suede archive : issue 00 (digital edition) by mattvinas

Prisoners of the Moment suede

issue _ 00

on the second sunday of each month, the rose bowl at pasadena,california is filled with vendors who sell a variety of items, such as vintage clothing, cameras, home decor and antiques. the rose bowl flea market is the perfect place to go to when youâ&#x20AC;&#x2122;re in search of a unique piece to add to your collection.

ISSUE 00 DIGITAL EDITION

sue a word from the editor

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DRINKING IS BAD, FEELINGS ARE WORSE ROBOTS RETURN THE PAST IS PRESENT SAM THA CAT AND THE VENUS COLLECTIVE PHAROS AND AWAKEN MY LOVE WHAT COLOR AM I MADE IN AMERICA, COVETED IN JAPAN LEON BRIDGES COACHELLA THE REELNESS MILLENIAL BREAK-UP PLAYLIST BLONDE SPOTLIGHT

14 16 24 26 28 34 38 42 48 50 58 62

JOSHUA TREE , CA

ROXY

Drinking Is Bad, Feelings Are Worse

written by Katelyn McClanahan

ROBOTS RETURN THE WORLD IS BETTER WHEN THE ROBOTS ARE HERE

by RYAN DOMBAL

16 12

DAFT PUNK ARE STANDING ON A HELIPAD overlooking downtown Los Angeles as fireballs make their sequined suits glisten with hot heat. It’s a few days before this year’s Coachella, where the duo’s shiny new duds will premiere by way of a Jumbotron trailer for their new album, Random Access Memories. But for now, only a very select few have laid eyes on the outfits—and everyone involved in today’s photo shoot desperately wants to keep it that way.

This task proves to be somewhat difficult. The helipad is inside a public park,

and there’s a pedestrian path right next to it. Errant runners and bikers are all but inevitable, and if one of them decides to whip their phone out, snap a photo, and upload it to Instagram without breaking stride, this important piece of Daft Punk’s meticulous rollout strategy will be ruined.

For the first part of the day’s shoot, Thomas Bangalter (silver helmet) and

Guy-Manuel de Homem-Christo (gold helmet) stand behind a wall of eight-foot flames. Members of the crew, some of whom wear white gloves in order to avoid smudges on the pair’s glittering getups, remain vigilant for curious passersby. And as the fireball sequence begins, a guy is seen creeping up from a clearing off to the side of the helipad. He sits in the grass close by, shakily opens his backpack, and takes a sip from a water bottle. “Is that them?” he asks, brandishing his phone.

DJ Falcon, longtime friend of Daft Punk and one of many collaborators on

the new album, rushes over. “The guy was in a trance,” recalls Falcon a couple of days later. “It’s like he was thinking, ‘That’s the picture of my life—I’m going to be the one who shows the world.’ I could feel the intensity.” So as the trembling fan tries to get his shot, Falcon sticks his arms up to block him, “like an NBA defender.” A park monitor notices the hubbub and screams, “Assault! Permit revoked! Shut it down!” Daft Punk retreat to their trailer. No more fireballs.

Eventually, the drama dies down enough for everyone to review the would-be

paparazzo’s camera phone footage. “It was just a video of me trying to protect my friends—jumping in front of the bullet,” says Falcon. “You couldn’t see shit.”

ZOOM OUT FOR A SECOND, and this entire scene can seem deeply silly: a

group of adults frantically trying to hide the image of two Frenchmen in their late 30s wearing costumes that make them look like C-3PO after a well-tailored disco makeover. But once you spend any time with Daft Punk—or even just listen to their music, or watch their videos, or gawk at their live show—such protectiveness suddenly becomes understandable, even necessary. It’s an instinct to keep the idea of mystery alive at a time when it seems to be in historically short supply.

The day after the pair’s refurbished guises were revealed on Coachella’s screens

as planned—causing mad dashes and some of the festival’s most excited outbursts— Bangalter says everything about RAM and its buildup is about the surprise, the magic. “When you know how a magic trick is done, it’s so depressing,” he explains. “We focus on the illusion because giving away how it’s done instantly shuts down the sense of excitement and innocence.”

This strategy extends to the album’s daunting and ambitious conception,

which had Daft Punk recruiting some of the world’s most gifted session players—guys who worked on classics by the likes of Michael Jackson, Madonna, and David Bowie—to lay down the beats, melodies, and chords bouncing around Bangalter and de Homem-Christo’s heads. Not to mention full-on, mind-melding collaborations with a number of their idols and like-minded contemporaries including Chic mastermind Nile Rodgers, Pharrell, schmaltzy 70s singer/songwriter Paul Williams, Panda Bear, house deity Todd Edwards, and electro originator Giorgio Moroder. Plus: Everything was recorded onto analog tape in rarified recording palaces like New York’s Electric Lady and L.A.’s Capitol Studios. Human spontaneity was coveted; computers, with their tendency toward mindless repetition, were not.

“Technology has made music accessible in a philosophically interesting way,

which is great,” says Bangalter, talking about the proliferation of home recording and the laptop studio. “But on the other hand, when everybody has the ability to make magic, it’s like there’s no more magic—if the audience can just do it themselves, why are they going to bother?”

