7
LETTER FROM THE EDITOR
9
10 12 14 17 18 26 32 35
START: WINDOWS INTO THE SURREAL
START: THE ART OF FOOD
START: THE BEST REVENGE
ITEMS OF THE FUTURE
FRONTICE
COVER STORY: MODERN PUNK ICON
UNPREDICTABLE: LANCEY FOUX
THE LIST
THE END
YEAR 3000 MAGAZINE 5
Mentions Editor Justin Kato
contributors Omar yakub jacob moffatt
THE LET TER FROM
THE EDITOR
garin green taylor koch joey park
THE FUTURE IS HERE
published by sicko inc.
designers Matthew Moscosa Ian Connor Tracy grey yung bruh jazz butler
contact info 2020 s gaut st. (693) - 887 - 777
t
he year 3000, a year none of us will be here for but all hope to see. i chose to name this magazine more figurativley then literally. the year 3000 represents the future as in now: we are the future. it seems like we’re all waiting for the future to come — what we don’t realize is that it is already here. my magazine displays the wide diversity that is in the culure of rap music and fashion at the moment — the constant movement foward is what makes it “futuristic”. i hope this magazine acts as a visual documentation of the people and the culture, so that audiences in the future will be able to look back and see the progression throughtout the years in the scene.
YEAR 3000 MAGAZINE 7
START WINDOWS INTO THE SURREAL FIDM’S 5TH FLOOR WINDOWS CELEBRATE THE SURREAL
By: Hamish Bowles
I
ndeed, Schiaparelli— “Schiap” to friends—stood out among her peers as a true nonconformist, using clothing as a medium to express her unique ideas. In the thirties, her peak creative period, her salon overflowed with the wild, the whimsical, and even the ridiculous. Many of her madcap designs could be pulled off only by a woman of great substance and style: Gold ruffles sprouted from the fingers of chameleon-green suede gloves; a pale-blue satin evening gown—modeled by Madame Crespi in Vogue—had a stiff overskirt of Rhodophane (a transparent, glasslike
“her salon overflowed with the wild, the whimsical, and even the ridiculous." modern material); a smart black suit jacket had red lips for pockets. Handbags, in the form of music boxes, tinkled tunes like “Rose Marie, I Love You”; others fastened with padlocks. Monkey fur and zippers. “Madder and more original than most of her contemporaries, Mme Schiaparelli is the one to whom the word ‘genius’ is applied most often,” Time magazine wrote of its cover subject in 1934. [1] Coco Chanel once dismissed her rival as “that Italian artist who makes clothes.” (To Schiaparelli, Chanel was simply “that milliner.”)[2]
YEAR 3000 MAGAZINE 9
START THE A RT OF FOOD
THE NIGHTMA RE BURGER SERVED AT BURGER KING
Burger King says its new sandwich is “clinically proven to induce nightmares.” In time for Halloween, the fast-food chain’s “Nightmare King” is available through Nov. 1 at participating locations nationwide. This “spooky sandwich” features a quarter pound of flame-grilled beef, a white meat crispy chicken fillet, melted American cheese, thick-cut bacon, creamy mayonnaise and onions on a glazed green sesame seed bun. Yes, a green bun. Burger King says it put the burger to the test and worked with the Paramount Trials and Florida Sleep & Neuro Diagnostic Services to conduct a sleep study. According to a news release, they conducted “a scientific study over 10 nights with 100 participants (or should we say victims?) who ate the Nightmare King before they went to bed.”
START
TRAVEL IS THE BEST REVENGE
australia
1
. Living on the beach is what most Australians desire. Approximately 75% of Australians live near or on the beach.
2
. Australia’s total nominal
GDP is 1.542 trillion dollars, making it the 12th largest in the world. Its nominal per capita GDP is $65,642 which is the fifth largest in the world.
3
. Australia has a very low poverty rate, and a high standard of living.
4
. Melbourne, Sydney, Perth and Adelaide have all appeared on The Economist’s world mostlivable cities lists in various years.
5
. The real estate market in Australia is booming; however they have some of the highest house prices in the world, and Australians have very high household debt levels.
6
. The country’s government is a federal parliamentary constitutional monarchy.
7
. The main exports of
Australia include iron-ore, gold, natural gas and coal. They export most of their products to Japan, China, South Korea, New Zealand and the United States.
8
. Australia is also a large
exporter of wine. Wine exports contribute over $5.5 billion per year to Australia’s total economy.
9
. Most people who live in Australia descend from the British or the Irish because for over 200 years the majority of Australia’s immigrants came from the British Isles.
