THE FEEL FREE ARTZ GROUP
Saturday, November 21, 2015
THROUGH THE LENS: Marilyn Hue
“I am weird, perverted, flirty, adventurous, random, confident, hardworking, abnormally horny, passionate and assertive. I wear my heart on my sleeve and I don’t give a fuck about what other people think.”
Get familiar with Marilyn’s work and explore more of her photography on her Tumblr and Instagram.
KAWS "Permanent Vacation II" at the Eden Rock Gallery for Art Saint Barth
Duly marking the second solo KAWS exhibition at the Eden Rock Gallery for Art Saint Barth, “Permanent Vacation II” continues the Brooklyn-based artist’s pursuit of transforming iconic pop culture icons into thought provoking art pieces. Assembled in conjunction with Galerie Perrotin, “Permanent Vacation II” is slated to exude many of the abstracted inclinations we have come to expect from KAWS over the years and will be open to view from November 29 through until December 26, 2015. Be sure to check out the latest exhibition at the address listed below:
Eden Rock
St Barths, St Jean Bay, St Barthélemy
F97133 French West Indies
Eden Rock
St Barths, St Jean Bay, St Barthélemy
F97133 French West Indies
KICKS: The Yeezy Boost 750 "Black" Is Supposedly Dropping Soon/ Y-3 2016 Spring/Summer Footwear Collection/ Nike LeBron 13 "The Akronite Philosophy"/ Reebok OG Kamikaze II
Another month, another Yeezy drop. While the Yeezy Boost 350 “Moonrock” just dropped this past weekend, we’re already setting our sights on the next hyped release. According to GQ, the black iteration of the 750s will be out December 5. This colorway will only be the second release from the 750 style, with the first gray colorway selling out almost immediately back in February. Will you be trying to cop a pair?
Following multiple first looks at individual silhouettes from Y-3′s upcoming footwear collection, we have our first extensive overview of the entire Spring/Summer 2016 sneaker range from the mind of Yohji Yamamoto. The designer continues to balance avant-garde, fashion-oriented sneaker design with marketability that leads the adidas Originals main line, as evidenced by the heavy borrowing of Y-3 design language in the recent Tubular releases. Here, we have the new Kyujo silhouette first debuted at Paris Men’s Fashion Week in high- and low-top versions, followed by a familiar sight in the Qasa High in black and white colorways. Meanwhile, the Instapump-inspired Kohna Futuristic makes an appearance alongside the Boost QR Knit, with the Y-3 Primeknit Pure Boost rounding up the selection. Pre-order online now at Antonioli for delivery in March of next year.
LeBron’s career shows no signs of slowing down and Nike‘s latest iteration of the ball player’s signature shoe honors his success with ”The Akronite Philosophy.” Taking upon the name of James’s hometown of Akron, Ohio, the model dazzles in a multicolored, purple-hued colorway that represents the unpredictable journey that led LeBron to where he is today. Subtle black accents on the midsole, laces and large Swoosh on the forefoot complete the model’s look.
The Nike LeBron 13 “The Akronite Philosophy” drops in adults and kids sizes November 21 at Nike.
Fans of ’90s basketball shoe styles will have something else to look forward to this Black Friday. Reebok has announced that its OG Kamikaze II will see a November 27 release, coinciding with the unofficial shopping holiday. Originally worn by Shawn Kemp of the Seattle Supersonics, the style features an eye-catching supper of wavy black and white lines. Matched with subtle pops of forest green, the shoe is set atop Reebok’s Hexalite technology. Retailing for $115 USD, keep your eyes peeled at Reebok retailers such as Finish Line and reebok.com.
STYLE: UNDERCOVER x Medicom Toy GILAPPLE Light Series/ WANT Les Essentiels de la Vie x Liberty of London 2015 Capsule Collection/ 'Star Wars' x Nixon "The Dark Side Collection Part II"
As part of UNDERCOVER’s archival carry-over releases, the brand’s coveted GILAPPLE light series with Medicom Toy has returned for yet another season. Boasting color variations seen throughout the years, the latest GILAPPLE release features an improved, high-gloss painted finish and a classically styled forward-facing lamp with dimmer function accessible through the design’s stem. Although sold out in a number of location’s already, stay tuned to UNDERCOVER’s official website for stockist information and news on potential re-stocks.