18 18

On the edge of the mountains in Rancho Mirage, California—somewhere

between Frank Sinatra Dr. and a sunstruck Bentley dealership—is the Bing Crosby Estate, where Daft Punk are staying while in town for this year’s Coachella. The house’s name is not a misnomer: The famed crooner had it built in 1957, as he eased into his golden years. Now, anyone with a healthy bank account can enjoy the saltwater pool, valley-wide view, and old-school-celebrity aura—JFK and Marilyn Monroe supposedly had a fling here in the early 60s—for just $3,000 a night.

About a dozen friends relax in and around the pool while Jay-Z, Janet Jackson, and Miguel flow from the stereo at a very reasonable volume. Bangalter and de

Homem-Christo sit near the fringe of the backyard patio, mountain winds gusting down alongside the single-story abode. Considering their typical full-body attire, it’s a bit shocking to see Daft Punk simply lounging in swim trunks.

Bangalter is tall, slim, and bearded in an unbuttoned denim top and straw hat.

He does a solid 95 percent of the talking, and while he claims to not know English that well at one point, he probably has a more extensive vocabulary than many Americans. He sometimes takes long pauses—10 seconds or more—before answering a question, but those responses can go on, uninterrupted, for minutes, often peppered with thoughtful stammers. The 38-year-old comes off as quite serious and careful, not interested in pleasantries. He just wants to articulate the ideas and concepts rattling around his big brain; with a reporter and a recorder in front of him, he’s well aware of the transaction taking place.

De Homem-Christo, 39, is shirtless with a small gold wishbone hanging from

his neck, a sturdy gold band around his wrist, and a gold-cased iPhone on a nearby chair. With his flowing shoulder-length dark hair, he kind of looks like a shorter, wider, French-er Johnny Depp. During the rare instances when he does speak, he’s spacier and less guarded. A couple of times, he sums up a two-minute Bangalter soliloquy with a quick, to-the-point sentence or phrase. During our lengthy three-hour conversation, there’s little interaction between the two, who have been friends for 26 years, but no trace of hostility either. Even with their helmets off, these two give off an even-keeled, low-humming sense of artful efficiency.

19 19

DAFT PUNK ARE UP TO IT AGAIN.

Back in the thick of the things, the robot duo find themselves collaborating with one of today’s biggest pop stars. Daft Punk’s

recent radio-hit

collaboration on The Weeknd’s hyped album “Starboy” on its title track and a standout track reminiscent of Michael Jackson, I Feel It Coming, come as a suprise to many. Thomas Bangalter (silver helmet) and Guy-Manuel de Homem-Christo (gold helmet) may not be easily identifiable in everyday life, but their metal alter-egos have become the most legends in the music industry. Upon announcing their Grammy performance, the dance music duo surprised fans with the opening of a pop up shop at the Maxfield Gallery space in West Hollywood.

daft punk pop up shop . maxfield gallery . west hollywood, ca . 11-19 february 2017

daft punk pop up shop . maxfield gallery . west hollywood, ca . 11 - 19 february 2017 The pop up shop featured memoribilia from the iconic duo as well as limited edition merch and apparel made by some of the biggest names in streetwear. Merchandise consisted of logo pins, helmet patches, jewelry, figurines of the techno duo, and exclusive apparel. Exclusive apparel merch featured pieces from brands OFF-WHITE, Gosha Rubchinskiy, Enfants Riches DĂŠprimĂŠs, Darkdron, K-Way, among others.

The Past is Present

Daniel Arsham is an American artist born in Cleveland, Ohio. He is currently based in New York City where he works on his art. Arsham’s work is easily identifiable by his monochromatic sculptures, many of which signify the archival of the current. He takes modern appliances and culturally relevant items and imagines them in a way that would seem like people 100s of years later have found our society. A collaborative experience with Alex Mustonen came to fruition in 2008 in the form of Snarkitecture. Snarkitecture is a collaborative practice based in Brooklyn, New York whose work is easily identifiable by its usually all-white aesthetic. Arsham met Mustonen at Cooper Union; Arsham was an art student and Mustonen studied architecture. With Mustonen’s architecturally-driven mind and Arsham’s mastery of art, the duo were able to create Snarkitecture. What’s remarkable about Snarkitecture is the way they are able to work with the space that they are given. Whether they are given a whole arena or a tiny New York retail space, the duo is always able to create something i nnovative and enjoyable for the audience. I first discovered the work of Snarkitecture through the New York-based retail shop Kith. Owner of Kith, Ronnie Fieg currently has 6 retail spaces and has contacted the Snarkitecture team to collaborate with him to create a unique experience for each one. Streetwear shops are usually all about the purchase but Snarkitecture and Fieg have made sure to make sure Kith stores are more about the customers’ experience. With the help of Snarkitecture, Kith has become a world-renowned retail shop and one that has garnered the respect of those into fashion, and interior design. written by Marcus Johnson

Steel Eroded Baseball Gloves 2014 Steel fragments, shattered glass, and hydrostone 2.5 x 9 x 12.75 inches

“The

things we do for this guy.” I said this in my car as my friends and I completed a 120-mile trip to Joshua Tree during Labor Day weekend. The “guy” I was referring to was Donald Glover, the multi-hyphenate performer also known by his rap persona, Childish Gambino. Never did I think that being a fan of this artist would lead me to a weekend of camping in the desert. In

