Bleu Magazine Issue 33- Nipsey Hussle

MEN'S FASHION + ENTERTAINMENT + FITNESS + CULTURE

NIPSEY HUSSLE BREAKING RULES. MAKING MONEY. REPPIN’ HIP HOP

Cry BABIES...

Has the NBA Gone Soft?

DO THIS. LIVE LONGER. Chef G.Garvin talks fighting OBESITY in the AFRICAN-AMERICAN COMMUNITY

UNDERGROUND ART NYC’s SUBWAY TREASURES

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Ó CUESTION TEQUILA CUESTIÓN. EVERYTHING.

ASK YOURSELF THIS

Ó CUESTION WHEN WILL I TRY IT? AGED IN JACK DANIEL’S AMERICAN OAK BARRELS MORE GOLD MEDALS THAN PATRÓN

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$6&45*»/ 5&26*-" *4 ."%& 0' 5)& '*/&45 #-6& 8&#&3 "("7& "/% *.1035&% 5)306() /"4)7*--& 5/ $6&45*»/ &7&3:5)*/( :06 ,/08 "#065 5&26*-" -&"3/ .03& "5 $6&45*0/41*3*54 $0.

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FEATURES 41 ARTFUL LIVING: GRAFFITI THE TIMELESS EXPRESSION

51 COVER STORY: NIPSEY’S WAY HOW RAP'S RENAISSANCE MAN REWROTE THE INDUSTRY'S FORMULA

69 SPOTLIGHT: CHEF G. GARVIN COOKING, BREAKING, DOWN BARRIERS...

70 SPOTLIGHT: DJ ERA FROM THE DORM ROOM TO RUNNING THE ‘A

71 BOMBSHELL: ESTELLE TK PASSION, COURAGE, BULLSH*T, & TRUE ROMANCE

75 FEATURE: RE-CREATION 89 SCORE: HAS THE NBA GONE SOFT?

93 ON THE RISE: JOCKO SIMMS THEN AND NOW

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BLEUMAGAZINE.COM @BLEUMAGAZINE

FASHION HEALTH CULTURE ENTERTAINMENT INTERVIEWS bleumagazine.com

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sweatshirt KENZO

13 IT’S ME, IT’S YOU… LACOSTE & CITY PARK FOUNDATION...

15 THE 20 OLD SKOOL MUSIC VIDEOS

17 GAGDETS HERITAGE TECHNOLOGY

19 CAR VINTAGE VS. MODERN

25 BODY FITNESS FLASHBACK

27 GROOMING SIGNATURE SCENT

29 FUEL GUINNESS LAMB STEW / CASCADE HOLLOW PUNCH

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35 TRAVEL DETROIT: DON’T CALL IT A COMEBACK

39 OP-ED THE LOST CONVERSATION

45 FASHION MADHATTER

59 FASHION THE NEW CLASSICS

81 FASHION SAY IT LOUD

96 ICON: KID N PLAY

CONTRIBUTORS

TREYE GREEN WRITER Treye Green is a graduate of the University of North Carolina at Chapel Hill’s School of Journalism and Mass Communication. He has shot, edited and produced digital media pieces for CNN.com, The Daily Tar Heel, and WBTV News in Charlotte, North Carolina. He has written for the Huffington Post, the International Business Times and OK! Magazine. Along with his love for soul music and iced coffee, Treye has a soft spot for reality TV and Jack Purcell sneakers.

AGEN PERTILLAR WRITER

KEILA RIVERA MAKEUP ARTIST Keila Rivera is a freelance makeup artist in New York City. She received her certification at Empire Beauty School and earned a spot as a lead Makeup Artist for New York City Fashion Week.

For over 8 years shes been beautifying everyone from the music industry to television series. In addition to being an amazing make up artist, Keila also started her own teaching sessions young young, inspiring artists

A tech enthusiast to the core, Agen Pertillar spends a great deal of time studying to get his Masters in Marriage and Family therapy. Combining his love of technology and professional career, he is currently authoring a book that discusses technology and communication within the modern family. Hailing from New England, he can’t say no to a lobster roll. In his spare time he enjoys writing and contributing to tech blogs giving his two cents on the latest and greatest gadgets. Oh, and he can school you a little on fashion history too.

LEAH FERGUSON HAIR STYLIST Leah Ferguson began perusing her career in the hair industry shortly after completing a extensive cosmetology program at Jean Madeline Aveda Institute in 2009. Since then, she has been published in several magazines including Black Sophisticates, Passions Hair Magazine and Style Q. Leah is a fulltime freelance stylist based out of Philadelphia, Pa, and continues to advance in her career with her innovative styling and coloring techniques. Her ultimate dream is to one day become a creative director/ educator like her mentor Nick Stenson of JC Penney Salon where she works as a hairstylist specializing in cuts and color.

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TEAM BLEU

EDITORIAL DIRECTOR

DéVon Johnson

EDITOR - IN - CHIEF

Treye Green

MANAGING EDITOR

David Whitely

ART & PRODUCTION DIRECTOR

Carlton Brown

MEN'S FASHION + ENTERTAINMENT + FITNESS + CULTURE

NIPSEY HUSSLE BREAKING RULES. MAKING MONEY. REPPIN’ HIP HOP

Cry BABIES...

Has the NBA Gone Soft?

DIGITAL MEDIA MANAGER

DO THIS. LIVE LONGER. Chef G.Garvin talks fighting OBESITY in the AFRICAN-AMERICAN COMMUNITY

UNDERGROUND ART NYC’s SUBWAY TREASURES FASHION FLASHBACK WHERE ARE THEY NOW? WU-WEAR CROSS COLORS FILA p. 45

COPY EDITOR

Andrew Horton

FASHION MARKET EDITOR

Chris Sandford

CONTRIBUTING FASHION EDITOR bleumagazine.com

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FASHION EDITORS-AT-LARGE

On the cover NIPSEY HUSSLE photography ELTON ANDERSON fashion APUJE KALU grooming AJ CRIMSON sweater BALENCIAGA t-shirt THEORY jeans G-STAR RAW shoes CONVERSE all jewelry worn throughout ARTIST OWN

Erica Vain

Ronçois Alisha Crutchfield Apuje Kalu

UK CONTRIBUTING FASHION EDITOR

Sean Azeez

GROOMING EDITOR

Cataanda J

LIFESTYLE EDITOR SPORTS EDITOR DIGITAL MEDIA PRODUCER BLEU TV DIRECTOR ASSISTANT TO THE PUBLISHER

Adrian Jones Jackson Angel Quiles Brian Camacho Eliot Jones Gary Dickson

CONTRIBUTING EDITORS

Owen Duckett, Dorielle Jackson, Yisreal Richardson, Edric Robinson

CONTRIBUTING WRITERS

Edric Robinson, Tanyka Renee, Agen Pertillar, Yvette Brown

CONTRIBUTING PHOTOGRAPHERS OFFICE ASSISTANT INTERNS

Sinem Yazici, Owen Duckett, Julien Mitchell, Joel Lopez Nate Bassett Alivia Royal, Diamond Valles, Kishon Springer

Bleulife Media & Entertainment Inc. | 262 West 38th Street, 12th Floor, New York, NY 10018 | E-Mail: info@bleulife.com | Online: bleulife.com Printed in the USA. Opinions expressed by advertisers, columnists, feature writers or other contributors are not necessarily the opinions of Bleu Magazine or its staff.

All advertisements, photographs, text or illustrations are published with the understanding that the advertisers are fully authorized to have secured proper consent for the use thereof.

Bleu Magazine shall not be held responsible for any errors, loss, expense or liabilities on advertisements accepted after the deadline. Publication of the name or photograph of any person or advertisement in Bleu Magazine is not to be constructed as an indication of sexual orientation of such persons, advertiser or organization. Partial or complete reproduction of an advertisement, news article, feature or photograph from Bleu Magazine is strictly prohibited as Bleu Magazine is a registered trademark. A $25 or 1.5% (whichever is greater) fee will be charged for all NSF checks. All rights reserved.

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PUBLISHER'S LETTER

PHOTO BY ELIOT JONES / LOCATION: PAPER FACTORY HOTEL, L.I.C.

“ALL OF THE LIGHTS” by: KANYE WEST Turn up the lights in here, baby Extra bright, I want y’all to see this Turn up the lights in here, baby You know what I need Want you to see everything Want you to see all of the lights Something wrong I hold my head MJ gone, our nigga dead!

I slapped my girl, she called the feds I did that time and spent that bread I’m heading home, I’m almost there I’m on my way heading up the stairs To my surprise a nigga replacing me I had to take ‘em to that ghetto university

Nothing worth having comes easy. We are faced with challenges everyday. Whether it is catching the train to work on time, or getting to the post office before they lock the door so you can mail your rent check –obstacles are everywhere.

There are two important things to consider. 1. You are not alone in the struggle. We ALL have good and bad days. (even if some of us conceal it with a smile) 2. You can overcome it. No challenge, big or small, can be victorious against you when you believe in yourself and push forward.

This issue of Bleu began and ended with its own set of problems. It is our 33rd issue to hit newsstands. That number itself comes with baggage and superstitions. A solution early on was to skip the number and call it number 34. But, that was too easy of a copout. Besides, our readers can count. It would be insulting to think they don’t.

So here we are, issue 33, with the West Coast’s own Nipsey Hussel. There couldn’t be a more fitting person on the cover. Like Bleu, Nipsey represents the by any means necessary philosophy we stand for. He’s marking his territory in Hip-Hop by his own rules.

There is also plenty of fashion to help revamp your closet. And we spent sometime with our longtime friend Estelle. Kick back, relax and enjoy your BLEU!

