culture

Documenting George Washington University's 2015 Spring Fling with 3lau and Theophilus London by Alex Young

Washington, D.C. has become a home and a place of influence for InTheRough. Family and friends, travel, as well as College have all landed ITR in our nation's capital. D.C.'s classical metropolitan area featuring major sports, delicious eats, strong cultural centers, nightlife, and the unique characteristic of being America's Mount Olympus lends itself to an environment that inspires growth and creativity. Popular culture thrives in D.C., spawning artists like Wale and collectives like Proper Vibes who represent the area's appreciation for its consumption of Goods. These made George Washington University's April 4th Spring Fling concert with 3lau  and Theophilus London as well as a trip to Georgetown a welcomed event for InTheRough.

Electronic producer 3lau coolly took his position behind his computer, black Wayfarers intact, and met a GW crowd he was impressed by, jumping off stage to interact with the front row mid show. Theophilus joyously followed the electronic house producer bouncing to the stage with a huge smile and an aged pair of Air Jordan 1 "Royal" on his feet. His performance was exciting in large part to the rapper's live band and set list, which he chose via the MacBook eight feet to his left on stage. Theophilus' 2012 track "Big Spender" was flipped into a pleasant version we had never heard.  He too exchanged pleasantries with the crowd giving High Fives and hugs to anybody that wanted one.

Footwear was an interesting observational piece at the concert. The day's nice weather made sneakers a common theme. Progressive and hip hop influences the performers provided, matched with George Washington's setting placed keen attention to kicks. The Swoosh and its Jumpman bi-product were easily noticed in a sea of white Chuck Taylors. So, a visit to Nike Georgetown to conclude the trip seemed appropriate, especially when an inflated basketball teaches you a life lesson. 

InTheRough's latest trip to Washington, D.C. offered the opportunity to document George Washington University's 2015 Spring Fling. It also fostered an interesting conversation with somebody featured on ITR often, Cautious Clay. The DC based artist speaks on his talent, Ableton production, the D.C. music community, and his future in a forthcoming interview with InTheRough.

 

Mr. Happy by Alex Hersh

I stumbled on this video on accident. I wasn’t looking for it, so when I got a glimpse of Chance the Rapper’s face on a thumbnail of a Vice video, my jaw dropped from both confusion and excitement. To my surprise, on March 20th, Vice released a short film called “Mr. Happy”, which features Chano as a depressed and suicidal kid, who is ready to take the final step to his death. Chance’s genuine ability is beautifully showcased, and although it isn’t a full-length feature, he is able to offer at least a small dimension to his character. The storyline, although somewhat conventional, has quite a few unexpected turns, and enough intricate details and scenery that earned it a second watch in my book. The point is: watching one of my favorite musicians act was simply satisfying and comforting. I find solace knowing that in between those often depressing singles our man isn’t wallowing away in a studio, but finding other methods of expression that although are as, if not more, gruesome, reflect a healthy expressive process and creative development.   

It wasn’t until I already finished my first run through that I even made the connection between Chance and other rapper-actors like Childish Gambino, Kid Cudi, or Common. One after another, more and more musicians are taking roles on other creative expressive fronts, which paints in my mind a horizon filled with comprehensive artists that are multi-talented and faceted. This is something that as consumers and fans we should want, as those artists with experience in many mediums of creation can more wholly present new ideas and development. Art in all forms stimulates the mind, and promotes progression and creative process. I would rather have a Chance the Rapper who creates a variety of art, and is able to bring all of that experience outside of the music world back to the mic, than one who we as a population and consumer base, restrict to the music industry. It’s too static, and doesn’t properly reflect the culture we live in today where there is technology and social media that allows anybody to become anything. And while it seems as though it is out of our control as a population, it is our responsibility to remember that the industries that market art, music, and popular culture, do so to satiate our taste. When we show our support in these instances like Chance’s, more artists will be inspired and incentivized to step outside of the box, and seek that versatility that pop culture can have.  Enjoy the film.

Wiz Khalifa Covers 'Brick' Magazine Edition 01 by Alex Young

Pittsburgh's pride and joy Wiz Khalifa has been making noise recently from his recent release "Decisions" and his featured work on compadre Juicy J's Blue Dream & Lean 2 mixtape. Today he is of note because he covers the inaugural issue of Brick, a hip-hop and lifestyle publication that places the music and culture at its forefront. Edition 01 features Wiz speaking on the importance of inspiration, as well fresh innovative artists like Tinashe who comments on her growth and independency regarding production and songwriting. Standouts T.I., ScHoolboy Q, and Cam'ron also make appearances in Brick's first magazine issue. Pre-order your copy here and preview it with the visuals above. In honor of Wiz listen to his new work now under OfficeVibes.

