VOL. 004 | JaQuel Knight / Gil Duldulao / Sasha Samsonova / DAPS

An independent platform celebrating curators in music creative culture.

swaggerareus.com

credits

SWGRUS is an independent digital publication exploring the connection between music, style and lifestyle patterns of creatives as it relates to culture.

Founder / Editor-in-Chief / Art Director: Terrell Johnson Stylist: Alexandra McCall Make-Up Artist: Briahna McNeil Web Designer: AJ Camara Cover Photographers: Curtis Taylor Jr. (JaQuel Knight), Dolly Ave (Gil Duldulao), Baarikks (Sasha Samsonova), DAPS (Annie Kane) Contributing Editors: Chelsea Smith, Nate Simmons, CJ Capatia Contributing Photographers: Pedro Gomez, Luis Queszada, Bradley A. Murray

Facebook | Twitter | Instagram: @swaggerareus C O N TAC T: TER R ELL@ SWAG G ER AR EUS .C O M SWGRUS.COM

With cover star, Gil Duldulao, I wanted to introduce and celebrate his contribution to the dance space with experiences with Prince, Janet Jackson, Jennifer Lopez, Nicki Minaj and many more. His story from a young budding dancer turned choreographer/creative director is an inspiring one. Celebrating JaQuel Knight was also important due to the bound-breaking leaps as the first choreographer to grace the ’30 Under 30’ Forbes’ list not only is making a mark for himself but also helping acts like Beyoncé, Tinashe and N.E.R.D. execute flawless choreography in music videos ‘Single Ladies,’ ’All Hands on Deck,’ and ‘Lemon.’ I wanted their stories to be highlighted simply because … they’re deserving. Their work speaks volumes about their art and creative outlet.

Our second double-cover story is a self-taught, Nigerian UK-based hip-hop visual architect DAPS who is responsible for Migos’ most viewed music videos and capturing stars like Travis Scott, Lil’ Uzi Vert, Drake, Rich The Kid, Nicki Minaj and more. The high-end fashion photographer and director Sasha Samsonova began her career as early as 17 and her first gig was shooting an editorial spread for Harper’s Bazaar. Sasha also happens to be Kylie Jenner’s favorite photographer.

This is the essence of this magazine: celebrating the creatives within the industry for their undying and defying passion to pursue their dreams and become the best at their respective crafts.

letter from the editor

In creative culture, dance is one of the most exciting and also under appreciated forms of art in our space. The ability to tell stories with your body was an important visual component for myself growing up. With this issue, I wanted to celebrate four creatives responsible for moving some of our most iconic dancing stars of all-time and capturing our most polarizing stars via music video and stills.

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LOUIS VUITTON c/o VIRGIL ABLOH

Virgil Abloh showcased a beautifully colorful Spring/Summer 2019 collection for Louis Vuitton Menswear with the likes of appearances from Rihanna, Takashi Murakami, Kanye West, Kim Kardashian, Playboi Carti and many more.

LV SS19 Collection Show at Palais-Royal Gardens during Paris Fashion Week

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PHOTO CREDIT: PAUL MOUGEOT

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COVER STORY

CONTROLLING THE CULTURE Interview by Terrell Johnson Photography by Curtis Taylor Jr. Styling by McCall Alexandra MUA: Briahna McNeil

The ATL-raised dancing tycoon has been apart of iconic dance movements since winning a VMA with Beyoncé for ‘Single Ladies’ in 2009. Whether he’s making memorable moves for Tinashe or the brain behind N*E*R*D’s latest #LemonDanceChallenge his moves is guaranteed to stick with you whether you can help it or not.

JaQuel walks in the studio from rehearsing for Beyoncé’s upcoming-now-iconic Coachella performance wearing merch from JAY-Z‘s 4:44 Tour. JaQuel is ready for his close up. As we fill the room with afrobeats, JaQuel is dancing into the looks provided for his first frame shot.

We learn about what influenced the iconic Beychella performance, working with N.E.R.D., his work with Tinashe, being on Forbes: 30 under 30 and his beginnings as a choreographer.

JAQUEL KNIGHT

COVER STORY TJ: What was your first concert?

JQ:My first concert was Snoop Dogg’s ‘Up In Smoke Tour’ in middle school in 2004/05.

What made you go to this particular show?

I’m just a really big Snoop Dogg fan.

You must be from L.A? I’m not! I’m from Atlanta. My dad is a huge fan of Hip-Hop. I remember being with my dad. It was like, almost every album that came out we would listen to it in the morning, afternoon and night. I’ve always had a love for music especially hip-hop. I was around listening to Dr. Dre and Snoop Dogg all the time because of my dad. When my best friend at the time was a record producer in Atlanta — we found a way to get tickets to see Snoop.

I love to ask creatives that question because of my love for live-performance art and dance. It kind of gages the type of music they like to listen to? When did you know you like to dance?

Growing up in North Carolina and my family had lots of cookouts. They’d fry some fish, some hushpuppies and we’d filled our belly’s with food and put on some music.

You knew when music would come on it’s that time to show your moves to only your family. My cousins and I would make up routines and we would also perform the hell out of them…our cookouts was like a mini talent show. My cousins and I would wear everybody out. [laughs]

“I JUST KNEW I WAS GOING TO BE A BIGTIME MUSIC PRODUCER” What year was that?

This was around 2002 / 2003. Even before the film, Drumline, it was like ‘Marching bands are a thing. Let’s make a movie!’ Y’know what I’m saying?

Absolutely. Drumline is a quintessential black film classic.

Drumline is such a good movie and it’s so real to me because I was so immersed in that world. I knew what the summer band camps were like, the practicing, what the football games felt like, the battle of the bands — like that’s how I grew up as a “band head.”

So what did that lead you to?

At that time, I just knew I was going to be a big-time music producer. I went to school for audio engineering on a music scholarship and eventually started making records.

My whole dream, when I was younger, was to be the next Pharrell Williams.

You just wouldn’t stop?

Now you’re full circle, you’re working with him now.

My mom and my aunties would dance all night, it was the so fun! Those ladies could dance, I tell you! But, my family entire family was so supportive of me, they’d push me into talent shows. The funny thing is, I never actually liked to dance. So I wouldn’t have to dance too much, I’d always make the show up so at one point in the show, I would be the special surprise guest. My mom loved it. But that’s my mom so of course, she loved it. My mom is very special woman.

Yeah, that’s what’s crazy and really bizarre.

Didn’t you think you could make a career out of dance professionally?

No, not really. I never liked to just dance, so that wasn’t even an option for me. I was a kid and just clueless about the technical side of dance. MTV was my dance teacher.

Soul Train was my dance teacher. So I never took a dance class. You know the people that grew up in dance class — that wasn’t me. In elementary school, I started to get into music. I started playing saxophone in sixth grade, and I became more of a music head. Playing an instrument made me become more of a fan of Earth, Wind & Fire, Kameo, all the old, big band sounds that had great instrumentation.

Artists that made those sonic vibrations, to make you dance, was what you became attracted to?

Yeah, Frankie Beverly & Maze, y’know. It was all connected to those cookouts. These are the records that are being played at the cookouts especially once you get into the evening hours, you start to switch from the young folk’s music to the grown folk’s music. These were sounds that I’ve been attracted to a young age. Once I got into high school, I started marching in the band when I moved to Atlanta. Marching bands were big in the south, especially around that time.

Speaking of artists, that influenced you, who do you remember influencing you while watching MTV to help you appreciate dance?

Of course, Michael & Janet Jackson are at the top of the list. I remember learning “Remember The Time” choreography at my grandmother’s house. I would wait for MTV to play the full video. It started to switch for me once MTV started broadcasting awards shows. I’m like a child of the pop-era — I remember when TLC did the crazy performance to ‘No Scrubs,’ I remember *NSYNC and Britney Spears’ first award show performance when they had the school theme performance and NSYNC were on the desk and jumped cars — I remember all of that influencing me.

I’m a fan of that era in music.

The bar was really high for performance art.

The bar for performance art was so high. They had the imagination of an astronaut and was able to do whatever they wanted.

What was your first gig as a professional dancer?

My first gig as a dancer had to be DJ Unk at the BET HipHop Awards. I believe the first year the awards aired.

That was “Walk It Out” right?

Yeah. [laughs] We had the big XXXL shirts with the words “Walk It Out” airbrushed on the front. That was the first gig that I auditioned and booked. I was really close for a part in the film Stomp The Yard.

JAQUEL KNIGHT

COVER STORY

JAQUEL KNIGHT

I go to the dance studio and paint, and the bodies that I bring in and make move are my canvases.

COVER STORY Wow. That would’ve been dope.

How did you meet Frank Gatson?

I didn’t get it but that was the moment I believed that I really wanted to pursue dance professionally at some capacity. It was set in Atlanta.

Most of the dancers and choreographers were teaching classes on their days off so I became really close to the cast that was in Atlanta for Stomp The Yard. They were a special part of why I decided to move to L.A. and dance. The first time, I went to L.A. during my senior year and stayed with Tyrell Washington for 10 days and that experience changed my life.