Renowned for its choice of high quality fabrics across a selection of understated and ergonomic luggage options, WANT Les Essentiels de la Vie has teamed up with Liberty of London to offer a seasonal capsule collection. Surprisingly, the luggage imprint has not built each bag from vintage Liberty Art Fabrics, but has instead printed the unique pattern work onto each design’s organic cotton construction. Beautifully presented across a range of backpacks, totes and wash bags, the capsule collection retains full leather trimmings and gold plated hardware. For more information on the following collection and to have a look at the capsule’s footwear options, head directly to WANT Les Essentiels de la Vie’s official website.
Nixon has just dropped “The Dark Side Collection Part II” which is a collaborative effort with the Star Wars franchise. A collection of timepieces, backpacks, belts and wallets, the line takes design inspiration from Darth Vader, Boba Fett and Stormtroopers. Colorways are adopted from the visual stylings of the franchise and each piece embodies the essence of the character who inspired it.
Fear of God Unveils Full “F.O.G.” Collection
Jerry Lorenzo and Fear of God present a full look at their first-ever collaborative clothing project. The exclusive “Collection One” is a more youthful take on Fear of God’s mainline offerings, offering up Lorenzo’s signature aesthetic at a more affordable price point. Highlights include a selection of vintage-style band tees, military-inspired jackets, and a bomber vest.
The full lineup will release in-store and online from PacSun on December 11.
Your Cool Futuristic “Hoverboard” Is Illegal In NYC
First of all, hoverboards aren’t real, but that is the most popular term used to describe those self-balancing scooters that Justin Bieber propels himself forward with. Type “hoverboard” into Amazon’s search bar and that is what we are discussing here.
Earlier this week, the NYPD’s 26th Precinct tweeted: “Be advised that the electric hoverboard is illegal as per NYC Admin. Code 19-176.2.”
Pimp C feat Juicy J and Nas – Friends
Mass Appeal Records is gearing up to release Pimp C upcoming album titled Long Live the Pimp on December 4th.
FILM: Trailer: Central Intelligence / Trailer: Fifty Shades of Black Starring Marlon Wayans / Trailer: Star Wars: The Force Awakens
Dwayne Johnson and Kevin Hart star in the action comedy CENTRAL INTELLIGENCE, in theaters June 17th!
Brand new TV Spot for Star Wars The Force Awakens! with New Footage
MUSIC NEWS: Adele’s ’25′ Set to Break One-Week U.S. Album Sales Record; Sold Over 900K at iTunes First Day / Kandi Burruss: People don’t recognize the size of Atlanta’s music industry, By @PhilWHudson
After a day on sale, forecasters say ’25′ could sell at least 2.5 million in its first week in the U.S.
After one day on sale, Adele‘s 25 appears set to break *NSYNC‘s long-standing one-week Nielsen-era U.S. album sales record of 2.42 million sold, according to industry forecasters. Sources say the set is on track to sell at least 2.5 million in pure album sales in its first week, and sold more than 900,000 copies alone through the iTunes Store on its first day of release.
The 10 Most Heartbreaking Lyrics From Adele’s ’25′
25 was released on Nov. 20 through XL/Columbia Records. It’s Adele’s third studio album.
*NSYNC currently owns the single largest sales week for an album since Nielsen Music began tracking point-of-sale music purchases in 1991. (Prior to 1991, there was no authoritative music sales tracking service in the U.S. and thus, it was mostly unknown how many copies of an album or song/single were sold in a single week.)
*NSYNC’s No Strings Attached debuted with 2,416,000 sold in the week ending March 26, 2000. No Strings Attached has since remained the only album to sell 2 million copies in the U.S. in a single week.
Adele’s ’25′ Won’t Be On Streaming Services
Nielsen Music’s tracking week runs Friday through Thursday each week, so 25‘s first week will conclude on Nov. 26. Billboard is scheduled to report 25‘s debut week sales on Nov. 29, once Nielsen has finished processing its weekly data.
Before 25‘s release, it was reported that the album shipped 3.6 million physical copies to retailers. In addition, sources were forecasting 25‘s CD configuration to sell 1.5 million in its first week, while its digital edition could move another 1 million (meaning, its first week might be at least 2.5 million in total).
Now perhaps the question is: How much bigger can 25 get? Will it blow past the 2.5 million threshold? Can it hit 3 million? And what will 25 sell in its second and third week? Could it become the first album to sell a million copies in more than one week?
