her use of their iconic box logo. Having

could be applied to Rebore Couture. Out of

flipped it into Supreme Bitch back in 2004,

the individuals that have adopted this trend,

Supreme’s owner James Jebbia had stocked

it could be suggested that they are displaying

the line in his boutique, but later took legal

either a similarity to the ideas the designer

action against McSweeney when she filed

logo represents, or a blatant disregard of it.

a trademark application. She released a

statement on the case: “As some of you may

to be influenced by street culture, from

have heard, Supreme is suing me for $10

Alexander Wang to Chanel. In fact, you could

million over my “Supreme Bitch” design. I’ve

easily argue that high-fashion has jacked more

been using this design since the first MOB

of its style from the street than the other way

collection in summer 2004. I even sold it as a

round. With that in mind, maybe Rebore

tee at Union, a store owned and managed by

Couture has been influenced more by street

Supreme’s founder James Jebbia, who gave

art and satirical statements by artists like

the design his blessing. Now, he’s claiming

Ron English. While the original faux designer

that the design infringes his trademark rights.

goods were sold in markets during our youth,

Unlike some companies that blatantly rip-off

Rebore Couture is somewhere in the middle

other brand logos, Married To The Mob has

as guerrilla designers attempt to water down

always had its own identity and aesthetic by

the power of respectable brands. But while

being an extension of my life experiences. I

designer knock-offs are nothing new, the

started this company when I was 22 and have

ability to emulate a logo taps into something

come a long way without a piggyback ride

that money can’t buy. It’s also an anarchist’s

from anyone. Supreme Bitch is one design of

way of cheapening the representation of the

many; one slogan of many. And the use of the

logo. It’s a way of attacking a symbol because

design has always been to make fun of the

you know what it means, and to you, that

misogynistic vibe of Supreme and the boys

meaning is empty.

who wear it.” McSweeney stated she would

fight the lawsuit that she felt was an attempt

people soon lose sight of the establishment

to squash her free speech.

they are mocking, and seek to become a

The

Rebore

Couture

Equally, high-fashion has continued

But as acts like these tend to,

trend

part of it. Many designers within that group

demonstrates the prevalence of high and

have attempted to enter the elite, having

low culture intermingling, fashion’s “Trickle

gained attention by mocking them. But Brian

Down” theory can help explain the way high

Lichtenberg will never reside besides Pierre

fashion enters into street culture. The term

Balmain in the fashion archives. The lack of

is used to describe something economist

inspiration behind the designs prevent Rebore

and sociologist Thorstein Veblen discussed

Couture from having a great deal of longevity.

in his book, The Theory of the Leisure Class

BUY THE FIEND T-SHIRT AT VIPERPUBLISHING.BIGCARTEL.COM

SLVSTR

Introduce yourself.

My name’s Slvstr©, I’m an artist and designer from Oakland, CA. I now live and work out of NY. Tell us about “Sly” - the character that makes a cameo in most of your work.

The character Sly I use in the majority of my works is a small blue panther.

Being from Oakland where the Black Panthers originated, I chose to create a character based off an animal that’s been used as a powerful symbol. The Black Panthers used black as a colour to empower as well. I’ve always felt like the cyan tone of blue gave off great energy. I wanted to use it as a colour to brand and empower my art. Sly’s overall mission is to protect the youth and through him I would have an iconic character or symbol that people grow to love, even look up to.

What do your signature thunderbolts mean to you?

Thunderbolts have been great symbols through streetwear culture and even in design. I love the shape, it’s an interesting shape. For me, my bolts mean creation, power, energy, speed. It’s a still shape that has movement. I change the form of the bolt a lot in my works, from showing it as an iconic symbol to even creating them as clouds to form a captivating pattern.

Where does your inspiration come from?

A lot of my inspiration comes from many different things and people, mainly artists and figures I look up to. Andy Warhol, Keith Haring, Milton Glaser, KAWS and Takashi Murakami have always been legends who inspire my art. Hiroshi Fujiwara, NIGO® and SK8THING have always been great inspirations to me as well through streetwear culture.