DéVon Christopher Johnson @devonisbleu

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THE BLEULIFE GROUP CHAIRMAN, CEO & PRESIDENT ACCOUNT MANAGERS

DĂŠVon Johnson Todd Evans, Rivendell Media 908.232.2021 Loren Bates 347.564.8042 advertise@bleulife.com

INTEGRATED BRAND PARTNERSHIPS

SPONSORSHIPS & EVENTS BRAND MARKETING MANAGER BRAND COORDINATOR SOCIAL MEDIA MANAGER REGIONAL REPRESENTATIVES

Kim J. Ford, Brand Whisperer 973.580.4476 kford@brand-whisperer.com Enovia Bedford Cheryl Singleton Carlotta Harrington Terrell Johnson Rannon Harris (Chicago - Midwest) Christopher Thompson Walls (Atlanta - Southeast)

LEGAL & BUSINESS AFFAIRS

Thomas J. Wilson, Esq. Golenbock Eisman Assor Bell & Peskoe LLP

NEWSSTAND DISTRIBUTION

Kable Distribution 212.705.4627

SUBMISSIONS

Bleu Magazine 262 West 38th Street, 12th Floor New York, NY 10018 info@bleulife.com

Bleulife Media & Entertainment Inc. | 262 West 38th Street, 12th Floor, New York, NY 10018 | E-Mail: info@bleulife.com | Online: bleulife.com Printed in the USA. Opinions expressed by advertisers, columnists, feature writers or other contributors are not necessarily the opinions of Bleu Magazine or its staff.

All advertisements, photographs, text or illustrations are published with the understanding that the advertisers are fully authorized to have secured proper consent for the use thereof.

Bleu Magazine shall not be held responsible for any errors, loss, expense or liabilities on advertisements accepted after the deadline. Publication of the name or photograph of any person or advertisement in Bleu Magazine is not to be constructed as an indication of sexual orientation of such persons, advertiser or organization. Partial or complete reproduction of an advertisement, news article, feature or photograph from Bleu Magazine is strictly prohibited as Bleu Magazine is a registered trademark. A $25 or 1.5% (whichever is greater) fee will be charged for all NSF checks. All rights reserved.

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EDITOR’S LETTER

“She wants that old thing back” You know that familiar feeling of nostalgia that comes over you when you think of fond memories of the past like rapping along to Ma$e and Puff in school, or feeling like the man when you first laced up the Scottie Pippen Nike Air More Uptempos; there is nothing like it. Its that feeling of familiarity.

Remembering a specific time in your life, where you were, what you were doing, who you were with, what you were listening to, are all things you might begin to reminisce about and take you somewhere when remembering the past. Although we can’t get the past back, we can revisit it from time to time.

While working on this issue appropriately themed “flashback”, I began to think back to particular times in my life.

The days of going to house parties and hearing ‘Mo Money Mo Problems’ bumping from the speakers, watching Family Matters with my mother and brothers as a family, and watching Jeff Van Gundy dangle from Alonzo Mourning’s leg, brought back some good memories and thoughts of fun times, but it also served as a reference point of where I was as I look towards my future.

Flashing back to the past for a moment’s visit is cool from time to time, but it also lends itself to help us remember how certain things made us feel and think of where we are heading from the direction of our past. In flashing back to the past, we want to make you the reader remember certain times in your life when you flip through these pages and feel nostalgic as we have at Bleu in making this issue. Flashback to the past and bring some of it with you into an even brighter future.

Enjoy issue #33!

David Whitely Managing Editor

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LACOSTE & City Parks Foundation Pro-Tennis Clinic At Central Park

August 24th, 2014 New York, NY

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The 9th Annual Lincoln Music Festival July 23rd, 2014 New York, NY

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Michael Jackson: Thriller

Dr Dre ft Snoop Doggy Dog, Nuthin But A G Thang

Tupac California Love

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Michael Jackson Remember the Time

Missy Elliot Get Ur Freak On

Tupac Do For Love

TLC Waterfalls

Wu-Tang Clan Triumph

Busta Rhymes ft. Janet Jackson What’s It Gonna Be

Destiny’s Child Survivor

Who could forget Puffy and Ma$e rocking the shiny suits, Michael Jackson leading a pack of zombies, or Busta Rhymes with his play on Coming to America in ‘Put Your Hands Where My Could See’? If you were watching Hip-Hop and R&B videos from the 80s to the 2000s, you’ll remember these videos and all the rest that made our list for the most creative and memorable videos of the genres during these times.

Missy Elliot The Rain

Kanye West Power

N.W.A. Straight Outta Compton

Busta Rhymes Put Your Hands Where My Eyes Could See

The Notorious B.I.G Mo’ Money Mo’ Problems

Kanye West Coldest Winter

Bone Thugs-N-Harmony Crossroads

TLC Waterfalls

Mariah Carey Feat. Puff Daddy, Mase & Jadakiss Honey

Mase Feel So Good

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Heritage

Technology Words by Agen Pertillar

Today, we can look to a tablet or smartphone to provide us everything we need for an active and productive lifestyle. In just one gadget you have your music player, camera, gaming system, phone, and a mini computer processor. We are scaling back the smart-devices that we hold so near and dear and taking a look at the origins of the mobile features we can’t live without.

CAMERA In the late ‘80s and throughout the ‘90s, the disposable camera could be found at all the pool parties and backyard barbecues. A quick and convenient way to capture memories was what it was all about with these grab-and-go cameras. Preloaded with film and accompanied by a continuous flash switch, anyone could tap into their inner Annie Leibovitz. Today’s smartphone and tablet cameras make this little piece of nostalgia seem like child’s play as opposed to the innovative piece of technology it was once considered.

GAMING

Today, launching Angry Birds across your screen or racking up points with Candy Crush Saga is a great way to pass the time, but once upon a time playing Super Mario or Tetris on this little device was where it was at. Mobile gaming would never be the same with the 1989 arrival of Game Boy. Wearing out those A and B buttons and D-pad was a favorite past time of both young and old. That little 2.6 inch screen knew how to keep someone’s attention. Nintendo led the pack with its offering of an array of game titles and eventually an upgrading of its original monochromatic screen with Game Boy Color.

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MUSIC We wouldn’t even think about using anything other than an iPod or MP3 player today, but once upon a time there was a device that garnered the same attention as the aforementioned. If you didn’t have a Sony Discman in the ‘90s, then you were tardy to the party! Similar to its big brother the Walkman, most portable CD players gave you the ability to play, pause, fast-forward or rewind to your hearts content. If you managed to snag yourself a D-Series with anti-shock protection for that good ol’ skip-free playback, then you really were doing the damn thing. Whether at school or the office, the Discman was the way to listen to your favorite artists one CD at a time.

Thank God for technological advancements!

E-MAIL Representing for ’99 and the 2000s is the RIM 850.

Not yet called The Blackberry, the RIM 850 Wireless Handheld model began as what would be one of the most iconic devices in mobile tech history. Providing quick and easy access to your address book and calendar, the 850’s claim to fame was its powerhouse messaging capabilities. Email on the go would be forever changed. With its compact form and a feature set that was sure to keep even the most unorganized in check, this was the device to have whether you were laying down tracks in the studio or doing your thing suited up on the trading room floor.

LIFE IS BETTER WHEN YOU MOZIE

luxury bicycles delivered to your door moziebicycles.com @moziebicycles #MozieOn

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“Out with the OLD And In with the NEW” Words by Gary Dickson

With inspiration coming from models of the past, engineers remained focused on the evolution of the automobile. Melding updated designs with the latest technology and gadgets, design teams continue to find ways to upstage even the most recent models.

Let’s take a look back at two beloved classics and the vehicles have seen over the last two decades.

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FERRARI 288 GTO 1992

FERRARI 288 GTO 2014

t 1SJDF t &OHJOF - IQ 7 t 4QFFE NQI PS LN I t 4BGFUZ *Anti-Theft & Locks *Braking & Traction *Remote Controls & Remote Releases *Air Bags (Driver, Passenger, Side Head Protection, Second Row)

t1SJDF t&OHJOF 7 t4QFFE IQ t4BGFUZ 3PMMPWFS 1SPUFDUJPO #BST *Daytime Running Lights *Headlights-Auto-Leveling *Traction Control *Stability Control *Passenger Air Bag *Driver Air Bag *Front Side Air Bag

PORSCHE 911 1990

PORSCHE 911 2014

t1SJDF t&OHJOF - IQ * t4QFFE NQI t4BGFUZ *Anti-Theft & Locks *Braking & Traction *Air Bags (Driver, Passenger, Front/ Side Air Bags, Side Head Curtains Airbag) *Remote Controls & Remote Releases

t1SJDF t&OHJOF t4QFFE NQI t4BGFUZ 1PSTDIF $FSBNJD $PNQPTJUF #SBLF 1$$#

* Porsche Stability Management (PSM), *Anti-theft protection

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950196019701980199020002010PRESENT

FITNESSFLASHBACK Words by Tanyka Renee

From the beginning of time fitness has been connected with our health and well-being.

Through a process of trial and error, our fitness routines have gradually evolved to fit our busy schedules and the results we desire.

1940s - Cigarettes were used as a weight loss tool.

3000 B.C Yoga was created by Hindu priests 5000 years ago. The priests wanted to achieve the same balance with nature as animals so they mimicked the movement and patterns.

The Master Cleanse was created. This diet resurfaced when Beyoncé used it to drop 20lbs while preparing for her role in Dream Girls.

1950s - During this era many used religion to get fit. Reverend Charlie Shedd wrote the popular book “Pray Your Weight Away”.

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1960s 1970s 1980s 1990s

1960s - Weight Watchers was created.

1970s - Diet Pills become the craze.

1962 - Wilt Chamberlin scores 100 points while wearing Chucks, taking a 169-147 win against the New York Knicks.

1970s - Richard Simmons hits the scene.

1964 - Muhammed Ali aka “The Greatest”, won the world heavyweight championship at the age of 22. Ali remains the only three-time lineal World Heavyweight Champion; he won the title in 1964, 1974, and 1978.

1967 - Arnold Schwarzenegger wins Mr. Universe, becoming the youngest to ever win at the age of 20. He would go on to win the title three more times.

1968 - Dr. Kenneth H. Cooper released his book Aerobics.

Known as the father of modern fitness, he once stated, “It is easier to maintain good health through proper exercise, diet, and emotional balance than it is to regain it once it is lost.”