Adele Powers Through Lifetime of Regret on ’25′: Album Review
If 25 sells as expected, it will become the 20th album to sell at least a million copies in a single week in the Nielsen era. It would also instantly be the largest selling album of 2015 in total, surpassing the sales of Taylor Swift’s 1989, which has sold 1.74 million this year (through Nov. 12).
25 is also on course to debut at No. 1 on the Billboard 200 albums chart (dated Dec. 12), which would give the diva her second No. 1. She first led the list with her last album, 21, which spent 24 nonconsecutive weeks atop the list — most weeks at No. 1 for an album by a woman. 21 has sold 11.23 million copies in the U.S., and is the tenth-largest selling album of the Nielsen era.
On Nov. 19, Atlanta Business Chronicle’s Phil W. Hudson sat down with Kandi Burruss at her studio dubbed “The Kandi Factory” for the relaunch of her music label Kandi Koated Entertainment. Burruss is a former member of the Atlanta-based platinum-selling group Xscape and a Grammy award-winning singer/songwriter who penned songs such as “No Scrubs” for TLC and “Bills, Bills, Bills” for Destiny’s Child. In addition to her musical career, the music, film and play producer has been featured on television shows including The Real Housewives of Atlanta, The Kandi Factory, Kandi’s Wedding and Kandi’s Ski Trip.
Atlanta Business Chronicle: What can Georgia’s music industry do to capitalize on the momentum of its film industry?
Kandi Burruss: The film industry is doing great things in Georgia right now. But, the thing about the music industry that a lot of people don’t recognize is music has been doing a lot in the entertainment businesses since the 90s. Our group, Xscape came out in the 90s and it was a huge era [for Atlanta music because] all of the major producers, songwriters, and a lot of the hit artists were coming out of Atlanta and Georgia. We had TLC, Toni Braxton, LaFace Records, So So Def and you had Dallas Austin’s label. I don’t feel like people recognize how big the music industry has been here in Atlanta for a very long time. Even with the rap era being so big, you have so many of the hits with people like Rich Homie Quan, K Kamp, Future and 2 Chainz, who are coming out of Atlanta. We represent the majority of the people who are on the charts right now. And a lot of the people who are making the hits [who are] behind the scenes like the writers and producers are right here in Atlanta too. But people don’t recognize that. I know the Grammy association (National Academy of Recording Arts and Sciences) and ASCAP (American Society of Composers, Authors and Publishers) have been talking about trying to do more and figure out a way to make it make sense. They used to call Atlanta the “Little Motown of the South.”
The 10 Most Heartbreaking Lyrics From Adele’s ’25′
25 was released on Nov. 20 through XL/Columbia Records. It’s Adele’s third studio album.
*NSYNC currently owns the single largest sales week for an album since Nielsen Music began tracking point-of-sale music purchases in 1991. (Prior to 1991, there was no authoritative music sales tracking service in the U.S. and thus, it was mostly unknown how many copies of an album or song/single were sold in a single week.)
*NSYNC’s No Strings Attached debuted with 2,416,000 sold in the week ending March 26, 2000. No Strings Attached has since remained the only album to sell 2 million copies in the U.S. in a single week.
Adele’s ’25′ Won’t Be On Streaming Services
Nielsen Music’s tracking week runs Friday through Thursday each week, so 25‘s first week will conclude on Nov. 26. Billboard is scheduled to report 25‘s debut week sales on Nov. 29, once Nielsen has finished processing its weekly data.
Before 25‘s release, it was reported that the album shipped 3.6 million physical copies to retailers. In addition, sources were forecasting 25‘s CD configuration to sell 1.5 million in its first week, while its digital edition could move another 1 million (meaning, its first week might be at least 2.5 million in total).
Now perhaps the question is: How much bigger can 25 get? Will it blow past the 2.5 million threshold? Can it hit 3 million? And what will 25 sell in its second and third week? Could it become the first album to sell a million copies in more than one week?
Adele Powers Through Lifetime of Regret on ’25′: Album Review
If 25 sells as expected, it will become the 20th album to sell at least a million copies in a single week in the Nielsen era. It would also instantly be the largest selling album of 2015 in total, surpassing the sales of Taylor Swift’s 1989, which has sold 1.74 million this year (through Nov. 12).