You’ve been sketching since the age of three, when do you think you really found your style?

I feel I’ve yet to have found my “true” style. As an artist, visually I have so many different ways to convey my art, but for me one has yet to be “the” style. It’s a journey that I’ve been on all my life. I feel like I’m getting closer to finding it but my art changes and evolves so much that I’ve yet to personally identify with just one style. None the less, when I hand-draw something, people have been able to identify so maybe I have already found it.

How would you say your work has changed over the years?

Over the years it’s changed a whole lot. I’ve danced the line of illustration and design and have always used the two to better what I create. I’ve drawn all my life but didn’t start graphic design until I majored in it in college.

When you can illustrate and then use the knowledge of computers as more of a tool than a crutch, it’s a powerful combo. Overall it’s matured if anything while still remaining nostalgic, clean and playful. I’m painting now so that’s a whole new realm for more evolution and change.

You’ve done graphics including Kreayshawn’s album art, but it seems as though you’re painting more lately. Do you have a preference?

Painting is everything now. I plan to create the majority of my works in fairly large scale paintings. I’ll still always do design work and use my knowledge of the computer to turn my paintings or drawings into vector art.

You have an exceptional talent for hand-drawn typography, ever thought about creating your own font?

Typography definitely has been a big thing for me, it’s what got the majority of my focus back in school. I’ve always wanted to create my own typefaces. I have a few I’ve designed and played around with but have yet to place them where anyone could download to actually use. I definitely plan to someday.

Aside from your art, you’ve also launched a clothing line of your own.

What’s the difference between SLVSTR Season Zero vs Rare Panther?

What’s next for both?

Rare Panther© is an outlet for me to offer my style of design, illustration and aesthetic through fashion. It’s also here is to push a message. Without purpose there is no reason for creating. Slvstr© Season Zero was random. I had those illustrated flips on high end brands for a while and Paulo Wallo, a close friend of mine, encouraged me to make them into tees. He helped make that happen for me, at one point Slvstr© was going to be a clothing brand but I didn’t want to be named after me. God willing, Rare Panther© will continue to mature and grow to do great things while Slvstr© will stay as me the artist. I will continue to paint as an artist and create specialty items to release when the opportunity presents itself.

What’s your favourite piece of work to date?

To date the [current] series I’ve been painting, using iconic characters over time. On Instagram I’ve shown three pieces, Deception©, Loyalty© and Vanity©. I love those pieces because they’re so honest. The energy that

goes into painting them is very new for me, which I get excited about. I’m conceptualising a solo show where those pieces and many others will be featured.

be accomplished. I have these conversations with myself and I always ask, “Whats next?” Evolution, evolving, the future, taking things next level is a must! My career is just starting, it’s yet to begin really.

You’ve recently relocated from San Francisco to NYC. How’s the transition been for you?

It was for a move I had to make. SF is where I started, it molded me as an artist and as a creative. NY is where I have to show the rest of the world that what I’ve been cultivating for so long can stand the test of time. A lot of the greats work out of NY and I can see why! The energy here is very inspiring and aggressive. I’m here to create the best works of my life and to have a major impact on the world.

You’re currently gearing up for your first art show in NYC, what can we expect?

Truth, shocking imagery and concepts. A lot of people may not fuck with me after this first show or even think I’m crazy for the art that they will see.

Art is not about the visual in front of you, it’s about the conversation that imagery provokes. It’s about reporting today’s culture through imagery, controversy and honest points of view. Expect me to shake things up as I make my mark on history!

You’ve had a few highlights in the past couple months such as your collaboration with Monster headphones and the opportunity to exhibit your work at Miami Beach Art Basel. How do you feel about where you’re at in your career right now?

God has blessed me with meeting and working with great people as well as all these great accolades. At this point things are cool, but there is a lot to

Lastly, what do you want people to take from your art?

