Tuesday, January 24, 2012

VoyR Presents: Watch The Throne Tour Behind The Scenes [All Episodes]

via Atlanta Got Sole by So Left Field on 1/24/12

We’re sure that you’ve been seeing various behind-the-scene Watch The Throne tour videos presented by VoyR scattered across the internet over the past couple of months or so, as they’ve followed the Jay & ‘Ye on their historic Watch The Throne tour. The series is actually more about ‘Ye than the duo, they just happen to be on tour together. VoyR states, “VoyR is an interactive entertainment experience to engage with our favorite artists, powering the WTT tour with Kanye West & Jay-Z.” Additionally, “VoyR will evolve ‘the fan’ from a spectator to an insider within the world of some of the greatest icons on the planet”. The entertainment platform has already been deemed “the next MTV” for giving fans unprecedented access. So rather than searching far and wide to catch the episodes, we’ve decided just to put them all here. Look no further, here are ALL the behind the scenes episodes thus far presented by VoyR (hopefully they’re in the correct order). Enjoy!

[Episode 1] “World Leaders”

In this episode, Yeezy offers a look backstage at the Madison Square Garden tour stop with appearances by Raekwon “The Chef”, Jay-Z, Angie Martinez and more while running a commentary about his pursuit for “awesomeness”.

[Episode 2] “The Chi”

In this second installment, VoyR focuses on their Chicago stop where Yeezy took Jay-Z to his neighborhood at the 77th Street/South Shore area in his hometown.

[Episode 3] “Permanent”

I’m sure fans of this site will be particularly fond of this episode. In this episode, VoyR takes viewers backstage during the WTT tour’s first show in our city of Atlanta with ‘Ye’s creative director Virgil Abloh.

[Episode 4] “Just Don”

AGS fans will also be particularly fond of this episode as VoyR takes us backstage in our city of Atlanta again, this time with Ye’s manager Don C who sports the SUPER heavy Chicago accent.

[Episode 5] “Just Kids From Chicago”

Episode 5 introduces some of Ye’s closest confidants, those who help him succeed daily. This installment gives us a pretty good glimpse of the often overlooked work that goes into a tour to bring us the product we see presented to us. This episode is narrated by Kanye’s creative director Virgil Abloh. ***YEEZY 2 ALERT!!!***

[Episode 6] “Church”

In the sixth installment entitled “Church”, Big Sean speaks on his and Yeezy’s relationship along with appearances from Mary Kate & Ashley Olsen, Mannie Fresh, John, Legend, and Hit Boy. This episode is narrated by Ye himself.

[Episode 7] “Giveaway”

Episode 7 follows Ye’s manager Don C. as he honors the lucky winner of tickets to the show.

[Episode 8] “Recap”

In this episode, VoyR speaks of the successes attained from the tour & this VoyR Project. It highlights the intertwining of social media with entertainment through “content, context and advocacy”, with the synthesis of artist, brand (in this case, partnership with Jeep) and fan through technology. This episode breakdowns various impressive statistics the record-breaking tour conjured up both online and throughout the 25 dates across North America.

[Episode 9] “Journey To The Throne”

Here we follow five essay winners from Vegas to LA, as they embark on their concert experience and what it meant to them. The five winners were selected from a pool of 2,000 people, and were awarded the chance to tour with Kanye West. How dope is that?!





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Lanvin Techno Print T-shirt


This Lanvin Techno Print t-shirt ($500) has a colorful and energetic design that can take an outfit to the next level if it’s balanced out with more subtle pieces.

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Monday, January 23, 2012

PROJECT NY | Android Homme

It's hard for me to choose only five pairs of shoes from Android Homme, they make amazing shoes with a great attention to detail and use of materials. Here are a few to get you hooked...