1969 - Jazzercise was created

by Judi Sheppard Missett.

1979 - The Godfather of fitness.

Jack on his 65th Birthday towing 65 boats, Ashinoko Japan.

LaLanne opened the nation’s first modern health studio in 1936. Creator of The Jack Lalanne Juicer.

1980s - Mr. T, an actor who has appeared on the show ‘A-Team’ and film ‘Rocky III’, is also known for being a pro-wrestler and motivational speaker. He is most known for his quote, “Be somebody or be somebodies fool”.

1980s - Sylvester Stallone.

The need to be fit was passed down in his blood. His mother promoted female wrestling and opened a gym called Barbellas in 1954. He trained with Mr Olympia Franco in preparation for his Rocky roles. This meant two workouts a day for six days a week.

1990s - Low carb diet craze.

1990s -The Swiss Stability Ball becomes popular in workouts.

1990s -Tae Bo and Pilates are the new go to fitness routines.

1999 - Zumba comes to the USA. Dance fitness program that combines Hip-Hop, salsa, martial arts and calisthenics.

1980s - Scarsdale diet- A low fat, low calorie diet that has quick results and even allows you to drink things like diet coke. Some live by it and others claim it only reduces water weight.

1982 - Jane Fonda sells 17 million copies of her workout video.

1984 - The men’s USA basketball team won Olympic gold while wearing Converse on their feet.

1985 - The American Council of Exercise (ACE) was founded.

1987 - Nike releases The Nike Air Trainer, the world’s first cross training shoe.

1989 - Jonathan Goldberg opened the first Spinning Studio.

NOW

The 21st Century. With the obesity rate sky rocketing, people are becoming more health conscious. We live in an era where we want our food fresh and organic. Diets are now being delivered to our doorsteps and people are hiring virtual trainers. There is always a new fitness fad like Crossfit, barefoot running, MMA, P90x, or even Wii Fit. For those that don’t want to work for the results, they are opting for surgery. Clothing not only fits, but also has a purpose. whether its compression, dry fit/moisture wick, or harmful UV ray blocking. Though fitness has evolved its motto is still to look good and feel good.

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THROWBACK COLOGNES Words by Cataanda J Many believe that men’s grooming began first with the metrosexual, but the history of men’s grooming has its origins during the time of evolution dating back to 10,000 BC in Egypt. It all started with men using fragrant oils and ointments to care for their skin. Men bathed in perfume. A man’s cologne should align with his personality and compliment his outfit of the day.

The power of aromatics produces harmony between the body and the mind! Its the “icing on the cake” to his external appearance, giving him the confidence he must possess to do what he does effortlessly. In essence, a man’s cologne is an intricate piece to his grooming collection and his overall image.

It’s always been common practice for men to use fragrance, not to only mask body odor, but to also feel good about himself. The application of fragrances has always been a normal routine for men; it’s cultural. The makeup of perfumery began with plant and spice ingredients known today as “notes”. Notes are the descriptors of scents that are often used to categorize colognes, setting apart one type of scent from the next, woodsy, strong, fresh, and clean.

Christian Dixon, Fragrance Specialist for John Paul Gaultier says, “I usually match the fragrance with the personality of my customer.

I pair up the mild-mannered guy with a mild-mannered cologne.”

He also suggests the importance of learning what scents mix best with one’s body chemistry to maximize the benefits of a quality fragrance. Citrus, mint leaves, lavender, and woodsy notes are still just as popular now as they were back in the ancient times.

According to Dixon, it’s just as important to know what scents are heavy and long lasting vs. soft and lightweight. Where one is better than the other from one mood to the next. Mr. Dixon recommends finding at least one classic cologne that you love for every occasion to keep in your grooming kit at all times.

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CHRISTIAN’S list of top classic colognes

FLASHBACK TO NOW! Jean Paul Gaultier Le Male Notes: Bergamot, Lavender, Wood Personality: Masculine and gentle, strong and sensual Year: 1995 Target $45.99 4.2 oz

Issey Miyake L’Eau d’Issey Notes: Yuzu Zest, Tangerine, Tobacco Personality: Timeless, freedom, serenity Year: 1994 Where to buy: Sephora Price: $66.00 2.5 oz

Calvin Klein, CkOne Notes: Pineapple, Jasmine, Rose Personality: Unisex, two bodies, minds and souls in the passion of ONE Year: 1994 Where to buy: calvinklein.com Price: $54.00 3.4oz

Throughout the centuries, the popularity of men’s grooming has gone through its moments of insignificance just as fashion and style have. Colognes have experienced their “once was hot and now is not” era,only to flash back to being a daily essential. One thing remains constant--the power of walking into a room and leaving a pleasant, manly trail to follow; this reality will never lose its prominence. Advising a man to bath in perfume may be a bit extreme, but a light mist on the neck, behind the ears and on the inner wrist of the perfect fragrant blend will always be timeless and ever in style.

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CRANBERRY-STUFFED PORK CHOPS

HONEY CRISP APPLE SANGRIA

INGREDIENTS * 3 tablespoons unsalted butter * 2 stalks celery, finely diced * 3/4 cup chopped scallions * 3/4 cup dried cranberries * 2 teaspoons chopped fresh sage * 4 slices potato bread, cubed (about 2 1/2 cups) * 1 3/4 cups low-sodium chicken broth * 2 tablespoons chopped fresh parsley * Kosher salt and freshly ground pepper * 4 bone-in center-cut pork chops (about 3 pounds) * 3 tablespoons heavy cream

This sangria is THEE drink to make this fall. It combines red wine, brandy, cinnamon, apple cider, citrus, and of course - sweet honey crisp apples! Yield: 6-8 servings. I highly suggest doubling the recipe because everyone will want more than 1 glass.

Read more at: http://www.foodnetwork.com/recipes/food-network-kitchens/cranberry-stuffed-pork-chopsrecipe.html?oc=linkback

DIRECTIONS Melt 1 tablespoon butter in a large nonstick skillet over medium heat. Add the celery and scallions and cook until slightly softened, 2 minutes. Add the cranberries and sage and cook 2 minutes. Add the bread and cook, stirring occasionally, 2 minutes.

Add 1/2 cup chicken broth and the parsley and stir until the broth is absorbed, 1 minute. Season with salt and pepper; transfer to a bowl. Wipe out the skillet. Holding a knife parallel to the cutting board, cut a deep 2-inch-wide pocket into the side of each pork chop.

Season the chops on both sides with salt and pepper and fill the pockets evenly with the stuffing.Melt 1 tablespoon butter in the skillet over medium-high heat. Add the chops and cook until golden brown, 2 minutes per side. Add 1/2 cup chicken broth; reduce the heat to medium low. Cover and cook until the chops are cooked through, about 5 more minutes. Transfer to plates.

Add the remaining 3/4 cup broth and the cream to the skillet and increase the heat to medium high. Simmer, stirring, until slightly thickened, about 2 minutes. Stir in the remaining 1 tablespoon butter. Season with salt and pepper and pour over the chops.

Per serving: Calories 565; Fat 34 g (Saturated 16 g); Cholesterol 168 mg; Sodium 328 mg; Carbohydrate 21 g; Fiber 2 g; Protein 41 g 29

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INGREDIENTS * 3 cinnamon sticks (plus more for garnish) * 2 honeycrisp apples, chopped * 1 orange, thinly sliced * 1 (750 ml) bottle red wine (I suggest a light-bodied Spanish variety) * 1 and 3/4 cups apple cider* * 1/2 cup brandy * 1/4 cup orange juice (or juice from 2 medium oranges) * juice from 1 lemon * club soda, to taste DIRECTIONS Place the cinnamon sticks, apples, and orange slices in a large pitcher. Add wine, apple cider, brandy, orange juice, and lemon juice. Allow to sit in the refrigerator for 6 - 24 hours. Taste; if you’d like it to be sweeter, add 1-2 Tablespoons granulated sugar, honey, or agave.

If you’d like a cinnamon-sugar rim (highly recommended), simply moisten the rim of your glasses with water, turn the glass upside down and dip it into a mix of cinnamon and sugar. Pour in the sangria with fruit* and add a splash of club soda (this unsweetened fizz is wonderful with the sangria!).

Garnish with a cinnamon stick, if desired. Cheers!

ROASTED VEGETABLE STUFFED SHELLS Cheesy stuffed shells with lots of roasted veggies! This pasta dish is a favorite at our house and it freezes well too!

INGREDIENTS * 1 red bell pepper, diced * 1 small eggplant, diced * 1 small zucchini, diced * 1 tablespoon olive oil * Salt and black pepper, to taste * 21 jumbo pasta shells (we use DeLallo and I always cook a few extra in case they break) * 15 oz ricotta cheese * 1 large egg * 1 1/2 cups shredded mozzarella cheese, divided * 1/4 cup grated Parmesan cheese * 1/2 cup frozen chopped spinach, thawed and drained * 1/4 teaspoon dried basil * 1/4 teaspoon dried oregano * Pinch of nutmeg * Salt and black pepper, to taste * 2 1/2 cups marinara sauce * Chopped fresh basil, for garnish, if desired DIRECTIONS Preheat oven to 400 degrees F. Place the diced red pepper, eggplant, and zucchini on a large baking dish. Drizzle with olive oil and toss. Season with salt and pepper. Roast for 20 minutes, or until veggies are tender, stirring once. Remove from oven and set aside. Turn the oven down to 350 degrees F. Cook the pasta al dente, according to package directions. Drain and place the shells on large plate or cutting board so they are not touching. This will prevent them from sticking together.

Meanwhile, in a large bowl, stir together ricotta, egg, 1/2 cup of the mozzarella cheese, Parmesan cheese, spinach, roasted veggies, basil, and oregano. Season with salt and black pepper, to taste.

Pour 1 cup of the marinara sauce into the bottom of 9 x 13 baking dish.

Stuff each pasta shell with a generous amount of the roasted veggie ricotta mixture, and place in the baking dish.