10
. Since WWI, Australia’s population has quadrupled.
YEAR 3000 MAGAZINE 13
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RF antenna cable with BNC to BNC connectors, RG8-type cable. 50’ (15.2 m)
Oculus Rift $399
Beats Wireless 3 $300
Pure Adaptive Noise Canceling (Pure ANC) blocks out distractions, so you can get closer to your music.
YEAR 3000 MAGAZINE 15
The Oculus rift is a Virtual reality headset designed to make you feel the reality in fiction.
WINTER 2018
THE FUTURE IS HERE
YEAR 3000 MAGAZINE 17
COVER STORY
PLAYBOI
CARTI A chunk of modern hip-hop, much of it made following the ascents of Chief Keef and Young Thug, is often described as post verbal, or some synonymous term. Thinking along these lines has resulted in pejorative descriptive terminology, such as the nearubiquitous “mumble rap.” Among other things, the pleasures of a fractured and improvised punchline and the joys of creatively deployed slang. In the case of the Atlantareared 21-year-old hypebeast icon Playboi Carti, it is tempting to talk about his style as an exercise in destructing language, But perhaps it’s most accurate to say that Carti’s music represents a radical and consummate collaborative vision.
YEAR 3000 MAGAZINE 19
PLAYBOI CARTI I feel like you’re into this phase right now, tell me about that. Playboi Carti: I’m really into Bam Margera. I’ve met him twice now. He’s like, crazy. Psyched out.
Who else feels like a punk icon to you? Playboi Carti: Me talking about
L
ot of musicians appreciate nice clothes. Playboi Carti loves them, truly, madly, deeply. He shows up to the photoshoot with several suitcases of his own treasured pieces. Everything comes with a story. A patchwork brown leather jacket? Custom VLONE, he assures me. So are a pair of yellow trousers, which once belonged to Lil Peep (he wears them in tribute to the late artist’s “rebellious” energy). He takes special pride in his Italianmade jewellery, gushing over the subtle craftsmanship of his many-faceted rings the way some people talk about beloved pets. At one point, he asks to see my jacket; immediately recognising the make and model, he rushes over to a friend in his crew, jacket in hand, demanding, “Bro, why don’t I have this yet?!”
the legends... everybody can do that. I feel like right now, it’s just me and who I surround myself with and how we just compare our similarities to back then. For instance, my best friend Uzi, I hang out with him 24/7. We’re so against listening to the rules but it’s not harming anyone anymore, it’s more like, “Oh, we’re going to do this and this (claps)”. It’s like the shit that we do, that be our legendary moments. We don’t know exactly how it used to go down back then, but we are ourselves, we’re just modern-day rockstars.
This infectious enthusiasm for texture and colour comes through on his sophomore album Die Lit, released last month on Interscope Records. The release distills his creative impulses to their purest form: impressionist ad-libs splattered over a canvas of springy production from longtime collaborator Pi’erre Bourne. At first glance it sounds messy, even unfinished. But take a step back and a compelling pop landscape reveals itself. One reason it’s so compelling is that Carti’s appreciation for the finer things carries real pathos. He grew up in Atlanta without them, shopping at thrift stores and working at an H&M before leaving to seek his fortune in New York. “All I know is where the fuck I came from,” he tells me, “And I don’t wanna go back.” We met to discuss Carti’s old friends, his new punk phase...
Why do you think you and Uzi vibe so well? Playboi Carti: We think alike,
we went through a lot together. I think that’s really what it is. We went through a lot together behind the scenes. And you really don’t find too many good people. You really don’t. Keep them around.
You’ve got an anarchy tattoo. What do you feel like you’re rebelling against? Playboi Carti: I feel like in this world that we live in, people don’t know what you’re doing until you do it. You know what I’m saying? If you just express yourself more, everybody else will follow. That’s what I’m trying to do.
“All i k now is where the fuck i came from. And i don’t wanna go back” Did you feel a lot of pressure on you to do things you didn’t want to do after you first blew up? Playboi Carti: Yeah, I be
nervous a lot, you know what I’m
saying? I’m human so like...as I grow I just realised there’s some kids out there who really need me, so that’s my push right there.
What do you get nervous about? Playboi Carti: I get nervous
about everything, you want everything to be right. Especially with something like [performing] to thousands of people, I don’t know why you wouldn’t feel nervous at first.