June of that year, a tweet from Glover’s Twitter account

linked to an app and a countdown. Fans waited anxiously as the numbers went down and the app zeroed in on a location on a map: Joshua Tree, California. The app announced a weekend of performances in September 2016 named Pharos. A guidebook was provided with a set of rules including to wear blue, no irony and only “real” talk. A ticket to the event also gave an option to camp at Joshua Tree for the night after the concert. With no new music released in two years,

Following Donald Glover to Pharos and Beyond written by _________ Jean Catherine

Gambino’s offer of a “full-album experience” at Pharos was an intriguing and mysterious proposition that couldn’t be passed up. There

aren’t many musical artists that can sell out a weekend of performances in the middle of the desert without giving fans even a sneak peek of their new music. But if you’ve been a longtime fan of Childish Gambino, you learn to expect the unexpected. I had discovered Gambino’s music in 2010

after becoming a fan of Community, the NBC sitcom. Donald Glover had garnered praise as a comedian and actor on the show and was just starting to get attention for his music under the name of Childish Gambino. It’s easy to expect that Glover’s foray into rap music would be nothing but a young performer’s self-indulgent side project. What Glover offered was a thoughtful, funny and experimental take on rap and hip hop.

As an artist, Childish Gambino kept his critics and fans guessing. As companion pieces to his second studio album, Because the Internet, Glover released a short film and screenplay. The short film Clapping for the Wrong Reasons was written and produced by Glover and directed by frequent collaborator Hiro Murai. The screenplay was a continuation from the last song on his first studio album Camp, “That Power” and was designed to sync up to Because the Internet. In addition to the film and screenplay, Gambino held several listening album parties for fans across the country in public places and even exclusive mansion parties. Looking

at Gambino’s projects, it is clear that the fan experience is of great value to him. So as unexpected as a weekend concert in the desert is, it is not out of the realm of possibility for an artist like Childish Gambino. Just beyond the campgrounds at Pharos was what

looked like a mini-festival. The “Hub” had food trucks, ping pong tables, cornhole and charging stations. Throughout the grounds, walkways were illuminated with blue lights. After you pass the “Watering Hole”, an outside theater was set up for DJ sets and screenings of Glover’s not-yet-released FX show, Atlanta. Outside

the Hub was a white dome, the venue for the concert. Before entering the dome, every attendee had to surrender his or her cell phone for it to be placed in a sealed pouch that would be opened after show. This was a particularly confusing and frustrating process for the millennials hoping to get those Instagram likes from friends who couldn’t get tickets. The somewhat aggressive tactic to encourage concertgoers to stay in the present ended up enhancing the show so much more than anticipated.

On the stage was a glowing pyramid rested on a pillar near a small set of bleachers along with mountainous formations. As the choir began to sing, the band kicked off the show with a new song that immediately sounded different from Gambino’s previous material. Gambino appeared on stage wearing a pink and yellow tribal costume complete with glow-in-the dark war paint and three-foot long dreads. This was a new Childish Gambino. The twelve songs on the set list were all new pieces featuring elements of funk, soul, jazz and very minimal rapping. Gambino’s infectious energy on stage fueled the crowd who were entertained albeit a bit perplexed by the new sound. The dome turned out to not just be a shelter for the show but also a huge screen for psychedelic visuals to accompany the live music. The inside of the dome’s walls had a full 360° projection of animations of rain, dancing skeletons, tribesmen and spirits. It wouldn’t have been the same experience with hundreds of phones being held up during the show.

Keep Keep Keep Keep Keep Keep Keep Keep

Standing Standing Standing Standing Standing Standing Standing Standing

Tall Tall Tall Tall Tall Tall Tall Tall

Keep Keep Standing Standing Tall Tall Keep Keep Standing Standing Tall Tall

Despite the audience not knowing the album, there was never a dull moment. During the closing track, the crowd watched an animation that simulated traveling through the galaxies as we soared by constellations at increasing speeds. As the music crescendoed, an image of the Earth on the dome walls grew and expanded to the point where I almost forgot we weren’t wearing 3D glasses. The image of the Earth burst as the crowd roared in amazement. That conclusion was one of the most awe-inspiring displays of artistry I’d ever seen at a concert. The

rest of the night was left for us to relax and try to process the experience we just had. We made our way back to the outdoor theater where we watched a few episodes of Atlanta. The project had been much anticipated but still remained a mystery as to what the show would be like. Glover had been working on it for two years and it was

presumably the reason why fans had not heard new Childish Gambino music since 2014. It didn’t take long to realize that the show was original, brilliant and another great showcase for Glover’s wide-ranging talent. Not long after, we retreated to our tent, still coming down from the high of such a unique and dynamic concert experience. After a fairly quiet two years, it looked like both Childish Gambino and Donald Glover were ready to make a huge comeback.

On December 2nd, Childish Gambino released his 3rd studio album, Awaken, My Love! featuring the songs performed at Pharos. Just like his live performance, Gambino abandoned his rap persona by committing to only singing over a fusion of psychedelic soul, funk and R&B. He once again worked with his longtime collaborator, producer Ludwig Göransson. The first single, “Me and Your Mama,” was released in November and gave his entire fanbase a preview of his new sound. The epic six-minute track includes a gospel choir and Glover exercising powerful vocals that sound stronger than ever on this. “Redbone” was released only a week later on BBC Radio 1 with DJ Annie Mac describing it as “oozing with soul.” Gambino’s falsetto vocals were believed to be pitched up but he denied this and proved his ability during a live performance on The Tonight Show Starring Jimmy Fallon. The performance was Gambino’s first television music performance in a few years and was met with praise from fans that were in doubt of his new style.