Frank Gatson changed my life. I met Frank when I was in LA and I auditioned for a Michelle Williams solo project. He hired me to dance, soon after he told me he might have a cool gig for me in a few months. Frank called me a few months later saying, “I have this Beyoncé record, can you get to New York tonight? If she likes you, you’ll stay. If not, you’ll go back to L.A”. I get to New York that night, Frank and I went to the studio and Frank played me the record. After I hear it, “I’m like, what do I do with this?” [laughs] Frank showed me the Bob Fosse reference so I started to spit out a string of movements that I thought was cool to ‘me’ at the time. Then Frank and I started trying out different pieces of the choreography with Beyonce’s Head Dancer, Ashley Everett, we tried all the moves on her first and Beyoncé would come in and do an eightcount then sit and talk, digest it, and figure out more choreography. We kept that same process up for two weeks. We knew we wanted to bring something different to the culture.

When did you transition out of ATL to Los Angeles?

I quit the band. Then I started a dance team with my best friend Tiffany and we called them True Stylez Dance Troop. I started spending my time immersing myself within that. It was about 12 of us. I immersed myself in that group.

You recruited 12 members, so you were an assembled dance crew or this was people you knew?

Both. It started out as a school activity, and we would perform at the basketball games. Then it became serious, we got invited to perform at an Atlanta celebrity basketball game, then we got invited to the citywide talent show then we were featured in music videos — it started to become a thing. People would put on dance events just to invite us there. I guess I can say we were one of the best dance crews in the city.

I always wondered if there was any realness to how films portrayed dance crews?

Yeah, kinda. People would put on dance events just to invite us there. I guess, I can say we were one of the best dance crews in the city.

I would think so, they had JaQuel Knight in their crew!

No, I sucked! I haven’t always been good! I worked hard to get where I am now! [laughs] I still think you had to be one of the shining lights in the crew especially to not be classically trained at dancing. I think those are some of the best dancers we have like MJ, Janet even Beyoncé — they never trained to dance they have a natural movement of dance in them.

Yeah, but being a professional dancer means that teachers want clean lines but me coming from Atlanta it was different. For me, movement was always about the sound, the music, the beat. I’m thankful for growing up in Atlanta and learning the styles I’ve learned. Atlanta has a groove and a bounce that no other city has. Growing up learning ‘Crank’ and going balls to the wall when a song is playing — I’m super thankful for that because if it wasn’t for Atlanta I would be just like the rest of the choreographers in Los Angeles. I probably wouldn’t be popping. [laughs] I love your style of dance because I can see you’re really versatile from the lineage of work you’ve done already — the fact that you can do ‘Single Ladies’ but also do ‘Lemon’ to have that range and be able to do both and it looks good — iconic movement is a skill. To execute dance that people want to do and can attempt to do is very well thought out.

You know, I grew up around people dancing. Family time was all about “Let’s get together and have fun”…our fun was all about dancing. And then there was my marching band days. What I loved most was choreographing 150 people who were running/marching all day and who were also great musicians.

That’s a great experience to have. I was always intrigued by how a choreographer would string together moves and get everyone together to learn that same choreography.

It’s definitely a skill. I started practicing that early.

Speaking of teaching dance, I didn’t know you choreographed ‘Single Ladies’ until a few months ago. I thought Frank Gatson did that — without question its one of the most iconic movements within the last decade. What inspired that concept?

Beyoncé had this idea — she saw this clip of these three ladies from the Mexican breakfast featuring Gwen Burden and was choreographed by the legendary Bob Fosse. She saw this clip and Frank Gatson was her creative director so Frank was involved in her music videos, performances, etc.

It was a process.

There was a place down the street in New York called Georgio’s which is one of my favorite restaurants, and we would order chicken wings and those chicken wings would inspire us. [laughs] We would literally bite into those wings and be like, “What about this?” (laughs), It sounds crazy but we would be exhausted but the moment we took a bite… boom!

Well, I guess its safe to credit Georgio’s Hot Wings as one of the dance inspirations behind ‘Single Ladies?’ All that time before this prepared you for this moment?

Yes! I remember going through the process of working with Beyonce.

Frank would say before the shoot, “you can’t see it yet she’s learning it, she’s getting the movement into her blood”. Beyoncé would ask me all kinds of questions. She wanted to get the essence of the choreography down to perfection. She worked very, very hard on the choreography.

I remember that time where Beyoncé was cross-promoting two singles at the time and I think a lot of energy was going towards a Pop sound but she also softly released ‘Single Ladies’ but it was culturally one of the coolest moments in pop culture. I think Beyoncé honed in on who she was as an artist moving forward and you’ve contributed to that moment and she trusts you.

Yes, I believe that as well. Beyoncé worked with many incredible choreographers before me but she wanted someone else for “Single Ladies.”

I know she was like, “Who’s this young guy coming here, Frank? Where my other people at?!” [Laughs] But Frank really pushed for me, he kept saying, “I know he got something.” Frank told me after the video shoot that Bey told him, “You were right about him!” (laugh) Ever since then we’ve been connected at the hip. I remember following ‘Single Ladies’ I would be in New York every other week. Back and forth traveling from L.A. every week. ‘Single Ladies’ catapulted my career.

That moment was so huge. You have a track record and it’s not just with Beyoncé but you won an MTV VMA for ‘Best Choreography’! Was that moment reassuring? Walk us through that night.

One, being nominated was crazy to me. Like I said, I was a student of MTV. I couldn’t believe that was my name being nominated for a VMA. I remember being in New York with my mom who I took to the award show with me. It was definitely a night to remember. We sat there and watched the show and y’know that was the ‘Kanye & Taylor’ night…

Ok. Pause. Let’s talk about that moment. As a Kanye fan, I was upset because that was the night Janet Jackson performed ‘Scream’ to honor her late brother Michael Jackson. Kanye took that shine away from Janet at that moment because he did that right after Janet performed.

That moment even overshadowed the death of Michael Jackson. I understood his sentiments because you can’t give Beyoncé ‘Video of the Year’ but not ‘Best Female Video,’ it didn’t make sense.

Kanye shut that whole show down by the way. That moment was even more talked about than the ‘Single Ladies’ performance. Kanye! It was super special to me though. I was thinking to myself, “they’re not going to give us ‘Best Choreography’ award” after that … I was grateful to receive that from MTV. Imagine if they gave someone else ‘Best Choreography’ with Beyoncé in the category?

I just felt like it would play out differently but they caught themselves.

Even giving Beyoncé ‘Video of the Year’ award. I don’t know if they were even planning on doing that. That was a year that it felt like MTV was behind the curve for some reason and blind to what was right in front of them and tried to create a wave of their own but the people were like… MTV, don’t even try it… You can feel it throughout that entire night.

JAQUEL KNIGHT Yeah, because if Taylor Swift wins ‘Best Female Video’ what does that mean for the rest of the categories. ‘Best Choreography’ had to be an off-air award. How was that presented to you?

They send you the awards a few months after but I remember walking and overhearing him just say ‘Best Choreography’ and Bey accepted her award and also met my mom at that moment. I was 19 at the time.

Wow. 19! Now speaking of Bey, you’re working on the Coachella performance. Everyone is expecting something new — there’s also a lot of hearsay involving Destiny’s Child as well.

I will say I’m excited myself! Being a fan of Beyoncé, I can’t wait for the performance.

This is her first time at Coachella? The first black woman to headline?

Yes, this is her first time.

But she did perform with Solange once before?

Yeah, that wasn’t even her performance she just did a dance with her sister but that was Coachella.

Right.

We also did ‘Feeling Myself’ at Coachella with Nicki Minaj. So it feels good to be going back in April this year. I’m looking forward to it.

That’s major.

Speaking of your iconic movement, Tinashe’s ‘All Hands on Deck’ from a dancing artist has to be one of my favorite recent dance videos in a while. How was it working with Tinashe?

I don’t even know where to start with Tinashe! I started working with Tinashe a few years before she was the star Tinashe. So we go ‘2 On’ in 2014. I started working with Tinashe when she was 15.

Wow. Once ‘2 On’ took off and was a summer smash. I was putting all her looks together. I wanted to bring back ‘the pop star’ again. Especially in terms of singing, dancing and awesome live performance pieces that resonated with people at home like, ‘Wow! This girl is an entertainer!’

That was my dream with her. ‘All Hands on Deck’ video moment is kind of epic!

That video was one of the best dance videos of the 2010s. To have empty trailers stacked individually isolating all the choreography was genius.

Yes, it was a complete look. I felt like she was going into this star that we wanted to be around. People were connecting to the way she moved to the record. The dance was bigger than the record which is a major thing to say. People connected to the dance and wanted to see Tinashe do more. Dancing in those containers blind from the other dancers wasn’t easy but that shows how well rehearsed they were as well. Going back to being in a marching band I’m big on everyone being in sync with each other to pierce through the camera to affect everyone at home.

It’s kind of spiritual… my process from rehearsal to delivering a music video. The Tinashe was a project that I had to heavy voice on.

How involved are you now with Tinashe’s career? I believe she’s one of the most underrated artists we have in today’s music.