One thing I appreciate about your album is that it seems like you didn’t respond to pressure to change up your sound. You just kept doing at what felt natural to you. Playboi Carti: I try to not to become inspired too much, because that can throw you off. And that’s really what it is. You always got to remember how you got here. I go back to Atlanta and I make my album. And then I go to L.A. and Miami, but Atlanta’s where it is. I wanted to get out [of Atlanta] when I first got in the game; (now) I want
TOUR DATES NOV, NOV, NOV, DEC, DEC,
9TH 16TH 29TH 3RD 13TH
JAN, 1ST JAN, 15TH JAN 23 FEB 8TH FEB 19TH YEAR 3000 MAGAZINE 21
MAR 6TH MAR 21ST MAR 10TH APR 16TH APR 27TH APR 29TH
that same feeling every time. I’m in the studio, white tee on, no jewellery, I’m at home.
When you’re working with Pi’erre Bourne, does he send you a ton of beats, or is it more of a collaborative process in the studio? Playboi Carti: Man, I’m with him every day. So, when we’re in the studio together, Pi’erre makes a hundred beats a day. They all fire. He’s doing that constantly. So, when I go to studio with him, I’m trying to get at least five, six tracks done. He might hop on two of them. It’s the same way with me and Uzi. With me and Pi’erre it’s even crazier because it’s like, it’s just like madness. I be in the booth recording and he just be standing there. And vice versa. In the booth, not talking about anything, in the booth. We work better together because we have each other. Pi’erre, he’s a boss. We all bosses. Bosses move like bosses. We just mob ties when we get together. I love him, bro. When you first started out, you were co-signed and mentored by a lot of powerful figures, like ASAP Rocky. A few years later, there’s all sorts of younger artists who seem totally inspired by you. Do you see yourself as an OG figure to this new generation, or are you separate from that? Playboi Carti: I’m the type of
guy that always respect the older rappers who paved the way for us to get here. That’s just how it works. Everybody ain’t like that. I’m not looking for that. I’m an OG. I was an OG when I was 16, I was an OG when I made the decision I don’t want to go to school anymore and start skipping to make music. I was OG when I joined a gang. I was an OG when I shot my first gun, fucked my first bitch.
I love this line, “I bought my mom a crib off of mumble rap”. Was that something you felt like you needed to say? Playboi Carti: It was more like, not even needing to say it. It was so easy to say it because it was facts. When stuff is just true, so true, you just think about it, it comes out naturally. “RIP” was a freestyle and I’m just going in. When that beat dropped I felt that. Facts. Everybody really liked that part, especially people that really know me, they’re like, “Yeah, that’s your shit.” My mom, she’s so excited. I’ve just been thinking about my family and shit, and just like everything, bro. I’ve been thinking about 10 years from now.
ALBUM REVIEW
W
here Carti’s full-length last year was technically a mixtape, Die Lit is being marketed as his official
debut, which is often when commercial considerations set in and the fun ends. But while the album is loaded with guest features, including ones from Travis Scott and Nicki Minaj, they never upset its surrealist vision. With its victorious pianos, the Lil Uzi Vert-assisted triumph anthem “Shoota” is the album’s one obvious concession to radio’s ideal of tunefulness, but it’s an absolute stunner of a track, and it also works as a window to the world outside of Bourne’s studio, highlighting just how odd and malformed all the beats around it are. Die Lit is an anomaly, an album that works almost completely from its own lunatic script. At its best which is to say almost the entire thing, really the album almost seems to suspend gravity. How does a rapper this basic pull off a project this electrifying? No, Carti’s rapping isn’t any better this time out. And no, it really doesn’t matter. When the carnival itself is this magnificent, there’s no need to nitpick the ring leader.
YEAR 3000 MAGAZINE 23
YEAR 3000 MAGAZINE 25
Lancey Foux doesn’t like to be pigeon-holed. When I ask the 22-year-old artist how he would describe his sound, he responds with “unpredictable”. There’s a sense even he himself doesn’t know what’s going to happen when he steps into the studio, or what he’s going to come up with next: “I don’t know what I’m gonna say or what a song is gonna sound like when I first start making it — but I know that I can’t predict the outcome,” he laughs. Foux has a natural confidence that is evident even through a video chat. This summer saw the release of his second EP Pink II, a followup to 2015’s unconventionally long — and unconventional — 14-track Pink EP. Of the decision to name the projects after the color, he describes it as capturing of a particular mood that he can’t necessarily explain in words: “It’s a mood that I had a while back that I had to reignite. Me being in that mood started a lot for me: it included a lot of things, a lifestyle really. Being young, being a bit different, girls, cars...my late teenage years. Pink II is an extension of that mood but incorporating more of what’s going on in my life now.”
