Aris Tatalovich's Moment as a Fresh Phenom and Designer

Donovan Green wearing Aris Tatalovich - photograph by Julian Ranallo

Fashion, in the name of progress, offbeat-cool, and community, works and inspires many in Pittsburgh's creative sub-cultures. People like Makayla Wray and John Geiger have stretched their talents beyond the 'burgh's city limits to find footholds in the fashion industry as skilled designers of ready to wear garments.

Aris Tatalovich, an 18-year-old native of Beaver County, Pa., is next to prime himself and his eponymous fashion label for authentic creative audiences worldwide.

Attending the YEEZY Season 5 casting call for New York Fashion Week, styling young rappers like Famous Dex and Kodie Shane, and sitting on the radar of youth icon Ian Connor, Aris is having a moment as a fresh phenom and designer.

Focused on his outputs, Aris has created a spring/summer range, and he has begun pre-orders for his "Missing Pieces" backpack collaboration with Malachai Spivey of New York. The designs and the people who influence the presentation of Aris' designs are impressions of the now youth culture that fuels contemporary media.

Model: Bloody Osiris

For instance, Pittsburgh artists Donovan Green, Julian Ranallo, and Kobe Swank model or photograph the pieces in a way that localizes the current styles that Aris plays on.

The lookbook for Aris' spring/summer collection highlights two-tone green and yellow slacks, knives and compact duffle bags with utility straps, the straps being a concept that carries over to the "Missing Pieces" backpacks with Malachai.

Upon the release of Aris' projects, it would be special to see him become a more relevant figure in popular fashion and lifestyle.

Changing Pace in Atlanta

Lyon - photograph by Alex Young

"Atlanta, the city of the trap." 'Trap' references drug trafficking and a sub-genre of hip-hop.

Lyon a 23-year-old Atlanta native, and musician describes the city to me this way because he represents one of the alternate sounds that resonates from the A's music community. Lyon's rap is intentional poetry that offers soul and a change of pace to a city where there is more to talk about than fast drug lifestyles and strippers.

Listen, though, there is a sexy and luxurious coolness to urban life in the Southern city. When you hear and watch "Bad and Boujee" by Migos, a rap group from Gwinnett county north of Atlanta, understand new money is in the hands of thousands of people who worked hard to establish their success. Childish Gambino's hit show "Atlanta" theatrically displays the vibrancy and regularity of the city's cultures.

Still, Lyon is not sold on the glamor. He describes Atlanta's progressivity as "bittersweet" because black excellence runs rampant and so does the disenfranchisement of Atlanta's black people. Issues like gentrification take advantage of black people and have taken precedence since the construction of the new Mercedes-Benz Stadium.

But, what makes Atlanta rich are the opportunities available to people of color. Black people encourage each other in Atlanta and the communities support a diverse group of inhabitants.

"It's a melting pot here now. You get different tastes from everywhere," Lyon says.

People are able to thrive and make Atlanta a place where both white people and people of color coexist fairly. Southern hospitality welcomes everybody and keeps the Georgia city humming.

Additionally, the rising success in Atlanta is an inspiration, and music is a definite area that ATLiens find success in.

Atlanta's musical heritage has roots in the church, Civil Rights movements, and the streets that run the clubs. ATLiens and Rappers Outkast, Gucci Mane, and T.I. speak to the different lifestyles that reflect through songs in hip-hop. Likewise Lyon represents the breadth of tastes amongst the new talents in the city.

Lyon's personification precedes him when we talk on a Sunday afternoon at Ponce City Market, an ex-department store built in 1926 that now functions with restaurants and commercial shops. I understand his style upon the previous discovery of Lyon's SoundCloud bio, "Just tryna bring soul back to the city," it reads. The stark contrast to tone that Lyon's rap presents against people trying to "turn the club up," as he says, creates a conversation.

Lyon at Ponce City Market, Atlanta

Soul has affected Lyon all his life. If not for the drums in church or his involvement in the school band, Lyon says his mom is a big reason why warmth and musical instrumentation influences his music. She chose the stylings of George Benson, Al Green, and Marvin Sease to play for her son Brandon, who listeners and readers know as Lyon.  

However, in the city of the trap, it's been a challenge for Lyon to trust his soul in the rap scene.

"I was doing trap music for awhile. I was doing the whole auto-tune vibe, all of it," he says. "That was high school, though, early high school. People wanted me to do that. Friends would hear me play around on a beat and say, 'Yo record that!' It was bad."