I’m super separated from Tinashe currently. You may see that separation in the latest videos from her. After ‘All Hands On Deck’ we took a break and then she shot another video but I helped on ‘Super Love.’ Tinashe is super talented she just needs to be around people that just gets her, especially the time we live in today where it’s one day you’re hot, next day they pretend to not know your name — so you gotta surround yourself with a team that just gets it. She has the ability to make a dent in pop culture.

He’s really in love with your work and he doesn’t even know it.

I’m waiting for the Kanye & JaQuel collab to happen.

That would be amazing considering Ye does like dance videos — look at ‘Fade’ and what it did for culture and dance.

Fade was amazing. The record was crazy. Teyana Taylor looked beautiful. It was the perfect marriage between dance and sound.

What goes through your mind when you’re connecting choreography?

I start with the music. I literally spend as much time as I can blasting the record wherever I’m going. Learning every piece within the music. The bass line. The melody. The background vocals. All of that I drown myself in before I start creating movement. Once I feel one with the record, I feel a responsibility for how people move to the record once they’ve seen the video. That’s a big deal to me. The responsibility for how the entire world will move to a record.

Wow. Yes, that is a huge responsibility.

So I think it’s important to get ahead of the artist and producers and try to present something to the world that also does justice to them. Once I’m in that space, I’ll worry about who I’m working with whether it’s Beyoncé, Tinashe, Big Sean or something cool like the N.E.R.D. project now. It’s all about where my the artist or client is in their career and what they’re trying to do.

I’m diving for different things to happen in the choreography. If I’m doing something for a pop star I go somewhere different in my mind.

If I’m doing something hot for a rapper, it’s a totally different process and in my mind I go somewhere totally opposite. It matters where they are as an artist and I start moving based on that factor. I go to the dance studio and paint, and the bodies that I bring in and make move are my canvases.

Let’s talk about the N.E.R.D. project. The ‘Lemon’ choreography. I love that the movement seems free-styled. Was it a conscious decision to use Mette Towley instead of Rihanna in the video?

The decision was very conscious. Pharrell wanted to create a project that wasn’t about him or N.E.R.D. He wanted to create something that was about the music and the energy of the music. He wanted it to be about the people dancing to the music. Through that concept, we’re not calling them music videos… we’re calling them tutorials. It’s about learning how to be apart of the energy and vibe of the records. Teaching people how to be free. Teaching people how to be: you. We went through a process of interviewing and auditioning girls for that lead role position. You have to mentally be in a position of understanding where we are as a society and how the perspective of culture and expectations placed on women, being black, our music, being put in a box… it’s all of those things. It’s all apart of the story of the entire N.E.R.D. project.

“Can celebration of dance heal everything going on in society? Yes! It can.”

Even in the visual for ‘Lemon’ from her cutting off her hair. It wasn’t about her getting a buzz cut. It was about her being beautiful in her skin and be one with herself and dancing freely. The choreography isn’t overtly sexual but it’s something sexy about the piece on her. It’s powerful. It’s empowering. It’s a celebration of dance and movement. Can celebration of dance heal everything going on in society? Yes! It can.

Everything was intentional but in a super subtle way.

Will there be more tutorials to come?

Yes. There will be more. ‘1000’ is out now. We have a couple more on the way. We have two ready to go. It all depends on where Pharrell wants to go with the project moving forward. I’m not sure if you’re aware of what we did a ComplexCon. I had the honor of choreographing the entire album from top to bottom.

Wow. I saw a few recaps from the listening party at ComplexCon! I wanted to be there but didn’t make it.

It was one of the craziest things I’ve ever done. The moment and how we presented dance as an high-art environment to the masses. It was super conceptualized and never been done. It was the first time people witnessed a live-performance album listening event. I’m super thankful for the opportunity to Pharrell, Shay and Chad for being able to celebrate dance at this level.

COVER STORY

Is there anyone that you want to work with that you haven’t yet?

JAQUEL KNIGHT

My dream job is to work for Gucci Mane. I’m from Atlanta so Gucci Mane has always been a part of my upbringing and I love his music. To see how he’s transformed from being locked up to being married, positive and constantly releasing new music … I see so much potential there. I think there’s so much room there to leave a stamp on the world.

If you got that opportunity, I believe you’d have everyone dancing to Gucci. I know he’s not a dancer but incorporating some facet of dance into his work would look dope.

I have so many ideas! I’m just waiting for that to happen.

It’s going to happen. I feel it, it’s coming. I also feel the same way about DJ Khaled. Look at his last few years. I’m seeking to get with Sylvia Rome to have a sit-down and try to flesh out some ideas with Khaled because I think it’s room to tap into something I don’t think they think about as rappers. They’ve done so much for culture. It’s room to elevate and push things to new realms. I’m always looking for new ways to present choreography to the world. Rihanna. I still haven’t touched Rihanna.

I think there’s a big misconception that Rihanna can’t dance but I believe that’s a total lie especially after her music video for ‘Where Have You Been’ so I’d love to see a piece from you.

Yeah. I love Rihanna. Her music is crazy, young and fun. Like you said, Rihanna can move. Don’t let Rihanna fool y’all. She just wants to have fun but she has it.

I believe you’re the first choreographer to make the Forbes 30 under 30 lists. You’re breaking a lot of concrete from breaking artists and working with top-tier influential artists.

This year has already been a wild year. How does that feel?

It’s been a wild year! You know how people will say that they always want to do this or that and you wait for a pay raise to do those things … people wait for these things in life. I brought on an executive assistance a year ago to elevate my career and company and since that year milestone, the Forbes list thing has been on my bucket list.

Did you attend the Forbes 30 under 30 event?

Yes. They held a welcoming event in New York. It was wild. Especially as a creative guy who dances for a living in a room full of business-folk. [laughs] A lot of them were really young from 19 to 22 and they are doing really awesome things in the fields of science and tech. I met some really cool people there. I’ve been talking to some of them via phone meetings and we’re going to start crafting some things involving merging music and tech to see how we can push more limits.

Congratulations JaQuel, to be such a young person in your craft because dance is one of those things that people enjoy but not execute at the same level. You’re breaking boundaries for your craft that deserves celebration.

You also have a self-titled entertainment company, tell us a little bit about the purpose of JaQuel Knight Entertainment.

JaQuel Knight Entertainment is my baby. It’s an entertainment company focused in creative direction and choreography, of course. I’m also branching out for more work involving music, TV development and feature films. I believe my fresh, young, outlook on things is new to the industry as a whole and feel like I have something to offer. Right now, I have 3 choreographers I’m developing and I hope they’ll go on and be great and accomplish some of the same things I have. I’m also directing music videos now. Writing a musical. I’m also writing some pieces for scripted and non-scripted television. I’m also very close to selling one which is crazy so it’s fulfilling.

We need more movies like You Got Served, Honey — we need more stories like that, I feel like those are super necessary right now and if anybody could execute them I think it would be you. I’m looking forward to seeing some of your work on the screen.

Was music video directing something you’ve always wanted to do — capturing stories through film?

Yeah. You know I’m an artist in its truest form of the word. I used to compose music, play instruments, graphic design … I love to cook, looking in magazines for cool stuff, love architecture … I can’t resist creating. I could sit here all day and just create. I think I’ve always had the vision of producing talent forever. My goal is to produce a show that is completely me. From the artist, executive producing how it sounds, the visuals — how it looks and feel. That’s the goal for me. Being able to present a piece of art that mine from creative direction, artist development, styling and A&Ring the project. I think the journey from choreographer to director is a natural journey for me.

I direct the dance scenes in the videos I choreograph. That’s what people don’t really get. The whole reason I’m on the NERD project, Todd Torso, we’ve met before we were working with Bey. I was originally called to oversee the choreography and make sure it was shot correctly and as the project developed he just said, “I think JaQuel should just do it all.” So that meant, “I need you to edit, I need you DP’ing I need to be on set while shooting, be behind the camera.” So this transition is organic. Victoria Monet is an up-and-coming singer-songwriter that’s a really good friend of mine. Huge fan of her work. “Ready” was the first music video that is directed by JaQuel Knight.

I remember hearing her voice for the first time on Eric Bellinger’s project and I really loved ‘Liquid Courage‘ with the two of them. I saw the video, it’s a really cool video.

Yeah, she’s doing everything independently. So that’s a really special project for me. Another dream of mine is to bring back those big movie musicals. Where is the Chicago’s of today? Where are the Fred Astaire’s of today? Where are those movies? Tap? Jazz? Where you feel a connection to the story, the choreography, the cinematography … That’s where we’re talking JKE is bringing back dance in a really major way.

Since our interview, JaQuel has hired a development team and executive assistant for JKE. Knight is also nominated for a 2018 MTV VMA for ‘APESHIT‘ and currently on the ‘On The Run II‘ tour with Beyoncé and JAY-Z.

COVER STORY

MAGNIFYING HIS WORLD Interview by Terrell Johnson Photography by Dolly Ave

Janet Jackson’s State of the World Tour has been critically acclaimed nationwide, notably all thanks to — Gil Duldulao. After Janet Jackson’s pregnancy announcement, fans were awaiting Janet’s return to the stage after halting her Unbreakable World Tour. The return and re-branding of the show took on social agendas that Janet Jackson has reprised and been exemplifying her entire music career. Eerily appropriate in today’s social climate, hence the tour’s name change to her 1989 recorded-track State of the World from her chart-topping album Rhythm Nation 1814.