YEAR 3000 MAGAZINE 27
LANCEY FOUX
INTERVIEW How are the fashion and music worlds in London overlapping at the moment?
I feel like they’re hand in hand right now, they need each other to breathe. Fashion needs music, or visuals from artists for their brands to really show. Vice versa a lot of artists are taking much more care in the things they wear and things like that. People are not just wearing anything anymore. I think it’s a great thing, the only thing that I fear is that people might start getting their wires crossed between what’s quality and what’s not because of how much stuff there is out there. You don’t want the art of everything to die. Is there anywhere better than London to be doing what you’re doing right now? For me personally, no. London is where I’m meant to be. For a minute I went somewhere — say L.A. or Paris, and I thought, “This is amazing, I wanna live here, I wanna be from here,” but I was wrong. I’m from London, born and bred. Good or bad, London is the place for what I’m doing. People might not understand my music or whatever now but in years to come it will pay off, it will mean something being from here and that I came from London and not from anywhere else. What about London do you think it is that makes it so special? I think it’s just the rawness of it. I think some people haven’t caught on to things as much as in other places but that’s the beauty of it to me, it’s still so raw and it’s so
What have you been up to this summer?
Working, recording — trying to live life a little bit but mostly recording. Trying to find new zones that will help me become a better artist and more successful. I’ve been working on myself a lot really - there were a lot of hot days that I should have been out but I was inside the studio trying to make great music. What are you working on at the moment and what can we expect in 2019? I dropped the album [Pink II] in July and I’m just working more on the visual side of things right now. I think people have heard enough from me now, they need to see more. Other than that I wanna do more shows - next year I definitely wanna put the music out there. Perform a lot more, do more stuff with it in fashion...just do more interactive stuff. I’ve been shy with it for a few years but next year I’m ready for it, to put myself out there.
“everything is freestyle, I haven’t wrote in a very long time.”
moving.
Do you think London inspires your sound at all? Of course. When I wake up in the morning I’m here. London is ingrained in me: the words I’m saying, the language, the way I look at things...it’s a London point of view. What do you want to achieve in music? I definitely would like to be the reason someone starts making music or gets into fashion. I’d like someone to say they started something because of me, whatever it is. I wanna give people hope....to be a reason for someone doing something good and not going astray, that’s probably what I want the most. There’s so many different things happening and so many different people doing it, I think that’s what makes it special. The wide variety you can get even in just music alone — I think if your eyes are open and you know, it’s amazing, and if you’re just finding out, it’s a big surprise!
What inspires your music?
What’s your process when it comes to putting a track together?
Life! Everything I’m doing imitates life; life itself is the biggest inspiration. If I go out and see something happening, even if it doesn’t involve me and it’s another person’s situation, that still adds to my music. I absorb a lot of things: I might not use it [explicitly], but I still take it it in. I never really run out of things to talk about because life never stops, it just keeps on
Nothing is pre-meditated. I might hear a beat or I might make the beat from scratch. If I hear a beat then I’m jumping on it straightaway, free-styling the whole thing; but if I’m making the beat then I’m building the melody as I’m making it so it’s a little bit different. But everything is freestyle, I haven’t wrote in a very long time. All my songs I’m known
for are free-styled - whatever’s going on in my mind at that time is what’s coming out. It’s all very natural. Do you prefer producing yourself or jumping on a beat?
really into punk and new wave looks and music, and my music just sounds like my version of that. And I look like my version of that. I might wear PVC jeans with a chain on them which punks do, but mine look a bit more modern.
Right now I prefer making the beat myself. I’ve got a lot of unreleased music right now that’s been produced by me and my friends. My next single is actually produced by me; linking up with Skepta and watching him and the way he does things, I took inspiration from that. I’m back on. Does your music inform your style or vice versa? Or is it all one thing? It’s all just me. A lot of rappers rap about what they wear and stuff like that — and I do that but not as much — I think people know I can wear anything. A lot of people have to mention things for their credibility, but me wearing Louis V or Gucci doesn’t make me credible, I can wear anything and if I can make it look good that makes me credible. I value clothes and dress sense a lot, I’m really particular with my clothes. How do you think it fits in with your music? I think it’s a like for like thing — if you’re into clothes, you’ll understand my music better. I’m
ALBUM REVIEW
P
ink II is the latest album from London trap rapper Lancey Foux. The sequel to 2015’s ‘Pink’, the project features 38 new minutes of die-hard 808’s and auto-tuned vocals. Mirroring its striking cover art, this imaginative female-centric album really delivers some groovy flare. Opener “Speed Demon” unapologetically introduces Foux as he is, and things really get going as the beat drops 50 seconds in. “Dyed 2WICE” follows nicely with a light, dazed-out melody and an appearance by Skepta. As carefully curated as the lyrics are, it’s the colorful ad-libs that really set Lancey’s style apart, as exemplified on “Sassy” and “Gnarly Boys” featuring Lil Gnar. The three musthear cuts are “Sassy,” “Starstruck” and the closer “Purgatory Waiting Room,” which hints that there may be a ‘Pink III’ in the future.