Kanye West's 2015 BET Honors Visionary Award Acceptance Speech by Maxwell Young

The Monday broadcast of the 2015 BET Honors, which took place in January, revealed Kanye West's acceptance speech for the Visionary Award.  Co-founder of Rocafella Records, and the now largely aloof Damon Dash presented the award to Yeezy, speaking at length about West's inspiration and courage stemming from his late mother.  In a nine minute speech, West spoke on a myriad of topics ranging from his polarizing wife, money, and slavery. Check out the clip of a humbled Kanye West below.

Life in Color: An Examination of Today's Contemporary, Black Archetypes Ed. II by Maxwell Young

At InTheRough, it is our job to discern the latests trends and developments in urban culture.  A large part of our content is news-based, but what makes us unique are the insights into the importance and understanding of what we write about and how it fits into the greater fabric of urban culture.  Cognizant of this need to inform and educate, as well as the celebration that is Black History Month, InTheRough presents Life in Color: An Examination of Today's Contemporary, Black Archetypes.  Over the span of this month, InTheRough will be creating a series of editorials showcasing black individuals who have assumed pioneering roles in varying industries or facets of society that lack or misinterpret the black experience.


As New York Fashion Week is well underway, I found myself thinking about the black experience within fashion.  As I gathered my thoughts to create this piece, I could only name a few black individuals who have had significant involvement in the industry: Tracy Reese, founder of her eponymous label, has created looks for many celebrities including First Lady Michelle Obama; Shayne Oliver is the founder of the hyped label Hood By Air; Olivier Rousteing is the current creative director of Balmain; and Naomi Campbell, who needs no introduction, is one of the most iconic supermodels of the 20th century.  But past this, what is our history?  Do collections and fashion labels created by Jay Z, Diddy, and Kanye West count as viable fashion projects or are they merely market capitalizations on fame and popularity?

In fashion, the black aesthetic is largely misconstrued.  A lack of diversity on the runway with just 6% of last New York Fashion Week's looks being represented by people of color, as well as the lack of prominent black designers and tastemakers has pigeon-holed the black influence to streetwear and its connection with hip hop culture.  In a world where A.P.C.'s Jean Touitou can overstep and cite his relationship with Kanye West for an overtly racist design concept or where white models dawn black face as a form of artistic expression, Street Etiquette's refreshingly educational and informative take on style is vital for any change in rhetoric.

From its inception in 2008, Street Etiquette has occupied an entirely new space in the fashion industry.  Well groomed and well dressed black gentlemen had rarely been showcased, after all; the general consensus was that all we wore were baggy pants, hefty jewelry, and white tees.  But, by creating unique and thought provoking editorials, such as Slumflower, where 18 black individuals dressed in tailored suits are juxtaposed with the backdrop of urban decay, SE has showcased the fashionable, multi-faceted black man in ways that not only raise important societal questions, but that are largely neglected by mainstream voices.  Founded by Joshua Kissi and Travis Gumbs, Street Etiquette has changed the sartorial narrative surrounding black individuals.

In examining Street Etiquette and the scope of the business, I cannot definitively say that they are the only archetypes of fashion.  I cannot confidently articulate my beliefs that they are the influencers who are going to change and improve the corrupt foundation of the fashion industry.  The problems that have been prevalent since the 1990s--the lack of diversity and representation--are embedded in euro-centric beliefs that frankly have not changed.  Street Etiquette has circumvented these predicaments by presenting new perspectives of the black experience that the industry currently lacks. 

At the same time, though, what I have noticed is that black fashion in itself is an entire subculture of the fashion industry at large.  It is as such because of this constant neglect and misrepresentation.  Black fashion, whether it be through Tracy Reese's rise to prominence or through Shayne Oliver's immense impact on streetwear, has found a way to coexist and gain relevance in an adverse world.  These individuals and their establishments may be black, but they represent the multicultural experiences that continue to be ignored.  The black experience is not limited to high fashion and it is not bound by the parameters of hip hop culture.  To discuss one archetype as a symbol of this fashion subculture is to suppress its vast history and influences.