For basketball enthusiasts and internet heads alike, this past week was fruitful thanks to the work of Youssef Hannoun. Uploading his comparative video of Kobe and MJ pulling off seemingly identical plays throughout their career, the 18 year old’s video quickly became a viral sensation. Clearing nearly two million views in a little over a week, the piece has been picked up by major media outlets from Mashable to Hypebeast and has continued to spread across the internet. We tracked down Youssef to chat about the creation of the video, his love of basketball and his favorite plays from two of basketball’s greatest.
Discussing the similarities between Kobe and MJ through Youssef Hannoun's latest viral sensation
There’s always a few songs that stand out every summer enough to be called anthems. I suppose it all depends on the individual, but for me, “Get Free” worked as well as anything out there for setting the vibe, from poolside to beachside, at home and on the road. Like most of Diplo and Switch’s best work, it’s cosmopolitan by nature, music for the world by virtue of coming together out of a handful of different stylistic influences. It’s a testament to their taste that they thought to throw one of the girls from Dirty Projectors on a swelling, sexy reggae groove. The visuals, naturally, follow suit, following the island pulse at the song’s heart all the way to Jamaica, where directors SoMe and Iconoclast were able to soak up the scene in beautiful detail. Like most good videos, it’s a pretty natural extension of the song in question. Good times, good folks, good vibes.
Lono Brazil looks back on his times with Keith Haring
Written By Lono Brazil
One night Keith came to a party at Nell’s for art dealer Tony Shafrazi. As he was leaving he turned back to me and offered me a button to put on my Levi’s Trucker’s Jacket. I asked him if he could tag my jacket, since I saw his tag all over the Village I figured I might as well ask. So he obliged. He always carried sharpies in his bag, so he drew a little man on the back with a black sharpie. I saw him not long after at the Garage again and he brought me into his group. I started hanging out at his studio at 676 Broadway in Greenwich Village. Lots of cool people used to come through that studio. And it put me in the loop into the Downtown 80’s art scene.
Filmmaker Gaël Leiblang takes a closer look at the life and times of a global sports icon
The fastest man alive. It’s one of those titles that kind of justifies the Olympics even existing in the first place. The kind of phrase that conjures up images of Greek statues and shoes with wings on them, or maybe grainy footage of Jesse Owens sticking it to the Nazis in ’36. More recently though, for me at least, it conjures up memories of only one man, bursting out in front of the pack and beating his chest into a world record finish. Back when the Bowties was in its infancy, we wrote a brief piece on Usain. It had been maybe a year since that iconic scene, but the memory was still fresh in our minds. It’s probably worth nothing too, that at the time, he was 21 years old. Now, four summers later, Bolt once again held down the title, setting an Olympic record for the 100, and swooping up the 200m gold as well.
As is the case with any icon of that magnitude, I know I can’t be the only one that was curious about Usain’s origins, about the story behind the myth, about the other 25 years or so in between the ten or twenty second bursts of speed. Thankfully, Gaël Leiblang and the rest of the folks behind The Fastest Man Alive had the same thought, and set to work documenting Bolt’s life, giving us a chance to take a look at where he’s been and where he’s headed. From a biographical look back with family and friends to the events leading up to his historic 2012 run, The Fastest Man Alive represents a time capsule for a particular moment in sports history, capturing a modern day legend at the height of his powers. Not to mention, some settled motivation for the week.
Raised in Hong Kong until the age of 15, you could say Saiman Chow’s overseas upbringing helped inspire his artistic career. Influenced by his love of comic books, cartoons and Japanese pop culture, Saiman’s artistry spans a multitude of mediums, from illustration and design, to animation and directing. In his 2009 work Summer of Love, Saiman captures a variety of peculiar pairings locked in love between the months of May and August. Interestingly enough some of Saigan’s imagery made its way onto the cover of Ariel Pink’s 2010 release, Round and Round. Yet in his own words, Saiman describes Summer of Love as “a bitter sweet series that examine our fascinating yet frightening views on sexuality in our exploitative society.” Do your thing Saiman, do your thing. I’m not mad.