GIL DULDULAO

COVER STORY After attending Janet Jackson’s State of the World Tour in Chicago, I noticed Janet and her dancers were sticking around the Chicagoland area for charitable events and filming scenes for an alluded documentary.

The camp was seen capturing life as Janet embarks on motherhood, touring and recording new music. As I was in the drive-thru for Portillo’s scrolling through my Instagram feed, I noticed Gil was in the same area. I went to the bar where Gil was enjoying himself near his hotel in hopes that I would run into him. As I approached the outside of this bar, I noticed Gil was standing outside taking a smoke break.

I double-parked my car and approached Gil with gratitude for reassuring Janet’s return and hopeful for her happiness on this cathartic tour. I had Gil sign my SOTW tour book and asked if we could reconvene in the new year because I wanted to speak to him regarding his past and future works.

How has it been preparing for tour since Janet returned to the stage for SOTW Tour?

I think before getting this tour together, it came about as an idea during our creative calls while she was in London. It all just came together so quickly. It was about a month and a half. Getting the dancers staged, content staged. There wasn’t a moment that I had to take it all in. There was no time to even evaluate the emotions this tour brought out of me.

For me, this tour was amazing and it was successful. Normally I wouldn’t read any reviews, but there were no bad reviews surrounding the tour.

To get that done in a month is exceptional considering how vastly different Unbreakable Tour was to State of the World.

Yeah, we had a total of three months to get it all done. To also have a baby on top of that is a commitment. To dive back into it to fulfill a promise she made [while traveling] with her son on the road, not to mention her many other issues and obligations, is pretty amazing. Janet did all that while remaining happy and present despite all of the outside noise. She showed up every night as well as every member on the tour. Most tours are usually spaced out but to do 56 shows in 97 days like we did is an amazing accomplishment.

Absolutely. I truly enjoyed both shows but State of the World was timely. I loved the feel of the show so congratulations to really evoking what audiences in America needed to hear right now politically, socially — I think it was the perfect time to be reminded that Janet Jackson has been that voice for so long.

Growing up in Hawaii, when did you first cultivate an affinity for dancing?

My uncle took me to a dance class when I was 7. It wasn’t really a thing. I know my mom had a band growing up. She was a singer and we always had music around the house. We didn’t have cable to see what was going on MTV so it wasn’t like my thoughts were “Oh, I really wanna dance when I grow up…” but then my Uncle took me to the dance class and I fell in love with it. I was asked to be in the youth company and we performed everywhere in Hawaii. I fell in love with the art of dance and how it made me feel inside.

When I was older and was attending a performing arts school, my dance instructor exposed us to music videos and Broadway. I did a lot of Broadway shows when I was young and was exposed to so many things at a young age. By the time I was in middle school and through high school, I knew I wanted to leave Hawaii to pursue a career in dance.

You going to dance class inspired you to love dance? Was it Hawaiian-based dance?

Well, yes. I did do Hula when I was really young. When I started dancing professionally it was more hip-hop based. With the youth company, I was attending our instructors always encouraged us to try new things.

You have to train in many aspects so you can be versatile in many genres of dance. I do remember feeling like I had to change companies to focus on other genres of dance like ballet, jazz, funk and that’s when I started exploring that. Dance always made me feel at home. Even now at 39, it is still the same thing for me. Whatever makes you feel good is exactly what you’re supposed to be doing at that moment.

With that being said, do you remember anyone, in particular, to inspire you to dance creatively?

It really was three different artists. It was Bob Fosse, Janet Jackson and Prince. The minute I got to high school things changed and my mom was like cable is the new thing! Next thing I know we had cable and I remember turning on the TV and seeing Janet’s “If” music video. I can remember the force and how powerful the piece was… With Prince, it was the American Music Awards and watching him perform. He had Mayte, Jamie King and the dancers were so fierce. It was the attitude. It was mesmerizing. The fire and attitude of the dancers drew me in and inspired me to train to be better.

What was your first official gig?

My first official gig was performing with Prince. I went to audition for two people: Tina Landon, who also choreographed ‘If ‘ with Janet, and Jamie King. They were the main focal point of that Prince performance.

When my agent said go, I was like, “Of course, these are my two idols!”

When I got the gig, I was really surprised because at that time the trend was tall and muscular dancers. I was so surprised I got it.

I was reading your resume and seen that you worked with Jennifer Lopez back in 1999. How was that promo tour because I remember performances from that time and era?

Yeah, again it all kind of revolved around my idol, Tina Landon. After the Velvet Rope Tour, she asked me to assist her on some projects. At the time it was the beginning of Jennifer’s music career and I got that opportunity to dance with her through Tina. One thing I took away from that experience is that Tina Landon and Shawnette Heard must have seen something in me from VRT because Tina took the time to mold me and teach me. She showed me how she worked. To be around her greatness was an invaluable learning experience. It was like a university for me. It was another point of growth. I was the youngest on tour.

Being around older, experienced dancers and assisting Tina was when I started to play with choreography in my room. You couldn’t help but be inspired after an 8-hour day with Tina Landon.

How old were you on The Velvet Rope Tour?

I was booked for the tour when I was around 16 or 17. Then we did a lot of promo touring. Back in the day, you used to do promo for an album for an entire year. These days it’s just like a week and “bye.” [laughs] Damn. You were really young Gil… I know. In my 20s — I had the opportunity to do Tina Turner’s 24/7 Tour.

That was an entire new phase for me because I didn’t have Tina Landon anymore. I told myself that this was the time for me to step up, be an adult and utilize what I’d learned in that time. It was scary but I did it.

At the point of 20 — you worked with legendary iconic acts so early in your career. You worked with Beyoncé on the set of Carmen: A Hip-Hopera as well. What was your role on set?

Yes, I actually forgot about that. [laughs] Carmen was new for me as well because it was a film set. Film-wise, it reminded me of being on set of a music video. I worked mostly on the big dance pieces. I didn’t really have time to be on set for long. I also think it was a time when Beyoncé first started acting and I don’t think the director wanted her to dance.

I was also able to have Jenna Dewan to assist me and it was a great learning experience. Kelly Konno danced in the film as well!

You worked with Nicki Minaj on The Pinkprint Tour, being that Nicki is a hybrid of this centrically-creative rap star how was that experience different from all of the rest of the tours?

I teach dance at Pulse Dance Experience and started working with Laurie Ann Gibson. She and I became close and is like a sister to me. We always said, ‘for the right project we’re going to collaborate’ because we vibe well together and want to be around each other. Being around her is a happy place to be for me. Y’know her, “Boom! Kack!” [laughs].

GIL DULDULAO

GIL DULDULAO Finally, that one thing came into our lap, we collaborated and it was beautiful. It was Nicki’s very first tour and it was dope. I didn’t get a chance to vibe with Nicki as much because I was so focused on doing the work. I was busy trying to make sure the dancers and creative were on point. Following this, I was called to do Nicki’s Pepsi commercial in Argentina and that’s when I feel like my relationship with Nicki started because it was just the two of us. I think at that time there were so many expectations of her and so many opportunities within a 6-month time span and I think it overwhelmed her. I think she’s had time now to catch her breath. When people are overwhelmed there’s a lot of frustration as well. I know that made her stronger because she did it and she’s continuing to do it. When doing a commercial you have to be on time. What I did, and I believe she respected me for it because I was scared, was tell her, ‘Listen you need to get out there now. I know it’s a lot going on but get out there and smile but this Pepsi commercial is going to make you more.’ I think when everyone knows that Janet is busy they’ll call Gil. I can’t wait to see you do more projects for newer artists.

You get so much material from a lot of labels and yes, there are some artists that I’d like to develop and take on but the music has to be there for me. The feeling and the fight of the artist has to be felt through a meeting or conversation. It’s not about the money. I remember one artist coming up to me and saying, ‘You must be so expensive.’ I think that’s the misconception because I work with Janet Jackson. It’s not about that. Little do they know, when I work with younger artists, it’s not about the money. I have to be inspired.

Jerry Lorenzo, one of our favorite new designers, you were able to work with him and select pieces of Fear of God for Janet’s tour. Describe that experience collaborating with Jerry for Janet.

When I like something, I don’t like to overpower people by telling them what to do. Obviously, there was a point in the tour where the music and vibe was ‘something else’ and I’ve always loved Jerry’s stuff. I snatch out a lot of things. I just remember thinking that Jerry would be best for that section of the show. Following so many designers over the years — I’m not one to sleep on what’s good. I have a certain eye for what I like. Jerry came in one day and was so humble and he brought everything. I gave him a room and told him, “Tell me the dancers you need. Tell me when it’s Janet’s time and just play.” I told him ‘this is your canvas’ y’know… I don’t like to tell creative people what we want but when you know someone is so talented you want their creativity to show. Too much control over certain things doesn’t always work. I’d speak up if I didn’t think it fit but every look was just so funky. This was Janet’s time to be lax and cool. I definitely plan on working with him the future.