Cover shells with the remaining sauce and sprinkle remaining mozzarella cheese over the top. Bake covered with aluminum foil for 25 minutes.

Remove the foil and continue baking until the top begins to brown and the sauce begins the bubble, another 10-15 minutes. Garnish with fresh basil, if desired, and serve warm.

Note-For easier filling, fill a gallon ziplock bag with the roasted veggie ricotta filling and cut a hole off the corner of the bag. Pipe the filling into the shells. The stuffed shells freeze well. I like to bake the pan, let them cool, and then put them in a freezer container. Reheat when ready to eat!

THE ORIGINAL TEQUILA SUNRISE INGREDIENTS * 1 1/2 ounces tequila * Juice of 1/2 lime * Club soda * 3/4 ounce creme de cassis * Lime wheel and maraschino cherry for garnish.

DIRECTIONS Pour the tequila and lime juice into a collins glass filled with ice.

Fill with club soda.

Pour the creme de cassis into the drink (it will sink to the bottom).Garnish with a lime wheel and cherry.

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DON’T CALL IT A COMEBACK

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DETROIT

AN UNTOLD STORY OF TENACITY, VISION, AND PATIENCE Words by De’Von Johnson

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Over one year ago on July 18th, 2013, emergency manager Kevyn Orr signed the final paperwork at 4:06 pm that placed Detroit, Michigan, in Chapter 11 bankruptcy.

With the former mayor, Kwame Kilpatrick, disgraced over charges of racketeering, bribery and extortion, many residents of the city, and the nation, gave up on the once unshakeable birthplace of General Motors, Motown, Madonna, Diana Ross and countless other economic and cultural treasures.

By 2013, residents had fled the city at a rate of fifty percent of its 1950’s era peak of 1.9 million, dropping to a population of less than 700,000. Detroit was done. The streets of downtown were stark and chilling. Like a ghost town of the Wild West, minus hay bales and discarded horse spurs, storefronts were vacant and roads were decaying. Many business owners just walked away. Others sold for pennies on the dollar.

“I couldn’t sell even if I wanted to,” recalls Sharon Madison, CEO and Chairman of the Julian C. Madison Building in downtown. “There was nobody knocking down my door to buy it.”

But, there was a rebirth on the horizon.

There are many recent accounts of big business and foreign investors descending upon the city and forging the “new” Detroit. However, there are countless stories of native residents and unassuming newcomers that are doing the groundwork and preserving what was left of the city paving the way for Dan Gilbert’s, Quicken Loans founder, $1.3 billion investment in downtown.

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Madison is one of the last African-American building owners in downtown Detroit. After completing undergraduate and graduate studies at the University of Michigan, she spent two years at her family’s architecture firm in North Carolina. She then returned to Michigan and decided to make Detroit her permanent home. When she first purchased the building, there were at least twenty-five other building owners of color. She watched year after year as the buildings adjacent and around her 1420 Washington Boulevard neo-classic became vacant. Many, even with new owners, still are. The total disappearance of all retail spaces on her buildings’ corridor of downtown caught her by surprise. But she says the feeling of loss and despair settled and she saw opportunity.

“Miss Sharon”, as the group of young men for whom she has become part mother-on-call, confidant, friend, and mentor calls her, comes from a family of business entrepreneurs. Both her father and grandfather were engineers.

She has a keen eye for architecture and design. “I just want them to build it right. It needs to be done with the same care and quality that it was done in the 1920’s, when most of these beautiful buildings were erected.” She adds, “Just putting up something new with glass and steel and calling it modern doesn’t mean its good quality. They need to use the best materials and build for long term.”

The perception that Detroit was dying began in the 1950’s after the Big Three automobile companies, General Motors, Chrysler and Ford, moved most factory and blue-collar positions out of the city of Detroit to larger campuses and other states. There was a domino affect of retail and other manufacturing jobs closing shop and an exodus of most of the white residents to the suburbs.

With little education or training outside of automotive labor, those that were left, the majority being African-American, couldn’t find employment. Drugs, gangs, and crime followed, consuming the narrative of the city for the coming decades and into the new millennium.

Founter is occupying the fourth floor of the Madison building, which was left vacant after many of the city agencies that were tenants left. The full floor space, which is set to open at the end of the summer, combines art, tech and mentorship under the name WorkBuild. They are almost to capacity with prospective tenants and have done very little marketing outside of word of mouth.

“The environment is inclusive not exclusive. We want to curate a diverse and collaborative work space,” says Brandon Christopher, 28, a graduate of Fisk University who now calls Detroit home and is a partner in WorkBuild.

Both young men feel there is a lack of inclusion of young men and women like them in what is happening in their city. With the help of Madison, who counts the two young men among her children too, they are given an opportunity to be part of the new economic boom of Detroit. They refuse to be marginalized and want to make sure they are actively making change not just complaints.

“The city shouldn’t just feel progressive and opportunistic for outsiders,” adds Founter. “We need to include those that are have been here.”

Detroit isn’t dead and it never was. Aside from an unseen natural disaster it’s not going anywhere. There will be times of transition and adjustments. But for those who stay, the city can move forward.

“Without the people, there is no city,” adds Founter. “It is sad to see the people of this city marginalized.”

Miss Sharon is not worried about her or her children-on-call’s future in the Motor City. She says they “will be fine if we keep doing what we know how to do as a people!”

“There are still a lot of people left in the city,” says Ernest Founter, Jr., 29, a native of Detroit, graduate of Wayne State University and Co-founder of WorkBuild. “But they just don’t have a positive outlook.”

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The Lost CONVERSATION STARTER; is

the SOLUTION? Words by David Whitely

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ood ood Times, The Cosby Show, Family Matters, The Fresh Prince Of Bel-Air, One on One. What do all of these shows have in common? They are all popular family shows that were entertaining during the era they aired, featured a predominantly Black cast, and tackled heavy-hitting topics that could be used to initiate relevant conversations with your kids. These shows were a part of the fabric of Black culture in America that tied the Black American family together, but are rarely on television these days, eliminating a platform that once started the tough, yet needed conversations within the Black family.

The special episodes that touched on social topics that affected our kids created an opportunity for family dialogue. These were things that were relevant to our families--dating, bullying, and a child’s first experience with racism.

If you wanted a predominantly Black cast that tackled issues like gun violence, teen drinking, and drug use from time to time in a cool, responsible way, you had one for every generation. These shows opened the door for families to initiate discussions of serious topics with their kids. It mattered not that a family was working class, middle class or ran by a single parent, these shows crossed generational gaps and family structures and were relatable to nearly all segments of the black community. They were entertaining shows that everyone loved to watch and talk about at work, in lunchrooms, and in the hallways at school.

Question. What happened to these shows? What happened to the conversations they started amongst families? Sure, there are shows like the cancelled Reed Between the Lines, formerly on BET, with Malcolm Jamal Warner and Tracee Ellis Ross. Reed Between the Lines tackled hot button topics in the Black community. One such topic it dealt with was being proud to wear hair natural while being pressured to straighten or put a relaxer in your hair. The show affirmed that Black hair is as beautiful as white hair.

Unfortunately programs such as these are few and far between.

Conversations about the effects of the absenteeism of the Black father from the family are still abundant today, yet are missing from the plot lines of today’s programming. The Fresh Prince of Bel Air brought this topic to light and served as a conversation starter in an episode where Will Smith’s character had an unforgettable breakdown after his father-who abandoned him as a youngster--came back into his life as an adult, only to abandon him again, leaving a fatherless, and teary-eyed Will to ask the question that many kids in the black community are left to ask, “How come he don’t want me man?”

What seems to have taken the place of these shows has been reality TV. The most prolific program as of late that features a predominantly black cast has been the Love & Hip Hop franchise. According to TV By the Numbers--a website that records and analyzes TV ratings in the U.S--the latest season of Love and Hip Hop Atlanta averaged well over 3 million viewers

per episode. Power-packed with the brawls, overly sexualized content and over the top “ratchetness”, this program is not a family show. The misogynistic behavior and degradation of women does not set an example to young Black males on how to treat women, nor does the content foster sound decision making for young Black females when it comes to mate selection. Does the idea of seeing our daughters referring to themselves as a “bad bitch” sound like a great reference?

Perhaps ABC’s Black-ish, starring Tracee Ellis Ross and Anthony Anderson, might be the program that initiates these conversations once again as the shows of old once did. Black-ish focuses on the family of Andre “Dre” Johnson, who is an executive at an LA-based advertising agency, but is only the Black employee at the agency. This dynamic can and should lead to many conversations about Black identity and upward mobility in the workplace. Dre tries to raise his family with wife Rainbow, played

by Ross, in a predominantly white suburb of a “post-racial America”. Needless to say, this show can start conversations around racial identity, history, generational gaps, etc. in a funny, yet understandable way as Anderson and Ross lead the way. Hopefully, ABC doesn’t pull the plug after one season as BET did with Reed Between the Lines. This show has the potential to be a band-aid to the problem of the gaping hole on television for the Black family audience when it comes to a show that offer topics of true substance.

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Words by Yvette Brown

The Timeless Expression

Graffiti has been around every corner, block and subway for centuries. Whether to tell a descriptive story or simply tell the world that s/he was here, every artist has his or her own purpose. Two seasoned artists and historians of this expression--Matt Litwack and Jurne,--recently put together their first book on the full scope and glory of graffiti of the New York subway system dating as far back as the 1970’s, calling it Beneath the Streets.

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Beneath the Streets contains over 500 photos depicting a sociological perspective of graffiti while featuring over 20 graffiti artists. This book takes the reader on a walk in the authors’ shoes showing what it’s like to actually be submerged in both abandoned and active subway systems, exploring, scoping and painting, all the while developing an appreciating for the different artworks. While the city’s environment plays a major role for the inspiration of the book, Jurne explained that “the transit system has a rich history to it”, and it has also helped to contribute to the idea for the book.