With song titles like “Baby Boy” and “The Night Me and Your Mama Met,” it is safe to assume that this album is dedicated to his newborn son. Glover’s recent transition to fatherhood could be the catalyst for the venture into a new sound. Whatever the motivation may be, it has given Glover the opportunity to show the world he can’t be pinned down. Since the release of Awaken, My Love!, Glover’s surrealist TV comedy Atlanta aired its first season, received widespread acclaim from critics, and was announced to return for a second season. The show won several awards including two Golden Globe Awards for Best Television Series – Musical or Comedy and Best Actor – Television Series Musical or Comedy for Glover. It has also been announced that he will portray a young Lando Calrissian in the Han Solo Star Wars movie and will provide the voice of Simba in a remake of the film The Lion King.

Donald Glover has so many different paths ahead of him in his career. Music led him to the desert and the land of funk. Acting will soon lead him back to the streets of Atlanta and to a galaxy far, far away. Years as a loyal fan has taught me that wherever he goes, it’s worth it to follow him.

What Color Am I? 34

CHELSEA IN

#fcacb7

THIS PROJECT FOCUSES ON HOW INDIVIDUALS PERCEIVE THEMSELVES AND HOW THEY ARE PERCEIVED BY OTHERS FOR THE FIRST PICTURES, THE INDIVIDUAL CHOSE A COLOR THAT THEY SEE THEMSELVES AS FOR THE SECOND PICTURES, THE INDIVIDUAL ASKED AROUND TO SEE WHAT COLOR OTHERS SEE THEM AS. IN SEEING HOW THEY ARE SEEN BY OTHERS, THEY SEE HOW DIFFERENTLY THEY ARE VIEWED BY THE WORLD AROUND THEM

CHELSEA IN

#c8aa30

DEVON IN

#1e462c

GISELLE IN #3c202c

DEVON IN

#362343

GISELLE IN #f1c580

written by________Kyle

america

Made in japan, Coveted in

Selvedge denim is produced worldwide, but in the denim enthusiast community, Japanese denim is often praised above the rest. Many denimheads consider Japanese fabrics to be the best of all – but what, exactly, makes Japanese denim stand out in the minds of so many when compared to American, Italian, or Turkish denim? Is it all just hype, or are there real differences that give Japanese denim a unique edge? The answer is, honestly, not necessarily. Not all selvedge denim is created equal, so while most selvedge denim is high quality, that selvedge line doesn’t automatically mean that it will age in a distinct manner or wear well over time. Denim produced on a Japanese selvedge loom can have radical variations in color, weight, and texture from one fabric to the next. By understanding how different characteristics affect denim’s aging, l ongevity, and appearance, you’ll be better equipped to find the right kind of denim for you and judge the quality of any particular denim. First of all, Japanese denim is often made on old shuttle looms – not American Draper looms imported to Japan (as is sometimes thought in popular myth), but vintage Toyoda looms. When the Toyoda Model G was introduced in the 1920s it was a major advance for fabric weaving machinery, creating such loyalty that looms descended from the 1924 models are still used today by Japanese mills. Vintage Toyoda looms make fabric in very limited quantities – the typical roll of denim will be a little under three feet wide, aditionally the weaving processes is much slower than on modern machines. Modern looms, in comparison, are very fast and efficient plus make a precise and consistent fabric. The thing is, experienced denim fans don’t want precision – it’s actually the variation and imperfections of the weaving process that lend character to the best Japanese denim. When comparing a nice sample of Japanese denim to a typical off-the-shelf pair of jeans, you’ll immediately notice the difference in texture – most jeans have a smooth surface, but Japanese denim is often surprisingly hairy or rough. This can often be quite intimidating at first for someone used to wearing soft, pre-faded jeans. Pure Blue Japan is renowned for its slubby fabric, faded Samurai denim has a complex, grainy texture, and The Flat Head is known for its heavy vertical fading. These qualities are accomplished by modifying the looms to chatter as they weave, creating a unique texture.

Such brands often keep their exact weaving methods a carefully-guarded secret, such as Oni. In contrast, selvedge looms set up to weave an even, neat roll of denim can produce a fabric that (aside from the selvedge line) is virtually the same as non-selvedge projectile denim. It’s worth learning as much as you can about the denim on a pair of jeans before you buy in order to determine what the fabric has to offer beyond a selvedge line. Just because a fabric is selvedge or even made in Japan doesn’t mean that it’s better than any other denim. The dyeing process is traditionally a crucial ingredient in giving the best Japanese fabrics their flavor. Japan has a rich history of textile dyeing, dating back to kimonos from hundreds of years ago, a technique preserved today in techniques like kasuri dyeing. Likewise, Japanese denim is created with a variety of different proprietary dyeing processes. One of the most striking properties of Japanese denim is the variation in color from one brand to another. While many recent Western brands use the same (admittedly high-quality) Cone White Oak selvedge denim on their jeans, this means that one pair will fade very similarly to the next. On the other hand, the faded color of Japanese denims can be dramatically different from one brand to the next. Some brands, like Fullcount, Denime, or Warehouse excel in reproducing vintage American-style denim with a lighter overall color. Brands like Tenryo, The Strike Gold, and Pure Blue Japan produced dyed weft fabrics to give their denim unique fading properties, such as a gray or brown overcast. The Flat Head and Eternal use an extra-dark dyeing process to create denim that fades to a rich turquoise blue over time. Another element of Japanese denim is the weight. While Japan produces plenty of lightweight fabrics, most denims of 20 oz. or more comes from Japan. Comparatively, most other types of denim weigh between 11 and 14 oz. While weight is largely a matter of personal preference, the added durability of a heavyweight denim makes it appealing to many denim enthusiasts. Besides the additional toughness and warmth in cold weather, heavyweight denim tends to give thicker creases, and thus often faster or more defined fading than lighter materials. However, just because denim is heavyweight, doesn’t mean that it will be longer-lasting than regular denim. Heavier denim puts more stress on the stitching, which can lead to faster thread breakage in some cases, especially on jeans with all-cotton stitching.