YEAR 3000 MAGAZINE 31
The List.
TOP 5 THINGS
WE LOVE
THIS MONTH
1
ATLANTA Atlanta is one of the top cities for young rappers looking to make a name for themselves in the business. Among those up-and-comers is Alfred Miles, a hot new artist who is trying to understand the line between real life and street life. He is managed by his cousin, Earn, who gets caught up in the local rap scene and his cousin’s career after returning home to the ATL. Earn does whatever he can to try to get Alfred’s career to the next level. Darius, the rapper’s right-hand man and visionary, is also in Alfred’s entourage.
2
3 ACTION BRONSON As you might expect, Action Bronson’s first book, to be published on September 12, is more than just a cookbook it’s part manifesto, part proclamation, part devotional, and all Action. Sure, you’ll find in it recipes inspired by Action’s amazing life—from Queens kid to chef to rapper to VICE superstar—but you’ll also find it to be packed with all of his favorite things, including graphic art, illustrations, photography, music video storyboards, handwritten lyrics, and more.As you
ASAP X VLONE
Rocky: I think VLONE isn’t too far-fetched from A$AP. It’s just a lifestyle. For lack of better words, I’d say VLONE is like A$AP. They’re parallel. You know how A$AP is just a collective of different talented people? VLONE is just a life-style: live alone, die alone. People these days are just adapting to that lifestyle, whether you feel ostracized from society for whatever reason; your own internal reasons. A lot of people adapt to the lifestyle and manifest that lifestyle into a clothing line. It’s
just how we life everyday amongst each other.Rocky: I think VLONE isn’t too far-fetched from A$AP. It’s just a lifestyle. For lack of better words, I’d say VLONE is like A$AP. They’re parallel. You know how A$AP is just a collective of different talented people? VLONE is just a lifestyle: live alone, die alone. your own internal reasons. A lot of people adapt to the lifestyle and manifest that lifestyle into a clothing line. It’s just how we life everyday amongst each other.
BALENCIAGA
might expect, Action Bronson’s first book, to be published on September 12, is more than just a cookbook it’s part manifesto, part devotional, and all Action. Sure, you’ll find in it recipes inspired by Action’s amazing life—from Queens kid to chef to rapper to VICE superstar—but you’ll also find it to be packed with all of his favorite things, including graphic art, illustrations, photography, music video storyboards, handwritten lyrics, and more.
4
The Balenciaga Triple S is the current flavor of the month. Since it released last week, the chunky, divisive silhouette has been making the rounds on Instagram, sought after by sneakerheads, fashionistas, and those looking to make a big statement. Named for it’s triple-stacked sole, the Triple S commands a hefty price tag of $720 (Zara’s imitation is much cheaper), but quickly flew off shelves nonetheless, scooped up by the likes of Luka Sabbat and A$AP Ferg. The shoe is hardly accessible, and while it’s unique look is the latest to re-affirm the chunky sneaker trend, there’s no doubt that the Balenciaga Triple S is not for everyone.
5 Some Rap Songs seeks, always, to circumvent the listener’s expectations. Claustrophobic, crackling and nostalgic, the production by Sweatshirt. On the verge of being swallowed whole, as samples by The Endeavors, Soul Superiors and Billy Jones overfill the space, the loops replacing the hooks Earl declined to write. He’s still a preternaturally talented lyricist but is less inclined to display YEAR 3000 MAGAZINE 33
that in brute force. Some Rap Songs seeks, always, to circumvent the listener’s expectations. Claustrophobic, crackling and nostalgic, the production by Sweatshirt. On the verge of being swallowed whole, as samples by The Endeavors, Soul Superiors and Billy Jones overfill the space, the loops replacing the hooks Earl declined to write. He’s still a preternaturally talented lyricist but is less inclined to display that in brute force.