I was excited to see Janet in Fear of God and wearing the sneakers and really embracing the newer designers in the industry.

It breaks the part of the show. When Jerry came around the show was done already. When it came time for Jerry to style and get the looks together, we made him sit and watch the show first. Of course, he was gagging. You know what’s funny? I walked in one day, before contacting Jerry, and said we need to find this guy. I heard he’s big on not being contacted. It’s really hard to contact him. It’s not the fact that he’s a big designer but I think he tries to protect his brand and his family so for that reason he’s not so accessible. I was like, “Email the website! Call Maxfield!” But finally we got in touch with him and it all worked out.

Speaking of designers you love, you have your own style and very aware of streetwear. I saw you wearing Comme des Garçons and Supreme just to work out on Instagram.

You saw that?! [laughs] You have a lot of knowledge regarding streetwear. What are some of your favorite moment happening now in streetwear?

I like Supreme but I like when they collaborate with people. You’ve got people who go to Supreme and just want anything Supreme. If I’m going to buy Supreme it has to be a collab or a special piece. As far as style, I like kilts and skirts and awkward lines. I love Comme Des Garcons for that. I have a lot of suit jackets. I have a lot of big widepant legs.

That trend is about to come back heavy, the wide-pant leg.

Yeah, I’ve had so much stuff for years. Beginning with the Velvet Rope Tour, so I’m glad I kept them all. But I love CDG. I love Yohji Yamamoto. My favorite is Ann Demeulemeester. I love her lines. I love the androgeny and mystery of how men and women can wear her stuff.

I love what Off-White is doing as well. I also love to see Off-White pieces mixed in with different pieces. I don’t think an all Off-White, CDG, Demeulemeester, or Rick Owens outfit has much creativity if you just wear the brand from top to finish.

You prefer to see variety styled looks?

Yeah, I play with fashion here and there but lately, I’ve been relaxing on the fashion tip because now everything is so minimalistic and simple.

I like that. You either have to have a fierce bag, clutch or a nice shoe.

I remember meeting you in a black trench coat — I believe by Raf Simons.

Well, most of my long coats are from maybe 15 years ago. All my trenches or 3-quarter coats are Balenciaga or Margiela. My new favorite piece is actually a puffy Rick Owens jacket that Janet got for me.

How important do you think it was for Janet to remind people that we all need to be aware of social change and responsibility?

I think to use your voice through art is much more impactful and special than hearing it on FOX, MSNBC or CNN. When I’m home my life is the news. I think to get the right content it has to be a collaborative effort.

I worked with our musical director Daniel Jones. It was an everyday thing on whether we should go there with contact. First, it became a collage and then the music was inserted after we found the vision. It’s important. It was a big part of the show because when Janet called me she said, ‘How about the State of the World Tour?’ And then she talked about music from decades ago and how it’s messaging is still something people need to hear. We had to have that type of opener. I think that what’s so special about this tour. Instead of going on record she, unapologetically, performed that message. You know we toured the whole country and even I was scared saying we are in Alabama, chil’ren.

We are in Nebraska… There’s no denying that the message needed to penetrate eyelids. No definitely. I definitely thought this belongs in the show. They only city I believe we were very sensitive in was Las Vegas.

This was due to the incident that had happened so recently before we performed there. A few things were blurred out but other than that, the message stands. I think even if we were to do more shows that opening piece needs to be heard.

Speaking of more shows, Janet is lined up to do Essence & Panorama music festivals do you plan on being instrumental in the festival performances?

Yes! I have to sit down with her so that I can spill out all my ideas for these shows. Now is the time to go over ideas because we have time right now. My mind is racing but I’m excited.

What has been your favorite project that you’ve worked on artistically to this point?

Now that I’m away from the tour at the moment, I’d honestly have to say SOTW was my most special moment. I say this because it was my 24 hours for so many months. There were moments on this tour where I’d have panic attacks. Then I’d step back and think about how I know something came out of me crafting this tour. I think this is a meaningful one because I think everyone can relate to it whether it be domestic abuse, social issue, injustices. There were so many climatic points in the show that made you feel something. As someone who was a part of creating it, every day was hard for me. It was hard to get to work because of the anticipation. I knew what was coming but every night it kept bringing up feelings in me that I thought I dealt with. I put aside my personal issues and was glad that I had this journey. We put in the work to make this special because we didn’t want it to end. Another memorable moment on tour was when Tina Turner introduced me to Buddhism.

Buddhism continues to stick with me. I have so many moments in my career. I’m just glad those moments are continuing to happen.

With the resurgence of Janet Jackson, I appreciate what you’ve been able to do; who are you wanting to work within the industry that you haven’t yet?

I’ve been able to work with so many legends of every generation and I take pride in that. I love working with quality artists. It would be like being in school again but I would say it would probably be Madonna.

You know she’s a legend in her own right. It would be different for me and would be a challenge. Beyoncé. When I teach I use either her music or I use Rihanna. I’m obviously moved by their music but imagining creating something, not just choreographing, a visual. To be a part of that moment, even if it’s once, just to have it. I think it would be fun to work with Cardi B. I would work with any artist that would allow me to create.

Even Drake. I like rock bands too. Nine Inch Nails or even Coldplay.

Watching your work and seeing your choreography has been some of my favorite movement for such as long time especially for ‘All Nite’.

When you actually really look back where dance was back then, you think about Rock With U, Feedback and also All Nite. All Nite was a different era of its own because choreography like that wasn’t at the forefront.

“I’ve been able to work with so many legends of every generation and I take pride in that. I love working with quality artists.”

Yeah, it wasn’t and I was pissed that Janet didn’t get the opportunity to tour that year. The Damita Jo album was truly one of my favorite solid projects from Janet after the classics.

Me too.

For Janet to feel discouraged to tour in 2004 post-Super Bowl upset me and a lot of fans alike. Let’s talk about that time.

Yeah, there was so much darkness around after Super Bowl when she was releasing music. I can look at 20 Y.O. and Damita Jo as being some of my favorite projects because of the melodies. It was different for her but so good. Songs like “Spending Time With You” and even the sensual songs at the time were ‘so me’ because I’m more of mid-tempo listener more R&B. I don’t know what went on during that time and why the tour didn’t happen. Whether it was management, artist or brand we were fresh off of Super Bowl so…

The Super Bowl moment, 14 years ago this year, I remember really enjoying that time musically for Janet when she was working with Kanye, Babyface and I do remember really regretting it didn’t happen.

There comes a time when I have to let it go. My boss lets it go. I have a hard time letting go of the past. I think we’re all in a good place and I think everything happens for a reason. With struggle, pain and resistance you want to push for more. Janet never wavered from her vision or what she wants for herself. She just stayed the course even if it took a couple albums. It was respectable. Even now with her divorce, she used that pain to go back on the road and looks better than ever. She looks fiercer than ever and it’s definitely not the end.

Since our interview Gil has choreographed Janet Jackson’s 2018 Billboard Music Awards Icon performance and is currently on the second U.S. leg of the State of the World Tour.

Janet has recently shot a music video for an upcoming single tentatively titled ‘Made For Now’ featuring Daddy Yankee.

photography by annie kane | STYLING by MCCALL ALEXANDRA | words by terrell johnson

British music video director DAPS is a hip-hop visual architect, who’s responsible for Migos most prolific visual pieces, talks to us about his start in the industry.

COVER STORY I met DAPS in a local breakfast spot in LA, near the valley, earlier this year as he just premiered his visual with Quavo’s “She For Keeps” featuring Nicki Minaj in January earlier this year. Our conversation started about his last work + play vacation, his recent music videos and advice to aspiring music video directors.

T: You just got back from Mexico, how was it?

D: Mexico was cool. Just handled some business out there. It was a work-related trip but took a mini vacation while I was there. Seen some ancient caves … Mayan ruins … all kinds of things.

What part of Mexico did you go to?

I was in Mexico City for two days. Then I went to Tulum for about three days then Cancun for two more.

Do do you have a direction of where you want to go in reference to culture?

I want to be more like Virgil Abloh. He’s like a cultural architect. Everything he shoots, it goes in. He can’t miss.

A lot of that having to do with him having no bounds on things he can’t do.

The man just did a collaboration with IKEA! That’s the type of executions I want to do.

Y’know Virgil was Kanye West’s creative director for a while and stemming from that more people wanted more from him.

He did it in such a way where we don’t have to associate him with Kanye West.

I agree. It’s just his name: Virgil Abloh.

I’m trying to figure out how to get to that point.

That’s the next level for me. I’m trying to figure out for me, the source, I have in Lagos and London. I want to do that exact same thing in Los Angeles. They believe I’m an anomaly. But in America, I’m not an anomaly. In America, I’m the, “Oh, that’s the creative guy that did ‘Bad & Boujee’.” Right now, I have to figure out how to transfer that energy I have back home to L.A. and I don’t know what is going to take me to that point. I want to get to a point where you can be celebrated just for being you. But you have to be careful how you maneuver.

You can’t be in the spotlight too much. I want to have a slow burn. If it happens too fast … treacherous. Everyone leaves their hometown and turns into leeches. The guys are worst than the girls. I like being alone to too. I don’t need validation in that way.