While weight is largely a matter of personal preference, the added durability of a heavyweight denim makes it appealing to many denim enthusiasts. Besides the additional toughness and warmth in cold weather, heavyweight denim tends to give thicker creases, and thus often faster or more defined fading than lighter materials. However, just because denim is heavyweight, doesn’t mean that it will be longer-lasting than regular denim. Heavier denim puts more stress on the stitching, which can lead to faster thread breakage in some cases, especially on jeans with all-cotton stitching. Another important factor in giving denim its character is the post-weaving processing involved – or a lack thereof. Sanforization is the most familiar process, by which unwashed denim is “shrunk.” While unsanforized denim will experience considerable shrinkage from washing, sanforized denim usually doesn’t shrink much. Sanforized denim generally lasts longer than unsanforized; the main tradeoff being that it fades in a much softer manner, and high contrast doesn’t come as readily to sanforized denim. Sanforized fabrics are softer and smoother than unsanforized when new. Singeing is the process by which the loose, hair-like fibers on the surface of the denim is burnt away, contributing to a smoother feel. Like sanforization, this process is extremely common on mass-produced denim. Most large companies are concerned with producing a fabric that’s immediately soft and comfortable. However, many high-quality raw varieties of denim are singed as well, such as some of R.J.B.’s fabrics. Calendering – Calendering is a process where denim is evened out by passing through heavyweight rollers. Heat and pressure create a smoother, more comfortable fabric. Calendering contributes to the uniform appearance of most denim, like the other processes. Mercerization – This process involves soaking the fabric in a chemical solution, which causes the fiber to swell. Mercerization also gives the denim a smooth sheen. It’s one of the final processes the denim undergoes. Although many Japanese mills make fabrics with all of these processes, the high-end artisanal brands like Strike Gold and Studio D’Artisan, among others aforementioned, forgo these processes completely. This is called loomstate denim, and a few Japanese mills are among the only places in the world where true loomstate denim is still commonly produced. The manner of processing can have dramatic ramifications for the feel, durability, and aging potential of a pair of jeans. For example, a pair that’s been sanforized, singed, and calendered, such as 3Sixteen’s

SL-100x or Iron Heart’s 634S, will be comfortable when new and won’t need to be soaked before wearing. The wearer can enjoy a raw pair of jeans that will have a unique shine before the first wash, and if well-maintained the denim will last for a long time due to the even amazingly durable composition. By contrast, a pair of loomstate jeans, such as Samurai’s S710xx or Flat Head’s 3005 will have a much rougher, hairy, and uneven feel and appearance. These jeans can be harder to deal with, between trying to correctly determine your size and effectively shrinking to the proper size, and the less uniform nature of the denim can make it less durable than sanforized fabrics. However, the payoff is a sharper, more defined quality to the creases and points of stress, as well as a more textured appearance to the denim. It’s worth pointing out that just because denim is Japanese, there is absolutely no guarantee that it will have these characteristics. Many Japanese fabrics are sanforized, treated, and have a less complex texture. Just because a brand boasts that their fabric is made in Japan, there is no certainty that it will have any of these qualities. The best Japanese denim is distinguished by the indigo dyeing processes, the weight and weave of the denim, and the texture of the final product. All of these factors contribute to a pair of jeans that is designed to show optimal evolution over time. It’s this combination of qualities that give Japanese denim a unique character rarely seen on other fabrics. While other denim mills are quite capable of producing denim with similar qualities , particularly when it comes to forgoing post-weave processing – most are more concerned with speed, efficiency, and consistency. By re-discovering the virtues of a rough and unrefined fabric, other denim mills might one day produce their own fabrics rivaling the qualities of Japanese denim. Particularly due to the rising interest in jeans made entirely in America, Cone Mills has experienced a resurgence of activity; however, their denim is mostly sanforized and undergoes other processing. Last year, however, the mill introduced their first loomstate fabric in over sixty years, made exclusively for Roy. Perhaps someday soon, some enterprising individuals would be willing to start their own denim mill on American soil, dedicated to special batches of artisian denim on the same level of uniqueness as Japanese fabrics.