Photos: William Yan

LINK | www.androidhomme.com

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Thursday, January 19, 2012

Wednesday, January 18, 2012

The Drum Radio: 1/22 / Put Me In Coach: Effective Career Mentorship

the networking community for the next generation of leaders

A message to all members of The Network - A Marcus Graham Project

The Drum Radio: 1/22


Topic:  Put Me In Coach: Effective Career Mentorship

Guests: Kelly Welborn McLean & Antonio Neves


About our Guests: We will be speaking with Kathy Welborn McLean, of the Welborn McLean Group, an Executive MBA Coach, nationwide speaker and writer.  We will also be joined by Antonio Neves, award-winning journalist author and founder of

  Join in at 4pm CST by logging into blogtalkradio.com/marcusgrahamproject/

Visit The Network - A Marcus Graham Project at: http://network.marcusgrahamproject.org/?xg_source=msg_mes_network


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Tuesday, January 10, 2012

#nofilter @mharris2288 & @leste87 #goodtimes

Inside Supreme: Anatomy of a Global Streetwear Cult — Part I


ooks from Supreme NYC Fall/Winter 2011 Lookbook | Source: Weareyouneak.com

In a two part series, courtesy of our friends at 032c, BoF takes you inside notoriously press shy, New York-based streetwear brand Supreme. Today, in Part I, we examine how Supreme — the Chanel of downtown streetwear —became a global cult brand with its own myths, iconography and belief systems.

NEW YORK, United States — When the controversial young rapper Tyler, The Creator won the award for Best New Artist at the 2011 MTV Video Music Awards in August, he offered an enthusiastic, yet expletive-laden acceptance speech. “Yo, I’m excited as fuck right now, yo,” he said. “I wanted this shit since I was nine. I’m about to cry.” But with MTV’s censors on high alert, the speech was broadcast more like this: “Yo, I’m excited as - -— -- -, yo. I wanted -- -- -- – —- --. - -— - --.”

With the audio missing for about a minute straight to avoid any profanities and Federal Communications Commission (FCC) fines, viewers were left with no choice but to absorb Tyler’s image in mute. Clad in skinny dark jeans, an oversize tie-dye T-shirt with an image of a cat’s face on it, and a Supreme baseball hat with a leopard print brim, Tyler, who is 20 years old, was the only artist at the award show who could be said to actually embody how young people dress today. No outfit made from meat, no fancy three-piece suit with a cocked fedora, no oversize bling: Tyler looked exactly how certain young men at this very moment choose to wear their clothes on the streets all over the globe.

It’s no coincidence that the only logo the image-conscious Tyler wished to communicate was the one on his Supreme hat. After all, Tyler’s hodgepodge street aesthetic – a big chunk of skateboard culture and urban hip-hop with a dose of American sportswear prep and a winking, intelligent take on hipster irony – is the one Supreme has been cultivating for the past 17 years since opening its first shop on Lafayette Street in 1994.

The flashy sartorial sensibilities of, say, Russell Brand or Kanye West have mutated into their own category of sub-entertainment and, more often than not, their personal styles do not reflect the current vogue. So how then did the Supreme aesthetic finally become one of the most honest representations of how men choose to wear their clothes in the global mainstream today?

It’s easy to answer that question if one concedes that Supreme currently makes some of the best clothes for men in America right now. And for a brand routinely overlooked by fashion publications and menswear experts as “skate clothes” or, perhaps even worse, just a fad in a niche subculture, this may come as something of a surprise.

But can you blame the press for sleeping on it? For almost two decades, Supreme has existed in a cult-like bubble. Many of their short-run products have a blink-and-you’ll-miss-it shelf-life; you’ll pretty much never, ever receive an invite to some Supreme-sponsored open-bar fête (because they almost never happen); and unless you’ve been systematically tracking its product developments on the array of feverish blogs devoted to the brand, or know a mole on the inside who can text you when a new shipment has been delivered, you’ll miss out entirely.

Starting with its swagger-filled moniker, the label certainly has built a colossal and often intimidating public aura. “The most important thing I think is the name – Supreme,” says the art photographer Ari Marcopolous, a frequent collaborator whose images have helped define the brand’s visuals, including having his work silkscreened on an assortment of sneakers for the label’s partnership with Vans. “Really, you cannot do much better than that.”