25 is also on course to debut at No. 1 on the Billboard 200 albums chart (dated Dec. 12), which would give the diva her second No. 1. She first led the list with her last album, 21, which spent 24 nonconsecutive weeks atop the list — most weeks at No. 1 for an album by a woman. 21 has sold 11.23 million copies in the U.S., and is the tenth-largest selling album of the Nielsen era.
On Nov. 19, Atlanta Business Chronicle’s Phil W. Hudson sat down with Kandi Burruss at her studio dubbed “The Kandi Factory” for the relaunch of her music label Kandi Koated Entertainment. Burruss is a former member of the Atlanta-based platinum-selling group Xscape and a Grammy award-winning singer/songwriter who penned songs such as “No Scrubs” for TLC and “Bills, Bills, Bills” for Destiny’s Child. In addition to her musical career, the music, film and play producer has been featured on television shows including The Real Housewives of Atlanta, The Kandi Factory, Kandi’s Wedding and Kandi’s Ski Trip.
Atlanta Business Chronicle: What can Georgia’s music industry do to capitalize on the momentum of its film industry?
Kandi Burruss: The film industry is doing great things in Georgia right now. But, the thing about the music industry that a lot of people don’t recognize is music has been doing a lot in the entertainment businesses since the 90s. Our group, Xscape came out in the 90s and it was a huge era [for Atlanta music because] all of the major producers, songwriters, and a lot of the hit artists were coming out of Atlanta and Georgia. We had TLC, Toni Braxton, LaFace Records, So So Def and you had Dallas Austin’s label. I don’t feel like people recognize how big the music industry has been here in Atlanta for a very long time. Even with the rap era being so big, you have so many of the hits with people like Rich Homie Quan, K Kamp, Future and 2 Chainz, who are coming out of Atlanta. We represent the majority of the people who are on the charts right now. And a lot of the people who are making the hits [who are] behind the scenes like the writers and producers are right here in Atlanta too. But people don’t recognize that. I know the Grammy association (National Academy of Recording Arts and Sciences) and ASCAP (American Society of Composers, Authors and Publishers) have been talking about trying to do more and figure out a way to make it make sense. They used to call Atlanta the “Little Motown of the South.”
ABC: How much does it cost to get a music label off the ground?
KB: We just started with two new groups. You have to pay them money up front to sign them. Then, we pay money to get their images right. Then, we have to get a PR person. It can be very costly. If you put out a record on your own without any distribution, you have to use your own money to do it. It’s $20,000 just to have a rep push a song on a radio for six weeks in just a few markets. It can get very expensive depending on your approach. Right now, we have a PR person for them. We have people doing their social media and photo shoots. It adds up. I can’t give you one set fee because you do different things with different groups, but I’m sure before I get to even trying to get to a label, I’m going to be around $50,000.
ABC: What are the artists’ obligations when you sign them to your label?
KB: When I sign an artist, I give myself 18 months to get a distribution [deal] in place. Basically, they have to make themselves available for any press; they have to be there for recording, artist development or rehearsals, photo shoots, everything that they are supposed to do. They have to always be available for those types of things. If they are songwriters, they have to be in the studio constantly — writing and recording until I think that the songs are on point to be able to shop. They basically just have to make themselves available because in the beginning with us locking in distribution, I have to take in so many meetings where I have them perform live and be seen before we lock that in.
ABC: What is the process of getting a distribution deal?
KB: Getting distribution right now, because we are in a world where a lot of major record labels jump off of hype, they want to see high social media numbers. You have to have a following of your own before you can get to them because they have to invest so much money into the project. Basically, you have to take meetings with whomever the head of A&R ( artists and repertoire) with whatever label you’re meeting with and try to impress them with the group. Sometimes you don’t have to take the group in front of them, sometimes you can just impress them with the media kit and the actual songs without them even having to see the group perform live or if you think it’s more impressive for them to perform live you might fly them out. A lot of the major companies are in New York or L.A. so you have to fly your artist there to perform and do a showcase in front of a major label.
ABC: Financially speaking, what is the biggest different between owning a label and being an artist?
KB: As a label, you’re taking all of the risk. Like right now, for me, I have so many months that I have to lock in distribution unless I decided to put it out myself, which is costly. With that being said, if I don’t lock in what I need to lock in in that time period, then they get to talk away free and clear, and I’ve already invested all of this money. But, if I do lock in my distribution, they’re signed for so many years or so many albums. That’s when you see so many artists say, “It’s not fair,” because after then if they blow up they’re only getting a small percentage. Well, the only reason you’re getting a small percentage is because the label took all of the risk in the beginning when nobody knew you.