america

Made in japan, Coveted in

LEON BRIDGES

Childhood Isolation & Finding His Soul

WRITTEN BY CAROL DANVERS

Leon Bridges got his performance chops by singing at about every open mic in Fort Worth, Texas. Just a few years later, he released his debut album under Columbia Records, headlined a national tour and shared stages with Stevie Wonder and Paul McCartney. So, what’s so special about the 27-year-old singer/songwriter? Bridges delivers soul music to a new generation with integrity. Leon Bridges was working as a dishwasher and performing at night until he was signed at Columbia Records in 2014. Bridges’ interests started off in R&B music and dance which he studied at a community college. He wrote “Lisa Sawyer” to tell the story of his mother in musical the style of ‘50s soul. Writing the song sparked a creative breakthrough that was solidified when family friend gave him clothes from the era. He started donning the looks at his show and gained attention in Texas for his distinct style. Local musicians Austin Jenkins and Joshua Block were drawn to Bridges’ talent and produced two popular demos with the artist including the hit “Coming Home.” Releasing the songs on SoundCloud led to radio airplay and eventually a deal from Columbia Records. Before “Coming Home” was officially released as a single, Bridges started touring in Texas and performed as the opening act for Sharon Van Etten in New York City. His debut album of the same name was released in June 2015 to positive reviews with comparisons to Sam Cooke and Otis Redding. “His smooth, Sam Cooke-esque croon makes Coming Home the best kind of nostalgia trip,” Chuck Arnold wrote in Rolling Stone. The praise led to a nomination for Best R&B Album at the 58th Annual Grammy Awards. In December 2015, Bridges continued his rise as he was featured as a musical guest on Saturday Night Live. He performed “Smooth Sailin’” with a full backup band, and sang “River” with only backup singers and organ, accompanying himself on guitar. By the time Leon Bridges reached Los Angeles in March 2016, he had the confidence of a seasoned veteran despite only having toured for a few years. The artist played two nights at the Wiltern Theater with opening act Son Little. Bridges brought his brand of soul to every aspect of the show including the stage’s retro-style backdrop. The set list was mostly comprised of songs from Coming Home with a few new songs peppered in. His band included two guitarists and a bassist, drums, accompaniments on organ, tambourine and an impressive saxophonist. The opening song “Smooth Sailin,” was met with a lot of energy from the crowd who were on their feet for the rest of the night. Despite being a solo act, Bridges’ kinship with his band really shows and results in a dynamic and full performance. He explained his connection with each band member when he introduced them and noted that some of them have been with him since his earliest performances. Bridges’ solo acoustic performance of “River” was a showcase for his talent to hold his own on stage. As evident by the young crowd at the Wiltern, Leon Bridges’ passion for soul music has been passed on to fans in his generation. Bridges has been innovative in the classic soul genre by writing about true and modern stories and using elements from differing genres. “It’s going to come out naturally because if I try to recreate retro music or classic soul music or whatever, it might come off as gimmicky,” Bridges told Pigeons & Planes. “I grew up on Ginuwine and Usher, and I like country and folk

music. Whenever I look at it, I can consume this classic R&B and country music and all that type of stuff and whatever way it comes out, it’s going to come out fresh based on my influences.” With so many artists capitalizing on the attractiveness of nostalgia, Bridges is committed to maintaining integrity. Since gaining fame, he has spoken about his unique place within African-American youth. His first tour dates had crowds of mostly young white people with few African-Americans in attendance. He recognizes that young black people are not always interested in retro music. They’re interested in hip hop, rap and R&B, the same genres he listens to. “Me personally, I’d rather go to a Young Thug concert,” Bridges told to Pigeons & Planes. By speaking out, he hopes to welcome a more diverse fanbase for future shows. Bridges has also made subtle yet meaningful statements regarding politics. His Instagram account has posts focused on racial struggles of the past and his music video for “River” displays the racial unrest in present day. The video was filmed on location in Baltimore. “I want this video to be a message of light. I believe it has the power to change and heal those that are hurting,” Bridges said in an interview with Star-Telegram. In January, the performer took part in the ESPN’s “The Anthem” project on The Undefeated. The brief video and interview featured a soulful and moving rendition of the Star-Spangled Banner and Bridges’ thoughts about San Francisco 49ers quarterback Colin Kaepernick’s controversial protests. “I think I understand [Kaepernick] — that was a response to hate and injustice that is still prevalent within America and even goes back to the ‘68 Olympics,” Bridges tells The Undefeated. “I understand where they’re coming from.” Leon Bridges’ unique and strong voice is not just used to make beautiful soul music. It’s also used to influence a young generation that needs to use their unique and strong voices as well.

A weekend’s view of electric palm trees and statement ferris wheel under the desert’s spring sun signals Coachella’s annual arrival. This year’s headliners included Radiohead, Kendrick Lamar, & Lady Gaga taking place for a pregnant. Beyonce, who had to cancel on doctor’s orders. From the variety of people you end up meeting, each person comes to experience the festival for various reasons whether it’s for the music, the art, the hype, or all three. But at the end, everyone comes in with the intentions of having a fun & memorable time (as goes for any kind of trip). I can confirm many of the preconceived ideas of the festival. Lots of cultural appropriating. Less clothes on. Lots of sun. Lots of drugs. While Coachella does set this tainted image of overhyped fashion and is known for its celebrity within itself, it is something you would want to experience at least once in your life. While many people come for it’s extensive publicity (which is sadly and obviously true), the festival supports many small and local artists whose art pieces have been dispersed in different areas of the polo fields. These also include bands whose upbringing will progress after exposure to big festivals like this, which is gravely important for many artists who are novice to the musical/ artistic career. The new addition of the Sonora tent helped create that local backyard show type of atmosphere with bands such as Shannon and the Clams, Slow Hollows, and other local artists in that same category that festivals usually do not emphasize on. So while Coachella is still bringing in the big names and many of its stereotypical audiences, the exposure to new and upcoming artists is able to sustain and progress a thriving future to musicians and artists.