Where did you grow up?

I was born in Nigeria and grew up in London.

How old were you when you left Nigeria?

I was about 3 years old. I used to travel back and forth to both Nigeria and London. Both are hometowns to me. From 6 to 17 years old I lived in London.

Growing up in London, how did that influence your art form?

Everywhere I go influences my art form. I’m just glad I’m from where I’m from because you get to see different worldviews. Different perspective. It’s funny because American sound still runs entertainment but there are more African and European influences within American pop culture. Everyone is doing this dancehall, reggae, afro-beats sound so I’m lucky to be from Nigeria and the U.K. because I understand that sound and culture. So that hones on my capabilities and knowledge to be able to do a trap music video. I can do an afrobeat-related music video. No one has done that before where they are so intersectional that can touch and breathe culture at the same time.

When did you discover you had a gift for videography? What did you receive your Master’s degree for?

Masters in Communications and a Bachelor’s in Business which has nothing to do with nothing. I’ve always been creative as a kid. I always made music, used to rap, make beats, draw and design sneakers. It wasn’t like being a creative was something new to me. I was also good at taking pictures. I think that led to motion visuals. I’ve always been creative since day one.

When did you realize I’m going to develop this skill professionally? What was that moment?

It kind of happened by chance. I was doing videos for myself with my own music. While I was doing that, people started noticing the videos. People in the US started to notice my work. As long as I’m creating something I’m fulfilled. It’s like magic to me. To see something become a thought in my head to something tangible and objective … I’m a fucking magician bro. So, it was just another outlet to create, naturally.

So you were directing music videos for yourself and then people were reaching out for you to concepts for them? The inception of loving a song, visuals are a big part of that process, you were simultaneously an artist and visual director that everyone was admiring. You basically are a self-taught director?

I’m self-taught, yes, but I had to be on set with other people to learn. Before I was directing, I was producing music videos so I was learning on the job. I was producing for big-time directors and learning how they do things. I had to take in all that information and make a voltron.

DAPS

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I’ve always been creative since day one.

I always made music, used to rap, make beats, draw and design sneakers. that led me to motion visuals.

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i never owned a camera & i still don’t...

T: I watched a lot of music videos growing up myself, what music videos inspired you?

On a scale of 1-10, how important would you gage visuals as a component that’s important in an artist’s career?

D: Busta Rhymes, “Put Your Hands Where My Eyes Can See,” Michael Jackson’s ‘Bad,’ Tupac’s ‘California Love,’ Dr. Dre ‘Nothing but a G Thang,’ Notorious B.I.G. ‘Juicy’ all of those videos. A lot of Bad Boy videos too were crazy.

The Bad Boy era was different. Polished. Then you had Ma$e in Vegas with the Lox in ‘Feels So Good’ … shit looked crazy.

It depends on where you’re coming from, man. It’s actually very important in general. It depends on where you’re coming from because a place like the UK music videos are everything. You’re not popping off without a good video. I can’t tell you the last urban song in the UK that went crazy before the video. It’ll bubble a little bit but it won’t skyrocket until after the video. Whereas in America, a song can skyrocket without a video. ‘Panda’ went crazy without the video. Cardi B’s ‘Bodak Yellow’ crazy before the video. The video helped but that wasn’t the thing that pushed it. It’s very important.

Yes. Bad Boy made it so that you wanted to live their lifestyles so bad.

Then Ludacris in the 2000s. He pushed the envelope on crazy music videos.

Especially for male artists representing the south; he definitely created on a level that was creative.

Yeah, pioneer shit.

What’s your favorite film?

Favorite movies, in general, are White Men Can’t Jump, Forrest Gump, Gladiator, Good Fellas.

Classics.

Yes, those movies are dope.

What was the first music video you directed?

Glowstix & Lollipops was the first music video I directed. It was a one day shoot in a club. It was a lot of glow sticks and lollipops. [laughs].

What’s your directed?

top

3

music

videos

you’ve

That’s tough. Migos’ “T-Shirt,” Wiz Kid’s “Come Closer” and Stormzy’s ‘Big For Your Boots’ I liked the ‘Cigarettes & Kush’ video you directed for Stormzy.

Hahaha. Thank you. I enjoyed creating that piece.

I loved your use of colors in that video. Any artist you desire to work for?

Beyoncé.

Absolutely. That’s all you really have to say.

Drake at some point and I also want to work with some pop artists.

Do you plan on doing long-feature films?

Of course. Television is next for me creatively.

But I want to do a full film.

What are some of your favorite television series on air right now?

Power. House of Cards. Mr. Robot is shot well. Game of Thrones. Those are the main ones that I’m inspired by.

For aspiring directors, what type of equipment would you recommend owning?

I never owned a camera. I still don’t.

So what are your tools that you use?

I’ve never owned a camera I’ve shot with expect my iPhone. But it depends on what type of director you’re trying to be. The irony is I always wanted to own my camera. I wanted to get my Canon 5D but me not getting those things at the time helped me to get to where I am right now because I had to be resourceful. Whatever you have access to that’s what you’re going to use. If you don’t have it, you’re going to find a way to get what you need. So the irony is, a lot of time you’re running around with your own camera — stuck in that low budget scene.

Someone might want to give you a couple hundred dollars to shoot a video… why not? I always wanted that but I’m so happy I didn’t ever buy a camera. It’s so funny because people that would shoot way more than me would burn out versus me taking my time to shoot better videos and end up where they were in a longer time. But because I didn’t have as much work, I started directing my own music videos as an artist. I’m glad I didn’t go that route but all depends on who you are and who you what type of director you want to be.

So what would your advice be?

My advice is nothing technical — be personable. Regular life stuff. The other things that school doesn’t teach you: shake hands. Look people in the eye when you greet and meet them. Shadow people you aspire to be like.

Do you constantly evolve with technology or you do stick to your go-to?

Yeah, I guess so. My favorite go-to would be the ARRI Alexa Mini but whatever comes out in the future you’ll have to learn how to adapt.

Do you get better resolution if you shoot in 4K for edits?

Yeah, sometimes I shoot in 6K or 8K to deliver the shot at 1080P but punch in on that mid-shot for a more diverse options in the editing.

Do you ever do music videos for local artists?

Sometimes but they’ll have to catch me.

Do the budgets vary for hip-hop versus pop artists?

It depends. Some pop stars are getting the same budgets as hip-hop artists at the moment. Drake and Kendrick Lamar have massive budgets. Taylor Swift video budgets are huge but so are Beyoncé videos.

You just shot a Lil Uzi Vert music video with Nicki Minaj.

How was that?

It was dope. He’s a dope artist. Well, originally Nicki was supposed to be the lady in the forest but we had a model stand-in due to scheduling conflicts.

What’re your final thoughts to the many people who admire your work?

Keep pushing and remember you sometimes have to use cheese to catch a snake.

COVER STORY

Ukrainian-based fashion photographer and director Sasha Samsonova is no stranger to being prepared. She has shot visuals for brands and people like Harper’s Bazaar, Complex, L’Officiel, Vogue, PacSun, Kylie Jenner, Tinashe, Teyana Taylor and more.

Her professional creative career started with a gift from her parents at the early age of 17.

As she branches off to build a portfolio of directed cinematographic-visuals, we catch up with her from her latest directed music video ‘No Drama‘ for Tinashe featuring Offset.

Interview by Terrell Johnson Photography by BAARIKS Styling by SASHA SAMSONOVA

COVER STORY First and foremost, I want to say how stunning your work is. I’ve been admiring your work for a couple months now. I discovered your work via Tinashe’s ‘No Drama’ music video with Offset. How fun was it directing ‘No Drama?’

It was a lot of fun because Tinashe is such an incredible performer. She made my job super easy. She’s just unbelievable what she brings to the table. It was a night shoot which was a little intense because I had an early photoshoot prior which started at 6 AM until I arrived at the ‘No Drama’ set at 7 PM which didn’t wrap until 7 AM the next morning so for 25 hrs I was working, nonstop.

Wow. I was getting ready to ask how long was the shoot!

It was crazy. I don’t mind working hard but after a certain hour in the day, you become a different person! [laughs] Absolutely. I loved how dark and ominous No Drama was; what was the concept behind the visual?

I’m not going to pretend like I had some big far-fetched concept because I think that’s bullsh*t. I truly believe the music videos are about visuals connecting to the song and vice-versa so it really wasn’t a really ridiculous concept. I think I chose visually what represented the song in the best way and what it portrayed to me. There were small details that connected to the lyrics that I have to thank Tinashe for that helped influence to make shots make sense. For intense, the opening truck scene with the license plate that read ‘Truck’… so little things like that will be added to complement a video. I try to not overload videos I direct and shoot with too many narratives. The main goal is to make you love the song for me, personally.

How did you first discover your love for photography? When did you realize you wanted to become a professional fashion photographer?