ABC: Why did the label go on hiatus?
KB: Once I became a part of The Real Housewives of Atlanta, I’ll just be honest and say it: I lost focus on the music. You get so caught up in the TV world and you’re making good money doing that. I used to be a studio rat. It’s all I wanted to do. But, when you’re taping all of the time and you’re only getting a day off, it’s like, “I’m tired, I don’t want to be in the studio.” It just went on the backburner and wasn’t a priority like I should have continued to make it.
ABC: Are your groups making money yet?
KB: They’re starting to do shows. It’s not on the level we’re about to take it, but they are bringing in revenue.
ABC: What is here at The Kandi Factory?
KB: It’s a full entertainment center. We have music production, television production and artist development here. You can record your music and we can tape TV shows in this building.
ABC: What TV shows are you currently shooting here?
KB: Right now, we are shooting stuff for our website TGITV.com. Kandi Koated Nights is one of the shows and we have a few more. We also develop ideas and TV shows that we pitch to networks.
ABC: What’s it like being a woman in a male-dominated industry?
KB: It’s great. Anytime you’re the first to be able to break through and be able to open the door for other women to be able to come in and do their thing, it feels good. I was the first woman to win the ASCAP Songwriter of the Year for the Rhythm & Soul awards. That’s a major accomplishment. To be able to be amongst my peers of mainly men and have them respect me and want to work for me, it feels good.
ABC: What has changed most in the music industry since you began?
KB: For one, when I came up, R&B was killing the charts. We were No. 1. Top 10. Girl groups were big in the 90s. But now, rap has taken over and there aren’t are many vocal groups. The other thing is that it’s an independent world. If you have the money, you can put out your record independently and you can really blow up. But back then, you felt like you had to sign to a major [label]. That’s why if I chose to go to a major for distribution, I have to get it done in 18 months. I can actually put it out myself If I wanted to and wanted to financially take all of the risks. People can blow up off of social media now. Social media wasn’t even around back then. You have to think you have all of these people blowing up from YouTube. YouTube didn’t even exist back in the early 90s. It’s a whole new world. You have so many new ways to promote and market yourself, but you have to have the right team to do that and make it happen.
ABC: Why did you decide to sign Loud and Glamour to your label?
KB: Loud are from ages 14 to 16. I really love them because it’s girls and guys and they’re multicultural. What’s so dope about that is right now everybody is going crazy over race. There are so many negative things out there. It’s good to promote these young kids who get together and are like sisters and brothers where color isn’t an issue to them. The whole race issue is still a problem because you still have older people hanging onto the past. The younger people are changing things and I feel like that’s a beautiful thing to see. We also have our girl group Glamour and they are super dope. I love them because I was in a girl group and I was a teenager when I signed to Jermaine [Dupri] and So So Def. I definitely was excited to see two groups around the same age that I was when I started who I can help grow.
ABC: How did you meet Jermaine Dupri when you were young?
KB: When we first met Jermaine, Kris Kross hadn’t come out yet. He was still working on them. We sang at his 19th birthday party and he was like “I want to work with you guys, but I have to finish this group that I’m doing.” We were like, “Yeah, Yeah. OK” because we kept hearing that from so many people. We didn’t know he was going to get his own label because Kris Kross made it so big. But, he was a man of his word and came back and signed up and we blew up right off the rip. As soon as he signed us, he finished our album in like a week, our record was out in less than a month and we went straight to No. 1.
ABC: Is it true you’re opening a new restaurant?
KB: Yes. We are doing a restaurant that is close to the stadium in Castleberry Hill. It’s going to be called OLGs –Old Lady Gang’s. It’s Southern cuisine. On The Housewives, people had a chance to see my mother and her sisters and they call them the Old Lady Gang. People hashtag it. They cook very well. I come from a family where we have a lot of great cooks and a lot of the some of their recipes are going to influence the things on the menu. Since it’s a family restaurant with Southern cuisine, I was thinking when you think of an old lady, you think they can cook well. (Laughs)
KB: We just started with two new groups. You have to pay them money up front to sign them. Then, we pay money to get their images right. Then, we have to get a PR person. It can be very costly. If you put out a record on your own without any distribution, you have to use your own money to do it. It’s $20,000 just to have a rep push a song on a radio for six weeks in just a few markets. It can get very expensive depending on your approach. Right now, we have a PR person for them. We have people doing their social media and photo shoots. It adds up. I can’t give you one set fee because you do different things with different groups, but I’m sure before I get to even trying to get to a label, I’m going to be around $50,000.