Examining the runaway success of streetwear label Pink Dolphin through the eyes of lead designer Cena Barhaghi
Photo by Max Gibson / Abramson Teiger Architects
Some say a recession is the best time to start a business. Less competition, larger talent pools, and the ability to grow a company on a shoestring budget all serve as viable reasons for why recessions can prove beneficial for entrepreneurs. Yet, even with so much to gain, it;s rare to see new companies thrive in such a dismal economic climate. Enter Pink Dolphin. The brainchild of Lloyd Omadehbo, more commonly known as Young L, within the last year Pink Dolphin has emerged as one of the preeminent street wear labels in the fashion landscape. With global distribution, and a slew of co-signs from the converging worlds of hip-hop and pro sports, it’s safe to say that in the 2012, Pink Dolphin is in motion. Not to mention, they opened their first flagship store on Fairfax Boulevard less than two months ago.
Mr. Pink's latest opus is challenging, beautiful and abidingly strange
There are plenty of reasons to be mesmerized by a songwriter like Ariel Pink. His songs can be confounding and frustrating, deeply evocative, sarcastic, seriously funny–and all of it, even when his intentions aren’t always clear, is delivered with the poetic proficiency and of a writer whose catalog of great and completely idiosyncratic songs is in the dozens. I suppose what’s most unusual about Pink, to my mind at least, is that it’s never been clear whether he needed an audience to do what he was doing. After all, it’s worth remembering the half-decade or so he spent producing dense, murky, if also brilliant, lo-fi jams in a home studio that preceded his ever having gained any audience whatsoever. But now, having reached the level of outsider luminaries, Pink and his band seem to have been put in a strange position.
Enter Mature Themes, the follow-up to Before Today, a fantastic, coming-out-party album whose lead single and unexpected studio gloss made Pink’s music accessible to no small number of new fans. Themes, coming on the heels of that success, manages an almost unheard of balancing act–it’s almost weird enough to feel purposefully alienating, and yet it feels so intrinsically connected to Today, that it actually feels like a logical progression, musically speaking. It feels like a reversion into Pinkness without feeling like a retreat. It’s pyschological, full of his typical oddball shit, occasionally impenetrable. But it’s also big and ambitious and beautifully constructed. In some ways it could just as easily have been made for an audience of one. But for the rest of us, it’s a pretty fascinating ride.
Download: Ariel Pink’s Haunted Graffiti – “Baby”
Exploring the origins of appearance and presentation
Written by Daniel Edmund
What is style? Does everyone possess it? Or is it obtained only by those who choose to actively cultivate it? Since almost the beginning of time people have been revered for their personal style. Everyone from Jesus Christ to Mick Jagger can be identified by a particular aesthetic that characterizes his or her self-being. Yet, with so many strands stemming from its roots, I’ve learned that style is a world within itself, a realm that everyone enters, whether willingly or not.
FlyLo is one of those artists whose creative output has been so consistently distinctive and weird, that you never have to worry much about quality control. The dude is a mastermind, with an ear for all things odd and warped and beautiful. More importantly, he’s intent on following that ear toward exactly what the fuck it is he feels like doing. I suppose Los Angeles was Exhibit A, but with Cosmogramma, or say, his DJ sets of late seem even more focused on expansion, on finding a space that’s truly unexplored. “See Thru to U” lands somewhere on the more accessible side of strange, a smooth, jazzy piece, propelled by bouncy percussion, some trademark Thundercat bass, and of course, Ms. Badu at the helm. Until the Quiet Comes is due out October 1st. Expect the unexpected.
Charting the meteoric rise of '70s pop culture photographer Brad Elterman
Brad Elterman By Ian Flanigan
In a pop culture landscape where television feigns reality and celebrities pose as icons, the work of Brad Elterman only gains relevance. Tapped by the hand of destiny to photograph the reclusive Bob Dylan in concert in 1974, the by chance occurrence spawned a single photograph that catapulted Brad to the pinnacle of the editorial world. Seemingly overnight, publicists, record execs, and media personalities grew infatuated with the photographer’s work, clamoring to make sense of how a virtually unknown photographer managed to capture an icon in the midst of his craft. He was 16 years old.