Besides, mainstream media has a fascination for trap music and how it occurs in the Atlanta neighborhoods. The trap is a real lifestyle and occupation that disenfranchised people support to better their livelihood. Rappers from the trap make it cool. But, the exposé and promotion of the drugs and violence that coincide with the trap can be damaging to the reputation of African American culture. Atlanta rappers like Future or 21 Savage, as exciting as their music sounds, sensationalize gangster ways of shooting people, selling drugs, and counting stacks of money.

ITR: If you as an artist talk about doing drugs or gunning people down, how do you feel responsible for what happens in the communities?

Lyon: I feel responsible. Essentially, kids are supposed to idolize their parents. But that's not the way it is. We love celebrities. I'm not 'gonna tell a kid to go do something. You see what drug abuse has done to all of us and in black music period. Look at all the greats, we are strung out.

The narratives are "beating a dead horse" and shows like "Noisey Atlanta" by Vice Media distort the dynamic qualities to Atlanta as people's attention focuses on the trap.

"You're happy to see brothers doing anything besides kicking in someone's door," but drugs are "not all that's here," Lyon says.

While sober, Lyon urges other rappers to "think about what we could do with the power."

Though the scene is "turn up" now, Lyon has gained confidence knowing that more empathetic music styles find audiences too. He enjoyed seeing artists like "Raury come up" in Atlanta, and naturally Kid Cudi is a major influence on Lyon as well.

Currently, Lyon becomes relatable to publics through his music because he is not afraid to be himself. "Be weird. It's 2017 and it's OK to be weird," he says after referencing how he was the only one of his friends who rode skateboards.

Thoughtfully, Lyon's songs mean "life is bigger than us," he says. "I want it to be about the music, not me. I want the music to speak for itself [and] things people are afraid to embrace."

Since learning how to make beats in the fifth grade and starting rap in high school, "Paper Planes" sits as the only mixtape on Lyon's SoundCloud page. The song "Greenlights (+peerpressure)" means the most to him because it reflects upon his trying personal moments.

With entertaining and expressive lyrics, nostalgic and passionate scenes feature in Lyon's imaginative work.

“So many coveted rhymers know that they lying to us. They dishonor their occupation, but, honestly, honesty wasn’t obligated from the jump. But, I ain’t mad at y’all because after all the whole generation was raised on Adderall and G.T.A. I wonder how many cheat codes I need to keep me safe. I wonder how many lost souls are ‘gonna see the day.”

— Lyon in "Greenlights (+peerpressure)"

Cuts like "Fxckschxxl(rest.)" set expansive themes, and Lyon's tone challenges listeners to think beyond what society sets on our plates. He wants people to feel motivated beyond "school or your job," he says.

Ultimately, Lyon's next music output will be his debut project, which fans should look for later this year. He calls his 2015 "Paper Planes" tape rushed because he had lost his job at that time two years ago, and he will "put more time into the debut's production." His newer tracks like "Wake Up" supply groove to his affectionate words.

Despite the community's attention on the "turn up" trap music, Lyon hopes to find a niche to perform in front of. "The vibe is there," and areas in Atlanta like Little Five Points, Edgewood, Cabbagetown and Midtown could support his act. "Atlanta has always been supportive of the artists. People throw mixtapes through your window. We got that pull," he says.

Creatives Drink at Carnegie Museum of Art

Chancelor Humphrey and Cody Baker photograph by Ben Petchel

There are many dynamic departments of life in Pittsburgh. As young residents of the area, Cody Baker and Chancelor Humphrey prove that "creative" pursuits are worth while entertainment for young people in the city.

Together, Baker and Humphrey brand themselves as Creatives Drink. Their company works to connect the best parts of Pittsburgh regarding people, businesses and alcohol in fun, ambitious environments. Creatives Drink 7 will happen Feb. 9 at the Carnegie Museum of Art.

Along with credit for creating a welcoming atmosphere for Pittsburgh's progressive movers, Creatives Drink holds court because they cater to sponsors and relate to market publics drawing them to a central location. Bars, coffee shops and hotels are some of the places C.D. has ventured.

"From C.D. to C.D. I learn something new in every way. The biggest is finding out ways to benefit the sponsor more and more each time, while improving the attendee's experience," Baker says.

Attendees and those who know of Creatives Drink can see growth in the label through the organizations who support the events. Find automotive titan Audi, and others, as a sponsor of C.D. 7 and perhaps see the Audi A3 E-Tron with Creatives Drink text in six different languages on the car's hood. Give recognition to C.D. 7 for happening in the first contemporary art museum in the U.S.A. The Carnegie has done well at attracting Pittsburgh's contemporary community with functions like Boom Concept's silent disco and now with Creatives Drink.