ABC: What are the artists’ obligations when you sign them to your label?
KB: When I sign an artist, I give myself 18 months to get a distribution [deal] in place. Basically, they have to make themselves available for any press; they have to be there for recording, artist development or rehearsals, photo shoots, everything that they are supposed to do. They have to always be available for those types of things. If they are songwriters, they have to be in the studio constantly — writing and recording until I think that the songs are on point to be able to shop. They basically just have to make themselves available because in the beginning with us locking in distribution, I have to take in so many meetings where I have them perform live and be seen before we lock that in.
ABC: What is the process of getting a distribution deal?
KB: Getting distribution right now, because we are in a world where a lot of major record labels jump off of hype, they want to see high social media numbers. You have to have a following of your own before you can get to them because they have to invest so much money into the project. Basically, you have to take meetings with whomever the head of A&R ( artists and repertoire) with whatever label you’re meeting with and try to impress them with the group. Sometimes you don’t have to take the group in front of them, sometimes you can just impress them with the media kit and the actual songs without them even having to see the group perform live or if you think it’s more impressive for them to perform live you might fly them out. A lot of the major companies are in New York or L.A. so you have to fly your artist there to perform and do a showcase in front of a major label.
ABC: Financially speaking, what is the biggest different between owning a label and being an artist?
KB: As a label, you’re taking all of the risk. Like right now, for me, I have so many months that I have to lock in distribution unless I decided to put it out myself, which is costly. With that being said, if I don’t lock in what I need to lock in in that time period, then they get to talk away free and clear, and I’ve already invested all of this money. But, if I do lock in my distribution, they’re signed for so many years or so many albums. That’s when you see so many artists say, “It’s not fair,” because after then if they blow up they’re only getting a small percentage. Well, the only reason you’re getting a small percentage is because the label took all of the risk in the beginning when nobody knew you.
ABC: Why did the label go on hiatus?
KB: Once I became a part of The Real Housewives of Atlanta, I’ll just be honest and say it: I lost focus on the music. You get so caught up in the TV world and you’re making good money doing that. I used to be a studio rat. It’s all I wanted to do. But, when you’re taping all of the time and you’re only getting a day off, it’s like, “I’m tired, I don’t want to be in the studio.” It just went on the backburner and wasn’t a priority like I should have continued to make it.
ABC: Are your groups making money yet?
KB: They’re starting to do shows. It’s not on the level we’re about to take it, but they are bringing in revenue.
ABC: What is here at The Kandi Factory?
KB: It’s a full entertainment center. We have music production, television production and artist development here. You can record your music and we can tape TV shows in this building.
ABC: What TV shows are you currently shooting here?
KB: Right now, we are shooting stuff for our website TGITV.com. Kandi Koated Nights is one of the shows and we have a few more. We also develop ideas and TV shows that we pitch to networks.
ABC: What’s it like being a woman in a male-dominated industry?
KB: It’s great. Anytime you’re the first to be able to break through and be able to open the door for other women to be able to come in and do their thing, it feels good. I was the first woman to win the ASCAP Songwriter of the Year for the Rhythm & Soul awards. That’s a major accomplishment. To be able to be amongst my peers of mainly men and have them respect me and want to work for me, it feels good.
ABC: What has changed most in the music industry since you began?
KB: For one, when I came up, R&B was killing the charts. We were No. 1. Top 10. Girl groups were big in the 90s. But now, rap has taken over and there aren’t are many vocal groups. The other thing is that it’s an independent world. If you have the money, you can put out your record independently and you can really blow up. But back then, you felt like you had to sign to a major [label]. That’s why if I chose to go to a major for distribution, I have to get it done in 18 months. I can actually put it out myself If I wanted to and wanted to financially take all of the risks. People can blow up off of social media now. Social media wasn’t even around back then. You have to think you have all of these people blowing up from YouTube. YouTube didn’t even exist back in the early 90s. It’s a whole new world. You have so many new ways to promote and market yourself, but you have to have the right team to do that and make it happen.