Being sovereign – the supreme ruler of culture – is the brand’s unofficial mission statement; everything is appropriated, recontextualised and refitted in Supreme’s hands to be made better. (Not the least of which is the fire-truck red box logo ripped from the oeuvre of Barbara Kruger.) Chinos are constructed with military-grade reinforcement, hats are made with a sturdy square brim, and T-shirts are twice as thick. They’ve carefully chosen to cross-pollinate their homegrown image with unhip but timelessly macho brands like Hanes and The North Face, worked with blue-chip artists such as Jeff Koons and Christopher Wool for their art-deck series, and built ad campaigns around a motley crew of celebrities that have no direct connection to skateboarding, including Kermit the Frog, Mike Tyson and the pop star Lady Gaga.

In fact, the brand’s biggest appropriation of all is the very idea of what a skate shop is – or isn’t. “I don’t see Supreme as a skate shop at all,” says Steve Rodriquez, the owner of 5boro Skateboards and one of the founding members of the New York City Skateboarding Association. “It started a whole new genre of store. To some people, it became like a religion.”

Like most religions, James Jebbia, Supreme’s founder, is fiercely protective of his shop’s doctrine, its history, and of who is allowed to retell its myths. To him, most articles in the press about his brand get it all wrong. “All the magazines, if they’re being nice, just think we’re some cool little skate shop doing kick flips downtown,” Jebbia says. “They always write the same thing over and over.”

Because of this belief system, Jebbia and his team are notoriously press shy. Although Jebbia is soft-spoken and quite generous (by the end our conversation he offered me a checkered North Face for Supreme hat that was no longer on the shelf at the store but still in stock), he is cautious and skeptical about the media and those who write for it. “If you don’t understand us, then what’s the point?” he huffs, referring chiefly to the confusion on how to treat the brand (is it an X-games label like Quicksilver and Billabong, or a legitimate small fashion label more similar to agnès B or A.P.C.) and, more troublingly, the frequent pigeonholing of skateboard culture within the fashion industry as just a passing fad, no different from big shoulders or neon colours.

There are so few examples of stories about Supreme that Jebbia finds successful, he treats the chosen pieces like scripture that he is eager to share. The holy writ includes an interview with Glenn O’Brien from Interview magazine from 2009, a 1995 article from Vogue comparing the persnickety shopping habits of the uppity uptown women who peruse the racks at Chanel’s boutique on East 57th Street and the baggy-pants, bed-head boys who wait in line for hours at a time to shop at Supreme in SoHo; and of course, the 300-page retrospective of the brand released by Rizzoli last year (of which Mr. O’Brien wrote the introduction, and in which the Vogue article was reproduced in full.)

The message is clear: Supreme is sacred, and it’s sacrilegious to get the story wrong.

“The fashion industry doesn’t understand Supreme,” says the stylist Andrew Richardson, who has helped facilitate several projects with the label, including a calendar with Larry Clark. “And that doesn’t bother James one bit. They want James out and about, paying for dinners and hosting parties. But he’s not. Fashion people want something that is uncomplicated and easy to digest – those are the opposite things James embraces. But really, at the end of the day, James doesn’t care. Why should he?”

Hearing Jebbia talk about the press, you don’t get the impression that he is paranoid about being criticised or that he is tyrannical over what is written about his beloved brand. Most articles simply do not live up to the gold standard he has set for his label and himself, or the one expected from his fastidious customer-base. The impression is that most writers and publications are not worthy.

“We always try to shoot for the very best and go for it,” he says. “Some people call that snobbery, I guess. But it’s not.”

Indeed, selectivity and exclusivity are an integral part of the brand’s DNA. When the shop opened in 1994, it immediately became an epicentre for what Aaron “A-Ron” Bondaroff, the label’s front man, has called “train-hopping, taxicab-jumping, runaway kids.” And dudes from all over the city followed in reverence, often lining up for hours to be the first to score the latest products to come in, like candy-collared baseball caps or spacious bomber jackets with the Supreme logo shown discreetly on an outside tag. And even if you made it inside, the really real cool kids knew to ask for the hidden, in-the-know merchandise in the back storage room.