It was maybe about 10 years ago. I started randomly with film photography first. I don’t know why but it dawned on me that I wanted to shoot photography. Shooting photography made me super happy. I remember being 17 and my parents gifted me with a Mark II camera which at the time gave me all the tools to be great at photography. I worked with this young designer who was up-and-coming and Harper’s Baazar hired me to do a story with her after she recommended me as a photographer. It was completely a spur of the moment. I’m glad they recognized me for the opportunity. That was my first real magazine shoot and such as big deal to shoot for Harper’s Bazaar and a huge responsibility. Ever since that shoot, I knew that’s what I wanted to do until years later where I now want to pursue video visuals as well.

So at 17, that was your first professional gig?

Yeah. It was insane. I was skeptical! I asked, “Are you sure? You don’t want me to shoot backstage or something?” They said, “No. You’re going to shoot the story.”

Do you remember the subject at the shoot?

It was an editorial for a model in the middle of Winter in Europe.

They wanted to shoot outside with an art installation made out of mirrored-glass. It was difficult. It was during fashion week at the same time so it was quite busy. Everyone was late to set.

It took forever to do hair and makeup. By the time things were set up, it was completely dark. I was in a situation where my first shoot was going completely wrong. I took it all in stride and used weird lighting and it actually turned out pretty good. The magazine was super happy with it which was a crazy challenge for me especially being a seventeen-year-old kid.

Did growing up in Europe affect the way you appreciate art?

If so, how?

Yes, of course. I think anywhere you are will influence you a lot.

I’m thankful for growing up in Europe but also thankful for being in America now. I believe things happen when it needs to happen not necessarily when you’re ready for them to happen.

I believe you growing up in Europe set your standard for art way above the average person because to see how refined your work is at such a young age is unmatched.

Thank you so much. I’m happy that people are enjoying the work.

Absolutely. I know you’re also known for working with culture’s most notoriously famous family, The Kardashians, who’s the most memorable to work with?

I always get asked this question but I can never give a clear answer because I’ve had such a great time with each and every one of the girls. The person I shoot the most is Kylie Jenner.

We’ve shot in so many scenes. We’ve shot in flamingos, old Malibu where she’s wearing almost nothing, covered in acrylic blue paint — we’ve shot so many looks together and have so much fun doing it. To have someone trust me to do that is unbelievable. The same thing with Khloe, Kourtney, and Kendall. I’ve shot Kendall modeling. I’ve shot Khloe’s pregnancy — every time it’s a different challenge so it’s hard to say which one you liked to work with the most.

Being that we’re talking about the Kardashians, people are weary regarding the mental state of Kanye West; what do you think about Kanye’s approach of expressing his thoughts through love even if it means aligning with Donald Trump?

Honestly, this is such a good question but I try my best to not involve myself in these instances because we never have all of the information needed to make a conclusion. I met Kanye and I talked to him for a pretty long time and digested this energy he has and it was nothing but love and pure energy. I know how heavy people are about this particular subject but I want to believe that it’s an understatement because I don’t really want to get into it but I believe he’s not saying things to be malicious but the way it’s coming off on social media can seem really strange because there’s a lot of anger involved.

I know his intent may be coming from a pure place and being from Chicago, I think it’s important for us to hear him on his platform to be ‘politically correct’ in a way because he has a great responsibility being who he is as a driving force in culture amongst all aspects so it’s important to know what he’s saying and feeding the world.

I try not to think about it too much. But he’s unbelievable. He’s a genius who’s changed the world artistically who changed the culture. He an artist. When it comes to politics — it becomes a whole other issue. I try not to step into it too much.

I saw a clip of an interview you’ve done with Hypebae with some sound advice, “Never try to impress anybody but yourself” Have you ever had an experience where you were seeking approval from someone who shunned your work?

Oh, of course. I honestly think that may be my biggest problem, mentally. I want to be able to be in a place to do the work and don’t need to seek confirmation or validation from anybody else.

I know it could sound ridiculous because I do the work for other people but I could never say with my heart, ‘I don’t give a f**k about anyone else’s opinion.’ Because I do! I do this for this to be consumed by people in the world. I make it and the put it out into the world. If I didn’t care, I could make it and go home and look at it by myself. But that’s not what’s happening. I want people to feel my work whether it’s happy, angry, arguing about it or sexually driven. I want my work to do something but I want to be confident enough in myself in what I do that I don’t need that approval anymore. I will get there but I know it’ll take some time. It boils down to me not wanting to disappoint myself. I feel like my standard may be a little too high to not stress out over it.

I feel like your standards are at the right place because your executions are amazing. It’s tough to make so many different types of executions seem effortless.

(continued on next page)

SASHA SAMSONOVA

COVER STORY

SASHA SAMSONOVA As a female curator, do you feel like you have to work harder than your counterparts?

I don’t feel like I have to work harder because I’m a woman not really. The hard work in my field I don’t think is separated by gender at all. Maybe I’m lucky enough to not feel that. It may be because of the position I’m at professionally and my perception.

I may or may not be getting certain jobs because I’m a woman but I never really think about it that way. But I totally support women and female empowerment but I also a support maledriven initiatives. I support both sides. Right now, it may be an unpopular opinion but I hate screaming out and cheering for “Women Only!” Because it’s like one side will raise up to make their voice heard and vice-versa. I don’t want to put too much weight on one side. I want to try to find that balance in my work that I don’t have to walk on eggshells. I have an equal amount of love and support for men and women. I feel like my work is genderless. I don’t think about it in that way.

Which do you enjoy creating more? Video or Photo?

Video visuals for sure. I feel kind of bad for saying it so surely.

I feel like I’m cheating on my ‘photography life’ but directing is just a new step for me of talking to the world around me. It’s so much more control and so much more room for art. I have so many tools. I’m starting from the bottom where you feel yourself getting frustrated about something but also getting better at the same time. Nothing feels better than that moment in creating.

I’m down to go through that process just to be able to create so much bigger. It’s really exciting.

What are some of your go-to inspirations behind your executions?

The main thing I do is watch movies. Every movie I like, I’ve listened to the commentary of the entire film from the DP or who’s involved in creating the film. I really love that. That’s one of my biggest inspirations. Every time before a shoot, depending on the artist, I’ll watch either Jackie Brown — which is one of my favorite Quentin Tarantino films or Fight Club. These two movies are my go-to on the day of the shoot. It somehow put me in the right state of mind in my brain. I did a video for Gallant titled “Gentlemen” and before we shot that video I watched Fight Club so many times I started having dreams that looked like Fight Club. It was ridiculous. It really helps me though. I also draw a lot of inspirations from documentary photographers like Alex Webb because they have unbelievable stills. I’ve also been obsessed with Korean and Chinese film lately as well.

Who are some of your favorite curators in film or within in any craft?

Of course, Tarantino is one of them. Definitely, David Fincher is forever my favorite. I love Park Chan-wook, the director of Oldboy. I love films like Sympathy for Mr. Vengeance & Sympathy for Lady Vengeance are my favorite films by Chanwook. I love David Russell because he turned regular life made to look like theater. I love Woody Allen. I love Wong Kar-wai.

There are so many directors — it’s really hard to narrow down. I recently watched the commentary for Hype Williams’s Belly and I fell in love with his brain and the way he thinks. It hurts me that he never made another movie or ever made a director’s cut because I think it would be unbelievable. It’s one of the most beautifully shot films ever. The opening scene is one of the most genius opening scenes ever to me and I feel really bad he doesn’t have any more long-form pieces out.

I agree. Hype Williams is definitely one of my favorite directors of all-time.

Yeah. He’s unbelievable. To hear Hype Williams speak, his brain is so beautiful. There’s a lot of photographers to draw inspiration from. I also get inspiration from writers like Chuck Palahniuk.

He’s really incredible. Just such as crazy, beautiful mind. The way he puts everything into perspective inspires me a lot as well.

Who do you want to create for in the future?

I would love to create something for Massive Attack.

VIDEO DIRECTION

UK-based directorial duo Bradley&Pablo has directed a slew of visuals that led us all admiring their on-screen executions.

Whether the client is Migos or Frank Ocean you’re guaranteed a widerange of fun to process.

bradley and pablo on the set of "motorsport"

BRADLEY & PABLO

INTERVIEW BY TERRELL JOHNSON PHOTOGRAPHY BY Reginald Thermidor

VIDEO DIRECTION

T: What was the first thing you’ve ever shot?

What piece of work drove you to want to produce visual content?

B&P: The first time we properly worked together was whilst we were at art school making a few fashion films for a London streetwear brand called illustrated people. We started experimenting with CGI film making in a program called Maya where we’d spend weeks locked away sleeping a few hours a night, listening to this one trance mix on repeat and building these crazy 3D environments. It was a massive learning process and we didn’t really know what we were doing basically just learning how to do stuff through guesswork and YouTube. We spent like a week trying to figure out how to make these two dolphins jump out of the water and spin around each other in the shape on a Yin Yan symbol. It was all about these environments and the objects inside them. The camera movement through them was totally disembodied and detached just floating passively through, there was no edit as such and we just laid a song over it hours before sending it off so in some ways things have changed a lot since then. But in others the attention to detail in environmental world building is still very much part of our process.

P: Think if I actually take it back it came from being in a band at school and creating all the visuals around that; making our own t-shirts, press photos, logos and flyers for shows. I’d just be playing around on Photoshop mainly replacing the heads of animals and people with different objects, using grunge brushes on everything and writing stuff in ghastly panic. And just ring around everyone else in that scene who were also making their own visuals, designing their own MySpace pages and music videos was just a super inspiring.