Describing how you can tell how old some of the artworks are and where to find them, Litwack had this to say: “If you go to certain subway tunnels that are called “lay ups”, where the trains are kept at night, you can find all of the graffiti from the era when people used to paint graffiti on trains. They would paint those trains in the subway tunnels and house them there at night. They would also write on the walls of the subway tunnels that [that housed the cars] they were painting, and that’s where you find really old graffiti that goes back to the early ‘70s to ‘80s.”

Both Litwack and Jurne have been a part of this movement as dedicated artists for over 15 years, each showing off their talents on their own websites—www.science-ism.com and www.intelligentgraffiti.com., respectively. “I kind of like to take a not-so-serious approach to graffiti, so a lot of the graffiti I paint kind of has a whimsical or witty edge to it”, says Litwack as he describes where his inspiration comes from.

“The environment does dictate what you paint, so when you’re painting in the subway tunnels, you might paint something in one style because it works with the surface; it works with the environment.”

Both of these artists looked to the streets when first starting out. At an early age, both developed a fascination towards the unique graffiti art while riding the New York City subway trains or viewing freight trains. They started out young and have been drawn to this classic American art form ever since. “My frame of reference for graffiti art came from what was rolling through my town on freight trains. But it’s cool because I was exposed to a lot of different stuff from all over the country and from Canada, and I was working underneath some other guys who knew what they were doing and had good heads on their shoulders. They steered me in the right direction”, says Jurne as he explains his start in this freedom of expression.

Litwack shares that this subway art is a lot like a time capsule showing just how timeless the graffiti world is, but it’s a wonder just how much of that has changed over time in art form, landscape and culture. Modern graffiti art beginning in the 1970s was more so dedicated to stylizing an artist’s name that was associated with his or her work. Jurne explains that the first thirty or so years were set to finessing the style of the letter forms. He adds that the major distinction of graffiti art between the ‘70s and early millennium is that a lot of graffiti art is inspired from outside sources.

Litwack says that today’s graffiti art is a bit more “done-up”. The passion comes from the internet and the inspiration isn’t as original when compared to the graffiti of years ago when there were less spray cans. In today’s world, the landscape can go as far as coast to coast where artists are able to travel and spread their art form over the country and over the globe.

“If you’re really well versed in graffiti, you can tell where someone is from and what their ethnicity is; I can tell you what [New York City] borough a person is from just based on the way they write,” says Litwack about reading a person based off of their graffiti art. Litwack continues to state that one of the artists who was featured in the book, REVS, tells his whole life story in the graffiti art that he writes, which is displayed high on the walls when he writes.

Jurne adds that one can also tell who schooled these artists and what his or her style is.

For some artists, it’s the rush of climbing on top of that third rail, losing themselves in the thrill of seeing their art being seen by dozens of people passing through those stations. While the graffiti art form has changed, the game has remained the same--the danger is what keeps them coming and no matter how many years go by, graffiti remains to be a timeless expression. .

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MADhatter

photography AKIHIRO SAKAI - fashion MARCUS JOHN

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(L to R ) safari bucket hat GYPSY SPORT snapback LAST KINGS bucket hat STAPLE

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(L to R) 5 panel hat DOPE safari bucket hat ADIDAS wide brim fedora THE KOOPLES

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‘ Words: TREYE GREEN / Photography: ELTON ANDERSON / Fashion: APUJE KALU / Grooming: AJ CRIMSON

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A

s the music industry’s business’ model has evolved over the past decade, so has the mindset of artists looking to secure a spot in the ever-changing musical landscape. Gone is the era of massive first week album sales, massive music video budgets and even needing a label.

These days independent artists can make substantial impact without the financial backing of the machine, employing tools like social media, streaming music sites and even touring push their projects and increase their fan bases.

But for Nipsey Hussle, acing the indie route required one more critical component, honesty.

“You’ve got a job as an artist which is staying relevant and telling the truth,” he earnestly explains while speaking from a recording studio in Miami, Florida, on a sunny Friday afternoon. “I feel like as an artist you’ve got to have a relationship with your fans and the people that are tuning in.

You’ve got to do it a certain way.”

Drifting through his sentences with an Angeleno accent that oozes with a determined easiness, he retells the triumphs of his day. Following a late night in the studio, he took a post-morning detour to grab some lobster at the Oplacka, Floriday, staple The Crab Man. He then returned to the studio where he continued to work on his upcoming debut album “The Marathon,” a project he describes as his ode to endurance.

Born and raised in Crenshaw in West Los Angeles, Nipsey shelved the narratives of unrest and self-destruction he repeatedly witnessed being penned in his neighborhood. “I come from an area we are cannibals. We destroy ourselves. We don’t’ allow Nipsey Hussles to happen,” he says. “So for this thing to succeed was already game changing.”

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SECTION ARTICLE TITLE COVER But Hussle wasn’t always sure his rapping would be his ticket out of the turmoil. Though he says he always had aspirations of working in music, he ditched those dreams as he moved into his teenage years. Life on the street seemed more appealing to a young Hussle, leading him to join a gang. As he matured into his late teens, though, he says he outgrew the toxic mentality he saw destroy so many around him. And armed with his teenage dream to make music, he invested in some recording equipment and began to forge his rap career. “I started making mixtapes independent in L.A. and selling them out of the trunk of my car on Crenshaw and Slauson, one of the corners we used to grind on,” Hussle says.

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His fan base soon began to grow outside of Crenshaw and soon the state. He eventually signed a deal with Epic Records, an intense experience he says taught him a great deal about the music business and his own defection of success in the industry. “With a label, anyone artist can fail as long as the collective is successful. That’s the business model.”

“Being on a label, you as an artist take on the label’s objective as your own. I think a lot of times you share similar goals and objectives, but they have a totally different interest than you do as an artist,” he adds. I didn’t know you could have career outside of radio.

Hussle says his interest is always to build on the relationship with his fans, using his truth as a means to connect with listeners. But this goal wasn’t fully fulfilled until his deal with Epic dissolved. As we talk, his greatest moments of excitement come when he speaks about his music as a means to encourage others.

He’s built his past two mixtapes, “The Marathon” and “The Marathon Continues,” about pushing through life’s trials. And his debut album “Victory Lap” will serve as a continuation of the narrative that he says is accessible to everyone. “I think the most powerful thing a human can do is inspire. I go places and people that come from all different walks of life are inspired by the marathon concept.”

However, don’t be completely lulled into stirring ideals on the creative process and his role as an artist.

Hussle still understands that music is a business. And he’s dedicated to thinking of innovative ways to blend his entrepreneurial motivations with his artistry. It was this forward thinking that led him to challenge his fan’s expectations and sale his 2013 “Crenshaw” mixtape for $100 each. “We were looking at the game and seeing how the value was changing. So I decided with Crenshaw that I wasn’t going to chase radio. I was going to cater to the audience and do what I know best.”

F*CK THE MIDDLE MAN CONCEPT He decided to put a value on his art, and in the process offered a new business model for his indie Hip Hop contemporaries. He released the project on October 8 and sold all 100 copies, raking in a $10,000 profit.

The move was quite the risk. But Hussle says defining his worth as an artist was worth the gamble.

“People were really inspired by the rollout and the proud to pay concept and fuck the middle man concept.

We got international news coverage on the release and project and we’re indie, no label an no artist cosigning us.”

After close to ten years in Hip Hop, Hussle is eager for the release of his debut album. The album represents completion for a rap artist when you get the it on the retail shelf. Growing up as a hip hop fan, that’s your goal.

He sees it as a moment to expose his fans to the raw reality of his journey, embracing it as another risk he’ll have to take to ensure he continues to make his mark among the new class of Hip Hop greats. “I’ve gambled on my career a couple of times, leaving Epic and leaving a major situation when it was offered to me. It was a time when they called me crazy for it and it was also a time when I was looked at like a genius because of it.

A voracious reader of books, especially biographies, he says he’s studied the paths of some of history’s most successful and applied those principles to his own life. Hussle is the face of music’s high-profile outsiders, engaged, entrepreneurial-minded creatives that are redefining what and indie artist can be.

Out of what he called the grave of his Crenshaw neighborhood, Hussle has breathed life into the rap dreams he once set aside. He’s ditched his worries about radio success, instead focusing on an outcome greater than astronomical radio spins and iTunes-topping singles. “My strength has always been talking to the streets and motivating people telling real life stories about coming from nothing and making myself successful,” he says.

“You not going to just be this prodigy that made it from this crazy situation and conquers the rap game in one stroke. As poetic and as dope as that would be, that’s not what’s going to happen. You’ve got to build this thing.

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“I’ve gambled on my career a couple of times, leaving Epic...”

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The New Classics

Photography JOEL LOPEZ & OWEN DUCKETT - Fashion DARRYL GLOVER & CHRIS SANDFORD Grooming LEAH FERGUSON - Make-Up KEILA RIVERA USING MAKEUP FOREVER Girbaud, Pelle Pelle and South Pole were some of the most coveted brands of the 90s and early 2000s. Though many of their contemporaries were banished to the clearance bin of fashions past, brands like Rocawear, Sean John and Parasuco avoided a similar fate by evolving their designs to fit the modern-day man.

These throwback brands traded their baggy T-shirts and oversized denim for slim cuts and fitted silhouettes. And with their sartorial prowess keeping them on-trend, transitioned their loyal followers into the next phase of of 21st Century style.

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snapback NIKE - sleeveless t-shirt VISION STREET WEAR available at www.sneakahboutique.com shirt (worn around waist) & jeans PARASUCO - sneakers BRITISH KNIGHTS

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Cooking, Breaking Down Barriers and Giving Words by David Whitely

CHEF G. GARVIN Being a celebrity chef and owning a restaurant in your hometown is one thing, but being active and making positive changes in the community is another, and that is what Chef G. Garvin is doing.

The award winning celebrity chef (2007 Man of the Year award by Women Moving Forward in Business, and Third Best TV Chef by Southwest Airlines Spirit Magazine in 2006) continues his philanthropic work with his One Bite Foundation, where he takes on child obesity, domestic violence, homelessness and hunger. Chef Garvin details his work with the One Bite Foundation, and why he continues to give back to community that gave to him.