Pharrell preps for the release of his first coffee table book this fall
I wonder if Pharrell knows his true influence. He probably has an inkling, but how could he ever fully know? Does he know how many kids he influenced to take their size XXXL’s down to an L? Or how many kids he compelled to pick up a skateboard? Does he know how many kids he turned into producers, or how many fists hit tables to recreate “Grindin’” across lunch tables around the nation? He helped Britney get on, and made Justin Timberlake accessible to dudes, birthed a clothing brand that’s still relevant seven years in, and picked up a couple Grammy’s along the way. The list goes on, but I’m gonna stop there. We haven’t even gotten into N.E.R.D….
Adding another notch to his already expansive list of achievements, Pharrell’s latest endeavor comes to us in the form of the artist’s first coffee table book. Enitled Places and Spaces I’ve Been, the book will feature a variety of conversations with Pharrell’s numerous friends and fellow collaborators, from Kanye & Jay-Z to Hans Zimmer and Anna Wintour. Set to release officially on October 16th, with multiple colored covers to accentuate your own living space or bookshelf, I think it’s safe to say that Places and Spaces will be a keeper.
Given the fact that our phones now put the power and clarity of 8 megapixels in the palm of our hands, I think it’s fair to say that all that convenience has probably left our appreciation for art form of photography lacking. Which isn’t to say that that accessibility is a a bad thing by any means. But I do remember pretty clearly sitting in an art history class, marveling at a slide of Ansel Adam’s Taos Pueblo only to have the kid a few rows back raise his hand and ask, with all the conviction of someone who’s thought about their question for about a millisecond, what made the image worthy of our discussion. It was just a picture of a building, and what made that art? I suppose it’s always an interesting question to ask, assuming you’re not already jumping the gun by answering it yourself. But it struck me as funny, if also a little unfortunate, that the ease of photography today, for artistic or non-artistic purposes, could have made it so difficult to understand what so many people had seen before in those images.
My pretention aside though, the discussion popped into my head almost immediately in reflecting on the photography of Albert Renger-Patzsch, a master of early 20th Century German photography, whose work had a profound impression on New Objectivity in Weimar Germany. Renger-Patzsch, despite having a profound impact on his art, strayed away from descriptions of himself as an artist, instead choosing to classify himself more as a documentarian of things as they were, as a careful examiner into the nature of shape, light and contour. Renger-Patzsch’s work took a meticulous attention to detail, to highlighting shape and form, from flowers and small animals to massive human constructions like train stations or bridges. Like Adams, Renger-Patzsch’s photographs emanate aesthetic clarity, and even as they strive for that detached objectivity, they still bear the undeniable fingerprints of a master at work. Despite the destruction of his archives during WWII, Renger-Patzsch continued to have a profound impact on German photography up until his death in 1966. Somehow today, in a sea of iPhone photos, these seem all the more gorgeous.
At this point, the introduction doesn’t even really seem necessary. Suffice to say, I’m thankful for the A$AP movement. If nothing else, you have to admire the deliberate, polished aesthetic that defines Rocky’s work to date. Like most of his best work, “Purple Kisses” isn’t necessarily operating in uncharted waters–the main themes, both visually and lyrically, are pretty familiar. Drugs. Boobs. Hennessy. Chopped and screwed psychedelia. More boobs. But the magic is in the juxtaposition, in the presentation. In the minute details onscreen. More than anything, A$AP’s run over the last year and a half has been a triumph of taste. For all those reasons and more, “Purple Kisses” is pretty damn close to perfection. I feel pretty confident in saying the album shouldn’t disappoint.
Rising to the pinnacle of the tag team ranks by 1991, it was Wrestlemania VII that would mark the apex of The Nasty Boys WWF career. Overcoming the efforts of The Hart Foundation that night, The Nasty Boys would spend much of 1991 as the reigning WWF Tag Team Champions of the world.
You’d be surprised to know the origins of The Nasty Boys. Born Brian Knobs and Jerry Sags, the duo were in fact childhood friends whose similar dream of wrestling professionally actually became reality. Although champions in their own right, The Nasty Boys in ring skills left many to question their legitimacy as wrestlers, as Mick Foley recalls The Nasty Boys were, “sloppy as hell, and more than a little dangerous.”
Engaging in numerous feuds with top talent from the Legion of Doom and Harlem Heat to Money Inc. and the NWO, The Nasty Boys never did reach the same acclaim they obtained in 1991. Although their legacy remains intact as a quintessential example over the top characters that exemplified the WWF in the early 90′s.