Via @tehbakery Instagram story

Baker and Humphrey make strides in different sections of Pittsburgh to be sure their C.D. event represents the best of the city. 

“The most rewarding part of Creatives Drink is branching out to different neighborhoods and meeting new people from all over,” Baker says.

Join a contemporary Pittsburgh crowd in Oakland and enjoy the free experiences at C.D. 7 at the C.M.O.A. from 6 p.m. to 9 p.m tomorrow.

Carnegie Museum of Art

440 Forbes Avenue

Pittsburgh, PA 15213

412-622-3131

Glow End Theory 003

Between 1966 and 1967, Andy Warhol was the maestro of a series of multimedia shows called Exploding Plastic Inevitable.  The simultaneity of musical performances by The Velvet Underground and Nico, dance and theatrical choreography by the creative regulars of Warhol's Factory, and screenings of the Pittsburgh native's revealing films created a dynamic sensual environment new to performance art.  Glow End Theory, a series of events that empowers and shines a light on the women of color in the art/music scene around D.C., Maryland, and Virginia, is a contemporary version of the Exploding Plastic Inevitable multimedia experience. 

Founded by Jamal Gray, bandleader of DC's Nag Champa Art Ensemble, this past Thursday's Glow End Theory was organized by CMPVTR CLVB, a collective of creative acts who influence the DC and New York electronic music scenes through underground parties and shows.  Between the sixteen contributors of CMPVTR CLVB, like Robb Smokes who has done production for lineformation MILF and Quannumthrow who conducted the visual display for the night's event, there are a variety of creative identities expressed in the collective's individual performances. The third iteration of Glow End Theory, with sounds by DJ Little Bacon Bear, Jessicunt, Kryptk and Tomi Yeyo--also a member of CMPVTR CLVB--hit Black Cat on DC's 14th Street.  Meche Korrect, one of the performers from Glow End Theory 002, hosted the show as alem worldwide, Joy Postell, and Alex Vaughn shared songs from their recent projects too.

"The future is women," Vaughn said as she warmed up her vocals.

From the Women's March that unified 470,000 people in solidarity on the streets of  the U.S. capital to an event that catered to the creative expressions of African American women, we must respect and listen to the talents and voices from women's youth.

For a closer look at the female artists who have performed at Glow End Theory, follow their Facebook page or shoot them an email at glowendtheory@gmail.com to be included in their newsletter.  CMPVTR CLVB's website is also a place to explore the images and music of the collective's members.

Stay tuned for details on the next Glow End Theory.

Black Cat DC

1811 14th St. NW

Washington, DC 20009

Photograph by Maxwell Young

Stillers Postseason 01

Available under the t-shirt tab.

'Stillers' is Pittsburgh vernacular for the Pittsburgh Steelers, the city's iconic football franchise.  Stillers is also representative of the culture and fanatics who relentlessly support the Black n' Yellow.

My first ever Stillers game was September 24th, 1995 at Three Rivers Stadium; I was two months old.  I can't speak to it from memory, but it was a losing effort in which hall-of-famer Warren Moon threw two touchdown passes to fellow hall-of-famer Cris Carter, as the Minnesota Vikings routed the Steelers 44-24 on an autumn afternoon.  At least my first year of life featured the Stillers' return to the Super Bowl for the first time in sixteen years when Bill Cowher led Pittsburgh against Troy Aikman, Emmitt Smith and the Dallas Cowboys in Super Bowl XXX.

My house is a short walk away from Heinz Field.  When I open my bedroom windows, I can hear public address announcer, Larry Richert, call-out, "It's a Pittsburgh Steelers first down!" as I watch Antonio Brown and Le'veon Bell extend their arms outward indicating the same thing. Living on the North Side, you learn that the game of football and Stillers Nation is omnipresent.  This neighborhood that hosted the nation's first tax-supported library, is also the birthplace of professional football.  In 1892, the Allegheny Athletic Association, a sports club on the North Side of the 'Burgh, paid William "Pudge" Heffelfinger (three-time All-American two-way player at Yale) $500 to play in a game versus the Pittsburgh Athletic Club.  What's more is that this community has been home to the Pittsburgh Steelers since 1969.  Playing in Forbes Field with the Pittsburgh Pirates and splitting home games at Pitt Stadium from 1933 to 1969, the Stillers struggled to find their own identity--the City of Champions had yet to be established.  When the Black n' Yellow moved to Three Rivers Stadium, positioned on the edge of the Allegheny River, fortunes started to change.  Franchise owner Dan Rooney and legendary head coach Chuck Noll turned the Steelers into a powerhouse.  In the last 46 years players like "Mean" Joe Greene, "Iron" Mike Webster and Jerome "The Bus" Bettis have entertained the Stillers faithful to the tune of 22 divisional titles, 35 playoff wins and 6 Super Bowl championships--all the highest in NFL history.  Three Rivers and Heinz Field have been instrumental in ushering in new eras of winning football.