If you had to give your top three (3) reasons on why it is important to give back to the community, what would they be?

Top three reasons to give back to the community; one is because its home, its street, its block, its neighbourhood, its community and we all have to look out for each other. I think building a great and strong community is a foundation for anything good. The second reason is it’s absolutely necessary. There are a lot of single parent households and I think that giving back to the community really helps both the child and the parent. Third reason is because I think that all blessings should be shared and I’ve been given many and from many I need to give.

Why do you think it’s important to highlight these stories of people doing good, particularly among communities of color?

I think it’s important to highlight people who are doing good, particularly among people of color, because there is a huge misconception that all things hood are bad and everyone in the neighborhood is doing something bad. That is 69

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not the case. You go into a lot of African American communities and, yes, there are problems, but there also are people who are really doing really great stuff.

What is the mission of the One Bite Foundation?

How does the foundation help to battle issues of child obesity, domestic violence, homelessness and hunger?

The One Bite at a Time Foundation is an extension of who I am and what I believe. I think that no child should ever go to sleep hungry, as well no adult. When you live in one of the richest countries in the world, I just think you should do more. So I try to get involved with various activities where we’re combating the hunger effort. Around Thanksgiving and Christmas, we spend lots of time raising not just funds, but food products that we pass out. In terms of stopping childhood obesity I target the parents because I don’t know any ten year-old who drives to the grocery store and buys his own ice-cream. So I try to educate the parents in understanding what their practices say to a child if they’re in the house, and also educate them on the way they’re eating, the portion control and also the healthy component of working out and having a good balance. And as far as the domestic violence, I was a victim of it; my mother was a victim of it. So, domestic violence is a household issue. I work with the foundation called The Jenesse Center that Halle Berry is the chair of.

She also was a victim of domestic violence. I do anything I possibly can, from cooking to going out and being auctioned off a celebrity chef, donating books, donating money, donating time to really help some of these women who are in a desperate situation.

Talk about the Culinary Boot Camp, how many students are accepted into the program and how does the program help them?

The camp is between 75 and 100 kids from all over the country. It’s a free ride, its seven days in a hotel, co-ed, three meals, two snacks, and all things culinary experience. There are guest speakers, restaurant visits; we take the kids out to eat, so it’s all included. There was a lack of young African-Americans in the culinary world and I wanted to provide a platform or opportunity for kids who may not have been interested in the culinary field to take a look at it. Most children are interested in athletics, entertainment, music, and I thought that this would be a really great platform and so many kids were finding themselves in trouble. And because culinary and food saved my life, I thought it would be a great idea to get these kids involved.

About how many children attend the camp each summer?

The camp is between 75 and 100 kids from all over the country.

What words of advice do you have for those wanting to #giveitupforgood and make a difference in the lives of others?

Words of advice I have for someone who wants to Give It Up For Good and make a difference is this, just go out and do it. Don’t talk about it, be about it. There’s always something you can do to make your community a better place, a safer place. It’s important that we go out and find these kids and the people who are less fortune and to be a part of their lives and it doesn’t always have to be in the public view. The best work of God is always done in sometimes the silence of darkness.

From the Dorm Room to Running the ‘A Words by Treye Green

DJ ERA From the Dorm Room to Running the ‘A: DJ Era’s Rise from Campus Parties at Morehouse to Being the Plug in Atlanta It was his admitted laziness that took DJ Era from being an aspiring producer to the selfproclaimed West Coast ambassador of Atlanta’s still buzzing music scene.

He was supposed to be the next Swizz Beatz, but that teenage dream was sidelined during his undergraduate years at Atlanta’s Morehouse College when a broken piece of production equipment -- that he never fixed ---- spun his sporadic bookings as a house party DJ into a budding career.

He’s since traded the off-campus apartments for a bigger stage, like his recent run as the official tour DJ for R&B singer August Alsina. To Era, the sound of Atlanta has changed, but he’s more than willing to find his place in the city that made his DJing detour a life-changing gig.

‘Crunk Juice’ or ‘Kings of Crunk’ on, and that would just get hype before game day. It would give me a bunch of energy like I was ready to fight somebody. I used to try to make beats back in my terrible beat making days, and Lil’ Jon -- back when he was producing -- he was very inspiring. I watched documentaries on him in the studio just making beats and it was real dope.

I’m just overall a huge fan of the South and the whole Atlanta scene. Atlanta is a whole lot different from back then. I like the old Atlanta more than the new Atlanta. But it’s still A-town love.

So what is the difference between the old Atlanta and the new Atlanta.

Well, nobody in Atlanta is actually from Atlanta these days. Atlanta is made up of a bunch of outof-towners. Hell, me myself, I’m not from Atlanta, I’m from L.A, but I live in the ‘A, and I’m just one of the majority that probably has the same story.

Does work pick up for you during the summer?

Yeah, summer is good. All the radio station concerts really kick in during the summertime, so that’s constant work. We might have two or three shows a week, back to back to back, and now, we’re really getting into it every weekend for the most part right now.

As far as the music goes, the style of music has changed overall. It isn’t really on some Crunk shit. It’s really no “knuck if you’re bucking” these days. Lil Jon ain’t even doing that kind of music; he’s doing the EDM shit. Even the club scene; there’s no more 112, and all the shit we used to hear about back in the day. It’s a whole new scenery.

You’ve also said you’re a huge Crunk Music fanatic. What appeals to you about that style of music?

I don’t even know. I would be on varsity in high school, and right before game day I’d have have

Let’s talk about your time at Morehouse College. Tell me about your college experience and how that impacted your growth as a DJ. That’s where it all started! I started off doing all the college house parties and dorm parties. Fried

Chicken Wednesday in the cafeteria. Whatever I could get my hands on. College is kind of where it started, and from there, I built my name on the college scene. Then all the major artists that kind of wanted to get the college crowd had to go through me because I had all the clubs on lock back then. From the college scene I started establishing a name across the city of Atlanta.

Then I started traveling, going on the road with various artists and then I started to get a name on a bigger scale and it just got bigger and bigger from there and blessings kept coming. I came a long way from DJing in the dorm room.

How did you perfect your craft in those early days?

If the club starts at ten, I’d get there at nine and just practice for an hour before with the doors closed. If I fucked up, nobody heard me. It’s just me and probably like the bartender and the security, so it didn’t really matter. And I took my refund check and instead of buying books I just bought all DJ shit and stocked up and had all the equipment. I just started practicing and it just clicked.

So what’s next for Era? I’m really not even sure. I just want to take it to the biggest scale possible with more touring, more clubs and more mixtapes. I may get involved in some new artists label situations. You never know. I just go with the flow.

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1"44*0/ $063"(& #6--4) 5 536& 30."/$& Words by Edric Robinson / Photography SINEM YAZICI / Fashion Stylist GENELLE BROOKS / Fashion Editor CHRIS SANDFORD / Make-up LUCKY SMYLER AT EPIPHANY AGENCY USING MAC COSMETICS / Hair DAILEY GREENE AT H2 SALON BROOKLYN Location THE PAPER FACTORY HOTEL LONG ISLAND CITY, NEW YORK

If you were to take a mere glance into Estelle’s personal life on a typical Sunday or late evening, you would find the songstress most likely rocking a headscarf while cooking, or cleaning her home listening to nostalgic African or Soca grooves. These are the rhythms Estelle grew up hearing as a child of a Senegalese mother and Grenadian father in the UK. With the upcoming February release of her third U.S. album

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titled True Romance, Estelle gives fans a deeper look into this personal life-a side she has proudly kept out of tabloids. On the album, she boldly discusses the interim period after a breakup--all the woes and joys that surfaced from a guy she thought of marrying at one point. “A hot three seconds”, she admits. “It was a rotating wheel of fuckery”, Estelle says of her broken relationship with a crisp British

accent that makes curse words sound perfectly acceptable. “I gave it chances and ultimatums. It was never going to be for me and I knew I was kidding myself thinking that it was; it ended up being [inspiration] for great music.”

The singer laid out her emotions by constantly writing, taking a year to complete the project.

earrings ERICKSON BEAMON ROCKS dress KORA RAE

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“Men are going to come with preconceived notions. If a man wants to understand where I’ve been...”

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At age 34, Estelle seems to have gained a bolder confidence with an extra thick glaze of realism on top. Her upcoming album’s first single, ‘Maker Her Say’, is a testament to her realism with its sexualized lyrics and raunchy tones over a thumping beat. We’ve seen hints of this side before in songs like, ‘I Can Be a Freak’, but this time around Estelle allows listeners into the bedroom and sort of leaves open that special drawer by the nightstand for observation. “I chose this as the first single because, one, there’s nothing that sounds like it on the album, and, two, it really sums up the four themes of my album: passion, courage, bullshit, and true romance.” With a wry laugh she adds, “I didn’t do it because it was what others weren’t saying. I just did it because the beat sounded like sex. I loved the beat and I really wanted it on my album, so I wrote what the beat said to me.” This process seems to be at the very core of her songwriting success: an ability to lay out what others are thinking. “My ‘headspace’ has been for sometime to do something that will touch people in the same way that it touches them when one gets on stage...and what I found works best is talking about life, stuff I go through, and how I feel. It wasn’t when I made up songs or did a copy of someone’s song.”

True Romance is packed to the brim with feelings, and delves into at least four musical genres. Reggae vibes infiltrate a song called, ‘She Will Love’.

Soulful melodies reminiscent of a Motown record saturate ‘Silly Girls’, while a touch of house music in ‘Something Good’ gives a revamped version of Crystal Waters’ classic ‘Gypsy Woman’. There seems to be enough variety on the album to keep up with Estelle’s global fan base.

The album boasts its share of motivational songs in such anthems as ‘Conqueror’, which is set to be the second released single and ‘All that Matters’, one of Estelle’s personal favorites where she lays out what both parties in a relationship should be looking for. “It’s one of my favorites because it’s more on the aspirational side. It speaks about what’s really

important--what the man wants, what the female wants and speaking it into happening”, she said.