Remembers Bondaroff: “The social club wasn’t so inviting, though, and had a lot of attitude. We made the rules and ran a business that was very successful. People were addicted to the clothes like a drug. We didn’t want to work so hard so we developed a sales style that worked in our favour. In the early days, it was like, come in, but don’t touch. You can look with your eyes, but not with your hands. It was a crazy way to sell garments but the customer learned the deal: don’t fuck with us and we won’t fuck with you.”

The store was so cool, it was, well, scary. “I remember being so nervous walking past it, I would walk across the street,” says Jen Brill, a freelance creative director and “friend” of the brand since it’s inception, “even though a lot of the guys that worked in there were my friends. It was effective, though, and set an impeccable aura around the shop.”

In an interview with the graffiti artist KAWS from the Supreme retrospective, Jebbia maintains that, even in his own tank, he too felt like a fish out of water: “There were 50 or 60 skaters who’d just hang out there. And right at that time, too, Larry Clark was filming Kids. For me, again, it wasn’t part of my world, but I knew it felt very rebellious. It felt right and I liked it.”

Hiding out in the back room and letting the kids rule the roost allowed Jebbia to observe the natural habits and tendencies of his clientele, not unlike the objectivity achieved from a behavioural psychologist studiously taking notes behind a two-way mirror. He didn’t have to be a skateboarder at all, he just had to know what this new generation of skate kids wanted and what they weren’t getting anywhere else.

Most importantly, Jebbia developed the cunning to anticipate what they needed next. If you’re too far in it, you can’t see outside. The distance from the lifestyle, conversely, gave Jebbia a sublime ability to understand how best to represent the lifestyle. “I think James is always thinking with a 25-year-old skateboarder somewhere in his mind with everything he does,” says Richardson.

Tomorrow, in Part II, we explore the creative and commercial philosophies that underpin Supreme’s lasting success.

This article was written by Alex Hawgood and was first published by 032c. Click here for a preview of the current issue of 032c.

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Thursday, January 5, 2012


Levi Maestro + Vans Vault Old Skool Decon 77

Los Angeles release at UNDFTD La Brea
Saturday January 7th 2012
Food provided by: Kogi BBQ

UNDFTD // 112.5 S. La Brea Ave. Los Angeles, CA 90036

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STARTS TODAY! (IN-STORE ONLY. Online sale coming soon.)

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Tuesday, January 3, 2012

adidas “The Story As Told By Those Who Have Lived And Are Living It” Book

Ryanair Hostess Calendar 2012

via Design You Trust - Design and Beyond! by Glance02 on 1/3/12

Advertise here with BSA

feeldesain ryanair calend Ryanair Hostess Calendar 2012

The cover of the 2012 calendar of Ryanair’s Hostess. The first edition was published in 2008! It is always a calendar for charity!


Start your own Design Contest today and choose from 50-200+ custom design made just for you.

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Tree Trunks Inspiring the Decay Of City Life by Henrique Oliveira

HenriqueOliveira2 Tree Trunks Inspiring the Decay Of City Life by Henrique Oliveira

We were intrigued by the work of Brazilian artist Henrique Oliveira, whose original installations bring disruptions to gallery walls and probably to visitors’ minds. Oliviera uses tree trunks that are splitting and dying (worn by time and weather), in order to draw attention on the unseen forces that contribute to the decay of city life. The materials are collected by the artist on the streets of São Paulo. The peels of wood are curled onto a PVC pipe skeleton and then usually painted in a vivid color palette. The overall result is that of trees bursting out of gallery walls, an impressive and dynamic sight. According to My Modern Met, the idea for these works and exhibitions generated when Henrique Oliviera noticed a gradually peeling fence outside his window, back when he was a student in São Paulo. He used the dismantled fence in order to create his first project of this kind. Find his works as startling as we do?

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inst 34 Tree Trunks Inspiring the Decay Of City Life by Henrique Oliveira

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