COA CHE LLA WRITTEN BY __________________________________________DANIELLE ENRIQUEZ

3 for 3

THEREELNESS

THREE MOVIES ABOUT THREES

MOONLIGHT // The stars have to align for a movie like Moonlight to be made. On a budget just north of $1 million dollars, (La La Land was made with $30 million for comparison), Moonlight managed to be one of the most anticipated films of the fall from one trailer and word of mouth. It was also shot in 25 days with a single camera, features a gay black protagonist and an unlikely drug dealing father figure. Movies like this aren’t just made, they’re birthed through a careful faith that this story deserves to be told. Moonlight is a miracle among movies just having gotten made in the first place. But the real miracle here is the movie itself, written and adapted by director Barry Jenkins from a short play by Tarell McCraney. Anyone who considers themselves a fan of cinema, or even storytelling, won’t want to miss this story of a lifetime. Moonlight tells the story of Chiron, a young black man discovering himself and his sexuality in the drug ridden streets of Liberty Square in Florida. In three parts, all crucial moments and experiences to shaping the person we see unfold, we experience life through Chiron as a wandering boy, a troubled teen, and a man hardened by trauma and systematic failure. The key to understanding the performances from all three actors lies in their eyes. Newcomer Alex Hibbert plays Chiron at 10. Hibbert, who makes his acting debut, never fails to capture the joy and pain in innocence and struggle. Ashton Sanders, who plays Chiron at 17, gives new life to what social isolation really looks like and steals every moment he’s on screen. Trevonte Rhodes’ performance as a man who rebuilt himself to cope with the past, (brought on by a heartbreaking bullying scene), is quietly commanding, and an emotional spectacle to behold. All three actors performances are marked by a single feat, their ability to own a scene with silence. Other performances include Mahershala Ali as Juan, the softened and conflicted drug dealer who serves as a guardian for Chiron. Ali’s performance only lasts through the first section of the movie, but he becomes the heart and soul of a movie that digs deep and doesn’t let go. Naomi Harris is tragically wonderful as Chiron’s mother, and worth noting is Andre Holland’s turn as the adult Kevin, a companion to Chiron, and a character whose impact throughout 5050

the movie is felt deeply and suddenly. This cast will blow you away with the kind of passionate, restrained soul you might expect from a silent film; and if that kind of sincerity doesn’t resonate with you, nothing will. If this write up seems vague on plot details it’s because this is a movie I’m not prepared to spoil. Although it’s not a story dependent on twists and turns, it is a story you need to experience for yourself. No amount of endorsements would justify skipping out on this movie because you think you’ve seen it all before. Moonlight is a movie that deserves your viewing. It transcends expectations of what people have come to expect from movies that deal with sexuality, selfdiscovery and what it means to be human. It’s tragic, beautiful, and deeply moving. Moonlight is a movie that demands to be seen. Written by

Dylan Echo

HIDDEN FIGURES // Pitted against a discriminatory society, three African American women pushed the boundaries to launch John Glenn into orbit in the early 1960s. These NASA employees were featured in the 2016 film, Hidden Figures. Taraji P. Henson, portraying Katherine Johnson, exquisitely exudes the strong personality of a woman determined to defeat doubt. Although Henson receives the most screen time, it is clear that Hidden Figures is about a trio, not a lone heroine. Her story is woven with those of Mary Jackson (Janelle Monae) and Dorothy Vaughan (Octavia Spencer). With the complex social forces in the 1960s, it shaped the characters’ lives so powerfully that it shines the light on issues today. The relevancy of the film is one that should not be overlooked because of its profound depiction of honor within a communistic spirit. Written by

Isabelle Ortiz-Luis

THE ROYAL TENENBAUMS // “The Royal Tenenbaums” centers on the three sibling former child prodigies of the Tenenbaum family and the chaos that ensues after their

estranged father decides to bring their family back together. The film’s plot revolves around the siblings’ father, Royal Tenenbaum (Gene Hackman),

and his attempt at winning back the affection of their mother, Etheline (Anjelica Huston) While Royal is at the center of the plot, it is the siblings and

their relationships with each other and those around them that are the driving force of the film. The oldest Tenenbaum, Chas (Ben Stiller), is a former finance prodigy turned widower and overprotective father of two. The middle Tenenbaum, Margot (Gwyneth Paltrow, is the Tenenbaums’ rebellious adopted daughter and fruitless playwright now stuck in an empty marriage while engaging in an affair with the Tenenbaums’ childhood friend Eli

Cash (Owen Wilson). The youngest Tenenbaum, Richie (Luke Wilson), is a disgraced tennis star who now travels the world in a cruise ship in an attempt to escape his love for his adopted sister, Margot. When the siblings are introduced they are far from relatable as they are extremely talented child

geniuses. As the film progresses, it is clear that this is not the case. Each sibling experiences their own relatable form of pain and loss: the death of a

loved one, a fleeting marriage, or heartbreak. The third film from writer and director Wes Anderson, “The Royal Tenenbaums” is an unconventional yet wholly refreshing take on the family sitcom.