If nothing else, the message. There’s a lot of purpose in my work and as long as they see that, my purpose here on this earth is fulfilled. What’s truth to me may not be truth to you but through my art and accomplishments you’ll see that anything is possible. slvstr.com slvstrdesign

THIS IS MY

COSTUME THE LONDON ART COLLECTIVE RESPONSIBLE FOR VIPER’S BACKDROPS LET US IN ON THE SECRETS OF THEIR WORLD

How did This Is My Costume start?

Eden: We were in a Design + Technology lesson at school and decided to make a blog because we were bored. The original URL was something like iknitsocks.blogspot.com because thisismycostume was already taken.

Anyway, we began putting up photos of our increasingly wild social lives as well as our art. Somehow people found it and liked it, so started coming back frequently. I don’t know why.

Sam: Loads of emo girls have lame tumblrs with proper unintentionally funny names like ‘mycryingsoul.tumblr.com’. That made us realise we could call it whatever and we had drawn a picture of a wolf costume thing and it said ‘this is my costume’ next to it. That’s how it started really, boring DT lessons and emo blogs.

How many members are there officially?

E: There are three real OG ride or die members but we got some other people holdin’ it down for the squad.

S: Basically three, but a forth is kinda in the oven and we told people there was a girl in it as well, to make us seem open and stuff, but there’s not really.

There are seldom faces in your photographs. Are the artists of TIMC to be forever hidden?

E: For the moment I think we’ll stay hidden, I heard it’s cool to hide your face and stuff.

Marcus: No, doubt it.

S: It’s just easier really. Sometimes it’s to hide whatever we’re doing, not really from Police but the older brother or parent that happens to see their kid getting messy. Sometimes we don’t, it depends really. Also don’t you think pixelating looks kinda cool anyway? Like if someone’s blinking in the photo, if it’s pixilated it leaves so much mystery.

The lighthouse painted in the Viper photo shoot was similar to the lighthouse photographed in Malmö, Sweden. Are most of your murals influenced by places you’ve been and people you’ve met?

E: Yes, I feel that travelling can influence your work in many ways, not just confined to aesthetics. I feel like social and cultural differences can really highlight ideas and help refine an overall approach to work and maybe to overall life.

M: In some ways they’re linked to our past but a lot of the time they’re

not, or could be subconsciously. I take influences from people around me, old packaging, design work.

S: They’re normally just from the head, like if you draw something and try remember what it looks like and all the details, you normally end up illustrating it in your own way better. If I work from something I normally get too anal about it and it doesn’t really have any character.

How important is location for your murals?

E: Location for a lot of our work is key, I feel without an interesting location the final outcome would be nowhere near as effective. Our work is rarely seen in person and usually viewed online as a moment within space and time rather than experienced within the space. I feel the location of the painting itself lends as much to the overall aesthetic of the photo as the painting does. Painting in these places gives the outcome much more integrity as opposed to a painting on a canvas, as there’s some mystery and a narrative which is left up to the viewer to decide upon.

M: Location is very important. I don’t want to go and create somewhere everyone can go or everyone has been before. We like the places normal

people don’t like. The nitty gritty places. The fun places. The out there places. The places that get people questioning.

S: Yeah I think that’s the best bit really. Personally I think a lot of these places are just wasted spaces and something painted there looks kinda live. It’s also fun to paint big and not get too fussy like with a painting. If somewhere is grim, it’s quite a cool contrast to paint something cheerful and that kinda thing.

Lastly, what does This is My Costume mean?

E: Well it didn’t mean anything when we started. We just thought it sounded arty and we thought that was cool.

M: Nothing really. One member did a drawing of someone in a costume and next to the drawing it said, ‘this is my costume’. Simple.

S: You could say that when we take on our painting lives and internet lives, we’re in our costumes and we’re free but that isn’t true. Again its just like an emo’s tumblr name gone wild. thecostumelife.com

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R.I.P. Tallulah a.k.a. Waka Flocka Flame

1994-2013

SLVSTR