ABC: Why did you decide to sign Loud and Glamour to your label?
KB: Loud are from ages 14 to 16. I really love them because it’s girls and guys and they’re multicultural. What’s so dope about that is right now everybody is going crazy over race. There are so many negative things out there. It’s good to promote these young kids who get together and are like sisters and brothers where color isn’t an issue to them. The whole race issue is still a problem because you still have older people hanging onto the past. The younger people are changing things and I feel like that’s a beautiful thing to see. We also have our girl group Glamour and they are super dope. I love them because I was in a girl group and I was a teenager when I signed to Jermaine [Dupri] and So So Def. I definitely was excited to see two groups around the same age that I was when I started who I can help grow.
ABC: How did you meet Jermaine Dupri when you were young?
KB: When we first met Jermaine, Kris Kross hadn’t come out yet. He was still working on them. We sang at his 19th birthday party and he was like “I want to work with you guys, but I have to finish this group that I’m doing.” We were like, “Yeah, Yeah. OK” because we kept hearing that from so many people. We didn’t know he was going to get his own label because Kris Kross made it so big. But, he was a man of his word and came back and signed up and we blew up right off the rip. As soon as he signed us, he finished our album in like a week, our record was out in less than a month and we went straight to No. 1.
ABC: Is it true you’re opening a new restaurant?
KB: Yes. We are doing a restaurant that is close to the stadium in Castleberry Hill. It’s going to be called OLGs –Old Lady Gang’s. It’s Southern cuisine. On The Housewives, people had a chance to see my mother and her sisters and they call them the Old Lady Gang. People hashtag it. They cook very well. I come from a family where we have a lot of great cooks and a lot of the some of their recipes are going to influence the things on the menu. Since it’s a family restaurant with Southern cuisine, I was thinking when you think of an old lady, you think they can cook well. (Laughs)
NEW MUSIC: Justin Bieber - Company / 50 Cent - Body Bags / Rick Ross – Amazing Grace
Justin Bieber decides to release his brand new visual for Company. Justin new album titled Purpose is on sale right now.
50 Cent is back and decides to release his latest single called Body Bags. This will appear on The Kanan Tape, dropping sometime soon.
Rick Ross keeps the content coming by dropping his latest visual for Amazing Grace. This will not appear on Black Market in stores December 4th.
Saturday, November 14, 2015
PHOTOS BY VAN STYLES / PRINTS AVAILABLE @VISUALAPPAREL.COM (Softest Hard x Risk)
In my opinion collaborations are best when they are natural. Whether it be brands working together or artists the results are always great when they make sense. Last month I was asked to be apart of show at the Buck Shot Gallery located on the West Side of L.A. The theme of this show was centered around various pieces created by famed artist Risk. To me this was an honor considering the other talented people that would be involved in this group showing.
I received a skull created by Risk himself and was asked to interpret it anyway with my camera. I decided it would be fun to work with a model for this. Immediately I felt Softest Hard was who I wanted to do this with. She has a great artist eye the goes beyond her photos and can be seen through her personality. We got together at my studio to create. While I didn't have anything planned exactly this was a fun experience given the idea of photographing an art piece with Softest. To me a woman's body is a work of art as well so I was excited to see what we came up with.
I think we got the job done and had fun doing what we love to do. Which is what it should always be about. At the end Risk liked the photo so much he decided to add his touch to it via painting on it and creating a 1 of 1 collectable. It is always rewarding to be able to link up with others and to create. I feel very fortunate to have had the chance to do this. Thank you Softest Hard,Risk and everyone at Buck Shot for having me be apart of such a great collaboration!
1 of 1 Collaborative piece with Softest Hard x Risk and myself.
Prints of the original photo are available here.
I received a skull created by Risk himself and was asked to interpret it anyway with my camera. I decided it would be fun to work with a model for this. Immediately I felt Softest Hard was who I wanted to do this with. She has a great artist eye the goes beyond her photos and can be seen through her personality. We got together at my studio to create. While I didn't have anything planned exactly this was a fun experience given the idea of photographing an art piece with Softest. To me a woman's body is a work of art as well so I was excited to see what we came up with.