What does Estelle want in a relationship? “To be wooed of course”, she replies. But she admonishes prospects to come correct. “Men are going to come with preconceived notions. If a man wants to understand where I’ve been, and where I’m not willing to go again, I’d say to listen to ‘Silly Girl’ on the album.” In ‘Silly Girl”’, she takes on the position of an “experienced” woman passing along the necessary bits of lessons learned to females who need it. When it comes to her type of mate, Estelle claims brains reign supreme. “He absolutely must be smart and he shouldn’t have to prove he’s smart. Also, no assholes...and be healthy”, she laughs.

Whether it be relationships or artistry, Estelle is clear about what she wants and what’s she’s willing to settle for. “I’ve been in the industry for a long time. Too many artists are about this false perception they have to carry around--I can’t. I’m at the point where I’m comfortable with being awesome. In the beginning when you’re starting out, you feel like you have to be comfortable being an underdog. But a shift happens and to last in the industry, you have to embrace it.”

Only time will tell what the Grammy Award winner’s impact in the music industry will be. Estelle, who was once a relatively unknown independent artist, charted out a course which took her to being signed to a major record label to subsequently owning her own record label. She is clearly plotting out the career path as she envisions it. “I’m a woman...an artist... a human...a beautiful mess. Some days you feel ‘all that’; some days you look like absolute shit. Some days you’re being a mean bitch--it is, what it is. I’ve learned that if you’re going to be in music, you might as well own it...Do what you want to do.”

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Words by Andrew Horton

RE-CREATION An Interview with NEW YORK CITY’S Rising Photographer/Filmmaker Sekou Luke Over the last ten years, New York-based Sekou Luke has emerged as a promising young, innovative photographer/filmmaker. Respected by peers and esteemed by the industry, Luke’s inventive style is distinguished by a commitment to powerful storytelling with a strong narrative voice . He also has a strong passion for the marriage between the arts and activism.

His work has been featured in film festivals across the nation and was recently featured at The White House Summit on Working Families. Bleu writer Andrew Horton was able to sit down with Luke and discuss the power behind his punch.

Sekou, you are very versatile in media. Tell me how you define yourself as a media professional.

I would say I am a filmmaker, actor and photographer—I capture and tell stories. These are the mediums that I am focusing on right now. I am an artist at heart. I dabble in various creative mediums. There is some performance and some production in [the art of storytelling]. I think that those are the things that I do well…and I know both worlds.

I understand that filmmaking can be very technical.

Do you find that there is a need to separate the technical from the creative element? If not, how do you fuse the two?

There is the technical element and there is the creative

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in all art. So if you are a singer, you’ve got to have technique—you have to know how to breathe. But then you have to have the creative ability to bring the song to life. It’s the same thing in film--the technical in film is lighting; it’s sound, composition, texture. The creative [element in film] is how you direct and how you pull out the story from your performers. It’s how you tell the story. It’s telling the story beautifully--it’s the aesthetic, the feeling, the mood. In acting, the technical is breaking down the script. It’s knowing your pacing--the beat, the meter. The creative element is the connection to the work. It’s the emotion. It’s adding creative elements where one can ask, “Am I really bringing this piece to life?”

New York City is a big bustling city full of individuals involved in the media industry. What sets you apart from all of the other fish in this big ocean of media talent?

What sets me apart is that I am really building a production company where I have strong control over my creative and technical art. The question for me is, “What is my goal and what mechanisms do I use to measure my own success?” For me, my most important objective is to create—creating your material and creating your art. That’s the reward for me!

Are there any themes that you visit in your artwork— whether in film or photography—that you feel are

important to bring out? Where does creativity and activism meet for you?

I believe strongly in the marriage of art and activism.

People are moved by story and storytelling; though often underused, art is one of the activist’s most powerful tools that can be employed for social change; the arts have always been a part of any social movement. A big part of my work this past year has been traveling to Seattle, New Jersey, Chicago, Denver to create a six-part short film series for Family Values at Work, a national non-profit advocating for paid family leave and paid sick days for all Americans. One of the films was screened this past June at The White House Summit on Working Families. It was so mind-blowing to see my piece featured after Barack Obama’s speech.

I’ve also created media for ROC-United (a restaurant employees’ advocacy non-profit), Food Chain Worker Alliance, Brandworkers and the AFL-CIO’s Working America Project.

Amazing! You seem to approach your craft much like an archaeologist digs for artifacts.

My work is also about examining the journey of creation and the process of establishing an artist’s unique identity and voice. I love working with emerging artists; I love helping them to discover who they are. I am currently producing a web series called PROCESS which features intimate portraits of the creative process of eight New York City artists.

Finally, I have a strong desire to tell stories particularly about men of color, masculinity and male identity, and how these aspects are lived out among native-born Americans or immigrant groups. I am sensitive to how these unique stories are being told, as they are often not told by many filmmakers. I have a trilogy of shorts that examine the black male identity against the background of intimacy, sexuality and his role in today’s society.

in times past. I have had people view my work and assume that the cost of production was astronomical.

But I just think, “If you only knew.” [Sekou laughs] The game is changing; it’s about artists who know their craft, who know their technique, who are creative and passionate, and are driven. These artists will do well.

With the new, ever-changing diversity in methods of media production, how do you determine which methods you will use to come up with your final product?

Media creative artists have to study. It is important to be well-read. One has to do research and look at what other people the the field are thinking and doing. Then you trust your artistic decision -making.

You decide where you need to go with something. You teach yourself how to create what you want. I don’t know if that was a good answer. [Sekou laughs] In essence, are you saying media artists must trust their guts?

There comes a time when you just have to throw all form and figure aside and simply trust your gut.

Contrary to dietary thought, the gut can be a good thing. [Sekou laughs]) What media creative artists do you admire and/or wish to emulate?

I am a filmmaker, actor and photographer—I capture and tell stories

When do you plan to have the PROCESS project completed?

Hopefully by the end of the year.

I admire artists who present new models in doing things—new ways to tell a story. I respect people who break the mold and reimagine storytelling. My favorite directors are Spike Lee, Pedro Almodóvar, Lee Daniels, Steve McQueen. Also,Tyler Perry—though sometimes overlooked as a notable director— has created an innovative model for telling a story, and should therefore be commended.

The technology of media is constantly changing.

Do you find it difficult to make the necessary adjustments in order to keep your craft on the cutting edge—technologically speaking?

Technology and new media continues to change the production of art. There are young artists coming up, creating powerful work using completely new channels of production when compared to the generation before. So the learning is different. There is more independence, more autonomy in the production process. One can do more on less of a budget than

What is your outlook for the future of creative media artists?

I believe we are approaching a rich renaissance of independently-created media where the tools of production are evermore accessible to the talented, determined and distinctive artist. The time is ripe for young creative filmmakers. There are wider channels of distribution and target audiences are evermore accessible. I am excited and inspired for what is dawning for the independent creative artist. Now is the time.

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Whether you were in HIGH SCHOOL, COLLEGE, or a WORKING a 9-5 these gone but not forgotten stores where every FASHION CAUTIONS GUYS main source for gear in the 80’s and 90’s.

Words by Chris Sandford

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Structure 1989 – 2001 What did they sell: Trendy clothing for the modern ‘90s guy such as boot cut and flare jeans, cropped pants and graphic tees. Structure was the male counterpart to Express, which at that time was only for women.

Who shopped there: Every cool guy you knew that wasn’t in high school and a few that were in high school, but ahead of his time.

Where did it go: Limited Brands Inc. (now called L Brands Inc.) converted Structure into Express Men, and later merged it with Express. They then sold the Structure label to Sears.

You can now find a cheap and rather unflattering version of what the brand used to be at the department store.

Chess King 1968 – 1995 What did they sell: Lots of stripes and loud colors, and those Columbine trench coats.

Who shopped there: Cool ‘80s dudes and ‘80s dudes who thought they were cool.

What happened to it: Merry Go Round Enterprises purchased the clothing retailer in 1993, and in 1994, Merry Go Round filed for Chapter 11 Bankruptcy. Chess King closed its stores in 1995.

Merry Go Round 1970’s – 1996 What did they sell: Z. Cavarrici’s, B.U.M. Equipment, Skidz, Cross Colors and lots of matching sets.

Who shopped there: All the popular kids at your school.

What happened to it: Merry Go Round Enterprises filed for Chapter 11 Bankruptcy in 1993, and closed its stores in 1996.

Miller’s Outpost 1972 – 1990’s What did they sell: Current trends of the time--lots of graphic tees and denim.

Who shopped there: College Co-eds What happened to it: In the late ‘90s, the company changed its name to Anchor Blue, and in 2009, the company filed for Chapter 11 bankruptcy.

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Say it

LOUD! Give the predictable all black look a break this Fall and introduce pops of color into your wardrobe.

Fashion Editor RONI FRANCOIS Photography JULIEN MITCHELL Fashion Stylist JAMES SCHOLAR FOR RONÇOIS Grooming MOSHOODAT Assistants RAVEN HENDERSON, TANYA JEAN BAPTISTE, MELISSA SUTHERLAND

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shirt & pants CONFLICT OF INTEREST - shoes NOAH WAXMAN

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shirt, pants & shirt (worn around waist) ETUDES STUDIO - sneakers CONVERSE

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Nevertheless, the toughness that they brought to the game is legendary, and could also be part of the reason the NBA had to change its rules.

Player safety has always been a priority in professional sports. Concussions have been a huge issue because of the longterm effects it can have on player health and lifespans. Salaries have increased, and owners want to make sure that their product is not affected by player negligence or dirty play, such as what transpired in the late ‘80s and ‘90s with the Lakers, Pistons, and Knicks franchises.

The rivalry between the Lakers and Celtics saw Kurt Rambis and Hall of fame inductee Kevin McHale get into a legendary tussle due to McHale’s Dwayne “The Rock” Johnson style tackle of Kurt in game four of the 1984 NBA Finals. An instance that saw the benches of both teams cleared.