Written by

Michael David

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Millennial Music Recommendations For Your Break-up Playlist written by Miguel Garcia

Maybe you broke it off, or you were on the receiving end of the news. It doesn’t really matter. Everyone likes being given a song or two to listen to. Use these for your daily commute or subway ride as you decide what “next” is.

The Sad Stuff

You’re Gonna Be FIIIINE.

Liability - Lorde

Over My Dead Body - Drake

Well, how are you going to start off a break-up playlist without a song about growth and self-love? In Lorde’s piano-driven ballad we see the star 16-year old grow up. She goes away from the prominent “we” on her older music to meet with the newfound and lonely “I” in this song. That’s the same necessary transition you’re going to have to make now.

I know, I know. There are SO MANY Drake songs that should/could have gone on this playlist.

Cigarette Daydreams - Cage the Elephant

But this song goes here because we hear Drake coming to terms with his mistakes (“I thought I found the girl of my dreams at the strip-club, mm-mm, f *** it I was wrong though,”) we hear Drake becoming a little cocky, we hear Drake celebrating the fact he got this far in life.

“You can drive all night looking for the answers in the pouring rain.” “You wanna find peace of mind looking for the answer.” It’s human nature to seek closure. This song is perfect for the moment.

Do yourself a favor and do the same

PPP - Beach House

So this girl from Texas sent me this song. Problem is I can’t say “All my exes live in Texas” like the above artist.

Rumor has is that PPP stands for “piss poor planning.” If we’re just being honest, piss poor planning is not exactly limited to just this playlist. The couple in this song is about to get married. One of them is afraid to tie the knot. Sometimes people aren’t ready and that’s not your fault. Photograph - Ed Sheeran Don’t forget how to love. Even if you get hurt.

Be Angry, It’s Better [And More Fun] Than Being Sad Hold My Liquor - Kanye West The first line of the song is “I can’t hold my liquor” and the truth keeps coming. The entire first 66 seconds of the song are your life at this moment. The pulsing synths throughout give you the false-sense of invincibility you desperately crave as you down the shots which are supposed to kill these feelings. Look, everyone already knows you’re going to be drinking your water-weight in alcohol. Remember that false sense of invincibility? Just accept the violent hangover you’ll have tomorrow right now.

Ontario Gothic - Foxes in Fiction

This song will leave a smile on your face. Cannons - Youth Lagoon So will this one. Nights - Frank Ocean It’s actually a pretty heavy song about Frank’s struggles. We know Frank made it out alright. Someday some people will know you did too. Self Control - Frank Ocean Sometimes the timing is off. Sometimes feelings are different. Things just don’t work out sometimes. That doesn’t mean it wasn’t special.

The Decision You can totally go back. You can totally go forward. Make it your decision though.

For After You [Shouldn’t Have] Hung Out With Them Was it really worth feeling the feels you feel now?

Have your brain decide what these next two songs are about.

Getting It On - Sales

I Won’t Go Back - Govs

Appropriate title.

Cassie (Won’t You Be My Doll) - Part Time

Gosh or The Rest Is Noise - Jamie xx Both songs are perfect for right now. There are little-to-no words, so you’re left alone to think about what you’ve done. K. - Cigarettes After Sex As I am certain that the previously mentioned thoughts have you reminiscing about the early stages of the relationship, when things were all dandy. Here’s this beauty of a track. Chamber of Reflection - Mac Demarco “Alone again. Alone.” The most prominent lyrics of Mac Demarco’s synth-sampling tune helps us to understand one thing: self-development occurs most when we are alone. Get lost some more in your thoughts.

Scan to stream playlist on Spotify >>>

ALBUM HIGHLIGHT //

BLONDE BY FRANK OCEAN

BLOND(E) AN ALBUM BY THE ELUSIVE SINGER/ RAPPER/ SONGWRITER, FRANK OCEAN In November of 2016, Frank Ocean unexpectedly released merch on his website for his fans to purchase, which were only on sale for 24 hours. Merch included a free t-shirt which were “sold out” within five minutes, a pack of air fresheners, the album Blonde on vinyl and CD, and more.

Written By _________ Matt Vinas

BLACK FRIDAY 100% OFF FREE T-SHIRT

ALBUM HIGHLIGHT //

BLONDE CD & VINYL ( BLACK FRIDAY EDITION )

BLONDE BY FRANK OCEAN

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ALBUM HIGHLIGHT //

BLONDE AIR FRESHENER

BLONDE BY FRANK OCEAN

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BOYS DON’T CRY MAGAZINE

Following the release of Blonde and Boys Don’t Cry, Frank Ocean has stayed active in 2017 through way of his Apple Music radio show on Beats 1 ‘Blonded Radio’. With each new episode of Blonded Radio, Ocean has released a brand new track along with a curated playlist of music he frequently listens to. After years of inactivity, Ocean has reemerged in a big way and has several festival dates already lined up for 2017.

Contributors dylan echo // katelyn mcclanahan // isabelle ortiz-luis // matt vinas // jean catherine // danielle enriquez // carol danvers // xxxx xxxxxx // matthew schneier // marcus johnson // roxana hernandez // sam tha cat // michael david // xxxx // miguel garcia // you

PrisonersSUMMER of the Moment 2017 suede

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