I think we got the job done and had fun doing what we love to do. Which is what it should always be about. At the end Risk liked the photo so much he decided to add his touch to it via painting on it and creating a 1 of 1 collectable. It is always rewarding to be able to link up with others and to create. I feel very fortunate to have had the chance to do this. Thank you Softest Hard,Risk and everyone at Buck Shot for having me be apart of such a great collaboration!
1 of 1 Collaborative piece with Softest Hard x Risk and myself.
Prints of the original photo are available here.
BOOTS: FEIT Semi-Cordovan 8-Eye Lace Up Boot/ Wale x VILLA x Timberland 6" Boot "The Gift Box"/ Ronnie Fieg x Fracap RF120 Hiking Boots/ visvim 2015 Fall/Winter 7-HOLE 73-FOLK (VEGGIE)/ Vibram Sole Factor Replaces Your Soles With a Color of Your Choosing
Known for its handmade designs, classic silhouettes, and minimalist leanings, FEIT presents its latest piece: the Semi Cordovan 8-Eye Lace Up Boot. Boasting semi-cordovan leather construction (which is typically reserved for high-end dress shoes), the boots come built atop a double-stitched Goodyear L-shaped welt for durability and feature details like a felt-lined interior, matching collar, bamboo shank, buffalo and cork insoles and rugged Vibram outsoles.
Available in oxblood and black and limited to 64 and 80 pairs, respectively, the Semi-Cordovan 8-Eye Lace Up Boot is available now directly from FEIT for $760 USD.
Philadelphia-based VILLA has once again teamed up with Grammy-nominated rapper Wale, this time to curate a special edition version of the Timberland 6-Inch Boot. The second release in the partnership between Wale and VILLA is dubbed “The Gift Box,” and is inspired by the holiday season and the unconditional exchange of gift-giving. The exclusive “Gift Box” 6-Inch Boot is constructed with a premium tide pool blue rich nubuck upper featuring a contrasting vivid gum outsole. Additional details can be found on the eyelets which come dipped in a vibrant splash of gold. Each men’s pair is packaged in a special edition co-branded Timberland and VILLA box and pre-packed with a plush cloth gift bag.
“The Gift Box” 6-Inch Boot curated by Wale and VILLA will be available in men’s ($200 USD), grade-school ($130 USD) and toddler sizes ($85 USD). The shoe will be sold at select VILLA locations nationwide and online at www.ruvilla.com on November 24.
KITH’s “Ops” collection and the debut of the Filling Pieces RF-Mid II aren’t the only things Ronnie Fieg has in store for the weekend. Coinciding with the two drops is another collaborative endeavor from the designer and KITH founder: his very own Fracap boots. A take on Fracap’s staple M120, the RF120 makes a couple of subtle-yet-significant changes to the hiking boot. Built atop a Vibram Flex sole unit, the boots see the addition of a guardalo welt — an old school, scalloped design that shields the inside of the boot from the outside elements — for added protection while the upper has been crafted in smooth Italian leather with genuine shearling lining. Finishing touches include everything from a gusseted tongue and metal D-ring eyelets and grommets to marled laces and Fieg branding along the tongue.
Offered in both cream and tan colorways, the RF120s will be available from both KITH locations and KITH’s own web store for $275 USD per pair this Saturday, November 14 — the day after both the “Ops” collection and RF-Mid II see a release.
Hiroki Nakamura has dropped yet another collection of 7-HOLE 73-FOLK boots for Fall/Winter 2015, this time sourcing leather from Chicago’s Horween for the latest designs. Combining vegetable-tanned cow leather from Horween with Japanese kersey cloth, the latest takes on the 7-HOLE 73-FOLK once again feature replaceable Vibram outsoles and sport Goodyear welt construction along with medial Swiss RiRi zippers. Available in black, dark brown, and burgundy, visvim’s 7-HOLE 73-FOLK (VEGGIE) is available in stores and online now for ¥88,000 JPY (approximately $714 USD) per pair.
Since its founding in 1937, Vibram has made a name for itself in producing some of the most durable rubber soles in the market. Now, in the age of customization, the brand is updating its roster for the times with Vibram Sole Factor, a program that allows customers to mail any pair of shoes to the company to be upgraded with new soles. Even better, Sole Factor allows the customer a wide variety of color options to make their shoes one of a kind, be it a heavy duty hiking outsole welted to your dress shoes, or the addition of a camo pattern to jazz up your desert boots. Currently available only within the U.S., resoling rates begin at $75 USD per pair.
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