The late ‘80s and very early ‘90s saw Michael Jordan’s lower back massaged more than a Chinese spa courtesy of the “Bad Boy” Detroit Pistons, who used the hand check to drive Jordan and the Chicago Bulls crazy. The Bulls eventually evolved from the Pistons, and were able to turn the physicality table around, overwhelming their bullies to become champions. However, a new challenger came on the scene with the same brut ideals: the 1990 Patrick Ewing led New York Knicks. However, they were too late to the hand checking and rough play party.

The penalties for hard fouls increased, and hand checking was checked after 1991.

Nevertheless, the toughness that they brought to the game is legendary, and could also be part of the reason the NBA had to be change its rules. Successful teams were ‘Never Scared’ like Bone Crusher, to knock people on their backsides. In the 1984-

1985 season, the fine for players who did not stay in the vicinity of the bench during a fight changed from 150 dollars to 500 dollars. This rule forced players to think twice before getting “ratchet” on the floor during player scuffles. In 1988, the N.B.A. went from two to three officials, leading to more eyes, and less shenanigans on the court. In the 1990-1991 season, penalties for flagrant fouls increased, and the team committing the infraction was penalized by giving away possession,and two free throws, a situation that could change the outcome of a game dramatically. In addition, ejections from the game were left up to the referee’s discretion. Moreover, in 1995, hand checking was eliminated from the N.B.A. from foul line to foul line.

A controversial rule change some fans believe led to Michael Jordan’s domination of the league.

In the modern era of the N.B.A. referees and officials are able to use instant replay to review the severity of any foul deemed flagrant. Over the course of the 20062007 N.B.A. season, hard fouls were put into categories—a flagrant foul penalty one, which results in a one shot penalty or flagrant foul penalty 2. A flagrant foul is deemed to be to be excessive (usually incidental) contact made by a defender onto the offensive player. A flagrant two is unnecessary and excessive contact made by the defender. Both fouls lead to a twoshot penalty and possession of the ball for the offensive team, but where they differ is that flagrant two offenders are ejected from the contest. Making the game softer, but safer.

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JockoTHENSims AND NOW Words by Cataanda J.

“I wasn’t sure that I wanted to be in school another twelve years so I...

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Jocko Sims is a rising star and definitely one to watch. A multi-talented actor, credibly known for his most recent role in Dawn of the Planet of the Apes, he plays Werner--one of the last surviving humans. Aside from this, you can catch Jocko in TNT’s ‘The Last Ship’, and Showtime’s ‘Masters of Sex’. Jocko Sims is a very busy guy in Hollywood; but not too busy to share a moment chatting it up with us at Bleu Magazine. On his drive into Universal Studios for a television talk show appearance, the once upon a time pre-med student from Houston Texas, opened up and gave us a sneak peak into the world of Jocko Sims--then and now.

THE ACTOR Being an ex doctor ‘wanna be’, Mr. Sims has proven to be a renaissance man with much determination and integrity. When asked “when did you know you wanted to be an actor?”, the response was not your typical “I had this dream as a kid” story, instead he shares, “all through high school I felt like I had made up my mind that I wanted to be a doctor or dentist”.

He continues with, “I remember my high school class ring...I got a little medical symbol on my ring to show that I was committed to fulfilling that prophecy.” Now the wow factor has set in because this subtly imparts that young Jocko also recognized the correlation of commitment to fulfillment.

Laying out the story a bit more, bringing us to the picture resplendently painted, resounding why he is where he is now, the few sentences spoken by the tenacious actor definitely put the stamp of approval on the presumed theory that-- Jocko Sims was a big dreamer with a plan to win.

THE STORY Getting to the real, Jocko reveals, “what ended up happening is I got to college my first year at the University of Houston and I don’t know what it was, as soon as I got there I felt like I think I’m gonna love college--I think I like this experience.” He passionately spoke about the importance of education and his unwavering decision to getting a degree, so bouts with being scholastic didn’t fizzle, but the story took a quick turn. Jocko continues with, “I wasn’t sure that I wanted to be in school another twelve

years so I said I’ve gotta find something else. I wanted to have some fun. I took a few theater acting classes, some voice classes and I fell in love with it.

I remember the department being very welcoming. I had this abstract view of what acting and theater was and I thought it might be a little pretentious, but they welcomed me with open arms. Before I knew it I moved out here to Los Angeles and finished up at UCLA.” Talk about your destiny finding you! Yes destiny can find you if you open up your dreams to the untraditional opportunities most are fearful to grasp a hold to. Jocko just so happened to stumble upon the wildly imaginative idea of “I can be anything I want to be”! Jocko closes that chapter with, “it just felt like the right path for me at the time.” Jocko Sims is the perfect poster child for poet Robert Frost in, “I took the road less traveled by, and that has made all the difference.” The re-write of his own real life script as a pre-med college freshman--turned theater student was the beginning of his career in tv and film. From the moment he first stepped foot on campus, Jocko had an epiphany and concludes, “That’s when I decided I wanted to be an actor, so I worked really hard--I started working immediately! Actually right before I got out of college I went out for my first audition.”

THE CHARACTER Since the first Planet of the Apes originated in 1968, it says a lot for a young actor having the opportunity to attribute to recreating a film your parents were once fans of. He agreed in saying, “I was not born. My dad was a big fan of those cool series back then and he loved it and it never occurred to me that I could possibly be in the sequel.” Speaking to his own gratification he added, “I didn’t tell him about it and I got the part, so he’s over the moon. I’m a newer generation fan as well and I just can’t wait to see it as a fan, let alone the fact that I’m a part of it. I feel like this is the best classic to a main classic.”

On Dawn of the Planet of the Apes, Jocko insists, “You have to see the sequel because it’s amazing, but in order to understand the sequel you gotta get to know the characters and the main apes. In order to do that, you gotta see Rise of the Planet of the Apes. This movie can stand alone but it is the direct sequel to the 2011 version- you’ll definitely partake.”

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What Was Hot in the 80s, 90s, 2000s

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Magic Johnson

Dreamgirls

Nick at Nite

Dr. Jay

Coming to America

TGIF

Michael Jordan

Scream

Rubics Cube

Dominique Wilkins

Lethal Weapon

Nintendo 64

Kobe Bryant

The Color Purple

Playstation

Shaq

Clueless

Sonic the Hedgehog

Penny Hardaway

The Cosby Show

Super Mario

Grant Hill

Family Matters

Goosebumps books

Dennis Rodman

Mama I Want to Sing

IT by Stephen King

Bad Boy Pistons

Oprah Winfrey Show

Phenomenal Woman

Carl Lewis

Doug

Adidas jogging suit

Aaliyah

Clarissa Explains It All

Air Force 1’s

Destiny’s Child

Legends Of The Hidden

Fila

Eddie Murphy

Temple

FUBU

Vanessa Williams

Cita’s World

LA Gear

Shemar Moore

Ren and Stimpy

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ICON

KID ’N PLAY Forever immortalized through their albums and movies like House Party and Class Act, the two appealed to the younger crowd...

Words by Yvette Brown The ‘80s and ‘90s wouldn’t be the same without the hip-hop duo Kid ‘n Play. Christopher “Kid” Reid and Christopher “Play” Martin worked alongside their DJ, Mark “DJ Wiz” Eastmond to create and develop a successful musical career. Kid ‘n Play hit the Billboard charts with their ground breaking singles, “Funhouse”, “Rollin with Kid ‘n Play” and “Ain’t Gonna Hurt Nobody”, tracks packed with high energy and witty lyrics perfect to start any party...Especially a “House Party”.

But the duo didn’t leave their mark with just their music alone. There’s their kick-step that still has people tripping over their feet as they try to time the perfect ankle-lock and spin. There is their trademark hi-top fade haircuts, a trend that has reemerged over the past few years with the likes of Fabolous and Knicks baller Iman Shumpert.

Kid ‘n Play’s fashion sense is unforgettable. The multi-talented duo is known for their baggy style and loud prints, showing that they weren’t afraid to be bold. Play showed just how sophisticated

one can be to pull off a fly look; he wore uniquely shaped sunglasses similar to the ones A$AP Rocky and Ferg wear today. Even Tyler the Creator’s flashy button-up look resembles the likes of Play. From the nerdy look to hockey jerseys, Kid ‘n Play have always been true trendsetters that influence even today’s hip-hop artists. Who could forget those wind breakers and pinky rings?

Forever immortalized through their albums and movies like House Party and Class Act, the two appealed to the younger crowd by taking their acting career into the world of animation. Their NBC Saturday morning cartoon, Kid ‘n Play lasted for one season and subsequently turned into a Marvel Comics comic book which lasted for nine issues. They were also featured in the PBS math show, Square One TV and PBS’ Sesame Street.

Kid ‘n Play is a nineties icon whose influence is still felt today.

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SHOPLIST ADIDAS ALDER NEW YORK A.MOSS BALENCIAGA BERNHARD WILLHELM BRITISH KNIGHTS CALVIN KLEIN CALVIN KLEIN UNDERWEAR CAMPER CAST EYEWEAR CONFLICT OF INTEREST CONVERSE DENIM & SUPPLY RALPH LAUREN DOPE ERICKSON BEAMON ROCKS ETUDES STUDIO FALKE FENDI GSTAR RAW GUESS GYPSY SPORT H&M ICNY KENNETH COLE KENZO KORA RAE LACOSTE L!VE LAST KINGS LEVIS LOVE IS EARTH MFG CO. MACKAGE MAKE LIFE A RITUAL INC. MI51 NEFF NEW BALANCE NIKE NOAH WAXMAN PARASUCO PONY RAYBAN REBEKAH PRICE REBEL8 ROCAWEAR SEAN JOHN STAPLE STARTER THE KOOPLES THEORY VINCE VISION STREET WEAR ZARA

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SECTION ARTICLE TITLE

A PERFORMANCE COUPE THAT DEMANDS NOT TO BE DRIVEN. BUT FLEXED.

THE FIRST-EVER 467 HORSEPOWER RC F 1 2

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