The on-field product of Stillers football--the Steel Curtain defense featuring vicious linemen and an offense that can be both finesse and bruising, epitomizes the blue-collar attitude of the people in the Steel Belt.  During the dynasty of the 1970s, when Terry Bradshaw, Lynn Swann, L.C. Greenwood, Mel Blount and company won four Super Bowls in a span of six years, the National Football league was just emerging into popularity.  As the Steelers continued to win in dominating fashion, like the five shutout wins the Steel Curtain produced in 1976, they became a frequently televised team.  Recording the fourth most played Monday Night Football games, football fans across the country could see how elite the Steelers actually were.  Couple the bandwagon fans who couldn't help but root for the Stillers with the mass exodus of people from Pittsburgh who headed down south or further midwest due to the collapse of the steel industry in 1983, and you can understand why Stillers Nation has become so expansive.  Those fans of older Stiller squads have started families and now their children are Stillers fans, engendering a hoard of Stillers faithful across the globe.  You can be in Italy in December and still catch a Sunday game at La Botticella, the Steelers bar in Rome.

As a Nation, Stillers fans don't just watch their team.  The devotion of the Stillers Gang is noted in our attire and memorialization of the beloved franchise.  Black and yellow is our uniform and it does not have to be game day to wear it.  Joe Manganiello, one of the strippers in the Magic Mike movies, is a native of Pittsburgh who makes sure his Columbian wife, Sofia Vergara, is also decked out in Steelers garb from head to toe.  Whether dawning a Pirates hat or sporting those ugly throwback uniforms on a quick trip to the Giant Iggle or cruising the streets of Beverly Hills, Stillers Nation rocks the black and yellow as a symbol of pride for the city they call home. Amidst the Steelers' 1975 playoff run, the late radio personality, Myron Cope, was ordered to "come up with a gimmick that would more intensely involve the Stillers fans."  His creation, 'The Terrible Towel', has been a waving fixture in every football stadium the Steelers have graced since then.  Cope's towel and many other traditions such as the singing and cheering to Styx's "Renegade" before every fourth quarter are indicative of Stillers Nation's engagement in commemorating Stillers lore as well as helping the current iteration to achieve the coveted hardware.

Like any form of entertainment, football is a service providing spectators of the sport elation, anxiety and sadness.  Sports is a byproduct of man's desire to compete, and the beautifully violent game on the gridiron takes center stage in modern society.  Every Sunday for seventeen weeks, watching the Stillers triumph or fall in crushing defeat is like watching your favorite drama series.  Injuries to key players and upsets league-wide are constantly changing the storylines of the season; it never plays out how you thought.  As I've grown up literally blocks away from the epicenter of Pittsburgh's heartbeat, immersed in Stillers culture, I've been able to understand more and more about the game and history of Stillers football.  Putting on that black helmet was never in the cards, as my parents knew the inherent dangers of the game. Yet, each agonizing loss to Tom Brady and each ignorant Stillers naysayer who would deny their superiority instilled a desire to discuss and take part in the construction of the Stillers legacy.

At InTheRough, it is our objective to discuss and create Life's Goods--the aspects of life that indulge our purest emotions.  Throughout the past year, ITR has been dedicated to documenting the culture of Pittsburgh as three of its five staff members call the city home. The creation of the Stillers t-shirt arose from this same effort, for there is no greater good than the Pittsburgh Steelers who are able to unite and grab the attention of the city of Pittsburgh.  The mustard-yellow, pepper-black, and white long sleeve t-shirts celebrate the uniqueness of football in the Steel City.  The shirts' embroidery was designed in-house by Justin Berk, Lanie Edwards, Alex Hersh, JR Walker, Quaishawn Whitlock, Alex Young and Maxwell Young while it was manufactured by Touch of Grey Tees in Pittsburgh.

Wrapping up their 35th playoff victory over the Miami Dolphins 30-12 today, the Steelers have advanced to next week's divisional round when they will play the Kansas City Chiefs.  Stillers t-shirts are available for purchase here, so we are prepared for the upset at Arrowhead Stadium. Stillers bend, they don't break.