What camera did you shoot on?

Arri Alexa Mini When did you find a love of music video production?

We managed to get signed to our first production company of the back on the these fashion films we made but at this point we hadn’t really thought about making music video that seriously. We made our first music video together about three years ago for an amazing artist called QT who was part of PC Music and it felt like everything just clicked into place. It felt like the perfect medium to explore the visual and conceptual ideas that we had been building up over the previous few years.

B: It’s difficult to pinpoint one specific moment or piece of work but early in my life I’ve always loved to create things. I don’t know exactly why but there is a thrill in building out alternate fantasy worlds, which you can decide what it looks like, how it operates and what it feels like.

Over the years I’ve dabbled between lots of different mediums but one thing they always have in common is that you can create narratives and tell stories. There’s nothing more exciting than sharing these with an audience and inviting them into your world. But now it’s hard to pinpoint one specific thing that drives us to produce visual content. There is so much stuff that inspires us everyday whether that is art, music and the people around you that push you to aim higher all the time.

cardi b on the set of "motorsport"

BRADLEY & PABLO How long did it take to conceptualize the ‘MotorSport’ video?

The whole process was pretty crazy. Kevin the commissioner DM’ed us at like the start of September last year about the project. We spent probably a month coming up with the idea, putting it into treatments and tweaking it - there where a lot of versions before we landed on its final form! We also didn’t hear the song for the first few weeks of the process which was a new way of working for us but luckily when it did come in everything seemed to fit and the dark brooding mood of the song really helped shape the final tone. So that’s around 3 months total, two shoot days (almost a month apart) and an equally intense schedule across all aspects of the post production. We’ve been working across time zones day and night, with our post house based in Canada and production in LA. Are there any visuals you want to do in the future for an artist or in the industry?

To be honest, working with Nicki Minaj felt really perfect. So we are hoping to make some more work together. Rihanna would be pretty amazing. Rihanna, if you see this please slide into our DMs!

What is your process for directing music videos?

We usually start off by listening to the song hundreds of times until we kind of absorb it, do a load of conceptual and visual research and just write down little scraps of ideas in google docs. We try to distill what the song and the artist are about and then hopefully have time to walk away from it for a bit, let it stew and then come back and sculpt it into its final form.

What has been your top 3 videos that you’ve directed? Which ones were the most fun?

“MotorSport” “Vroom Vroom” “Supernatural” -- This was our first time shooting outside of London and it was a magical experience - a lot of things aligned that week and we had a lot of fun.

How does creating for Hip-Hop music videos differ from a Pop star’s?

To be honest it doesn’t really feel that different. They are a little more crazy in the pre-production stages and there is usually a little more overtime but we still have the same process. We are into loads of different music and it’s just about being excited by the specific track and by the artist. If they are doing something new, are willing to take risks and have a strong idea of who they are then that is what matters.

“

There is so much stuff that inspires us everyday whether that is art, music and the people around you that push you to aim higher all the time.

ART

P

UGLY BRANDON

Painter model turnt

words by Nate simmons

photography by luis quezada

If you’ve spent any time in the Chicago street wear scene, you’ll at least recognize Ugly Brandon. He’s been the main face of Notre’s online shop and part of the tight-knight crew behind Fat Tiger Workshop for some time now. While some of us spent time being held back but the adversity in 2017, Brandon used it as a reason to explore new areas while still landing gigs with Sheila Rashid and the Chicago Bulls. I met Brandon at his first art show. I wasn’t there for long but while I was there, it was clear that he’d great anyone in the room as if they were close friends – with a smile, a “yooo,” and a quick dap. In a safety-yellow Pornhub shirt, blue Tres Bien trousers, black Prada shoes, and a blunt behind his ear, Brandon was rightfully the star of the night. He turned Chicago’s Notre shop into the city’s latest art space.

His collection was split in two: a series of famous magazine covers with the people replaced by characters from The Simpsons and the other a series of pastel, Keith Haring-esq, images of booties and a miniature basketball court. Brandon’s style could only be described as that of an art-school dope boy. A blend of street mentalities through the eye of an art school undergrad.

For our interview, I had met Brandon at his corner apartment. Greeting me with what seems like a permanent blunt behind his ear, Brandon quickly led me up to his place and out the kitchen window so he could break into a pack of Newports on his fire escape. After going over predictions for this year’s NBA season, and Gordon Hayward’s brutal injury on opening night, we got into how Brandon had gotten into painting. Around a year earlier, Brandon had broken his arm leaving him with a cast that left him thinking: “Shit. This is gonna fuck up my gigs.” He had to get something in the works, but had to turn what was just practice into something greater. Not knowing any other artists beyond the famous ones and some peers, Brandon called on fellow Fat Tiger Max Whitfield to start painting. Interested in Keith Haring’s ability to get his point across in a simple fashion, Brandon mixed together a KAWS-inspired color palette, and his own aesthetic.

Brandon initially set out working on his magazine series, hoping to catch the attention of the publications he was mimicking.

Complete with a Black Marge version of Kim Kardashian’s Paper Magazine cover, Brandon’s seemingly political series was the exact opposite. He merely saw it as recreating someone else’s work. He didn’t want to create anything political by, it simply isn’t his bag, even referring to himself as: “no political or no activist speaking ass nigga.” He saw making his work political as simply limiting his audience. With the intent of moving beyond “all the corny shit that’s going on,” Brandon began working on a more personal series. Comprised of pastel booties, a homemade basketball court, and a hand-crafted Nike hoop this series was meant much more to Brandon. Referring to himself as “not seeing color” Brandon tried to go beyond being able to identify what type of person was in an image, he wanted everyone to feel included and a part of his work.

Being an outsider in Chicago is something Brandon has known. Originally from Baltimore, Brandon moved to Georgia when he was 11. He had just moved into his apartment in Chicago’s West Town neighborhood about a year before we spoke and had only arrived in Chicago around 2013. After five years as a freshman at The University of West Georgia Brandon had been forced to move to Chicago with his dad, but it was better than the alternative. He had spent the five years at school on a scholarship, but straight hated it. Instead he had spent the time dealing, take pictures, and just generally hustling until it caught up with him.

ART

Brandon received a call from his dad about some fraudulent payments. Brandon had been making fraudulent payments on himself for sometime now. He didn’t want to screw anyone else over, but his mother had bills to pay. She didn’t have a college degree, and Brandon isn’t even sure she has a high school diploma, so he ran up about “10 bands” of fraudulent payments by “cracking” his own card.

Having to explain this to his dad is what brought him up to Chicago.

At this point Brandon was crashing at his dad’s place but it didn’t last long. After about a month, he was kicked out for refusing to go along with his father’s plans.

By this point, Brandon had already gotten cool with the Fat Tiger crew. He had just walked in one of their fashion shows where Brandon had made a name for himself.

This was his first gig with the Tigers and it was the only audition he would need. He rolled up to the runway in the back of a car as planned, but what he didn’t tell them was he had been rolling a blunt in the back seat. Stepping out of the car, Brandon had solidified his position within Fat Tiger with a plume a smoke.

After getting kicked out of his dad’s, Brandon was left homeless. He hopped on the red line, and then the blue, and walked up to the old Fat Tiger shop on Rockwell.

He described the night as “some shit from a movie.” Carrying what he could in hand, Brandon showed up to the shop soaked due to the thunderstorm. After some explaining, Brandon ended up crashing in the basement of the nomadic Fat Tiger workshop for about three years.

At the time, Brandon was afraid of the dark and unable to eat at times but you wouldn’t have known that by looking at him. He’d kept that part of his life a secret from most everyone except his closest friends for the whole time. Brandon has spent the last four years “always kind of winging shit.” He has been and always will be the type of person that focuses first on what it is he wants to do. Brandon has always been a hustler, and it’s clear. Whether it was dealing or “cracking cards,” modeling or painting, he can’t be stopped. There’s always a window to climb through for Brandon, and as long as it brings out his gold toothed smile, Brandon is cooling doing whatever. When I spoke to Max Whitfield, he was able to describe Brandon best: “Brandon is a true blue-collar renaissance man. No formal training, no art school degree, just work ethic and elbow grease and the belief that he can accomplish anything.”

no art school just work ethic UGLY BRANDON

A TALK WITH

INTERVIEW BY TERRELL JOHNSON | PHOTOGRAPHY BY bradley a. murray

TECH

We talk to the Chicagobased app developer who’s making your social feed beautiful with SCRL.

ALEX FLORES Who did you work with producing SCRL? I have a business partner his name is Anthony Hoang. I came up with the idea because I used to do something similar to photoshop, but I wanted something to be easy to use for specially for marketing people and photographers. Anthony is a developer and I collaborated with him and create like a large scope of the app, and then not just like here’s the version and then we drop it, but you actually like we have this planned.

Designing SCRL, who did you want to satisfy with the bottom line of this visual app?

There’s several users. But the people in mind that we’re creating for is really just creative people that wanted to up their game on Instagram. Originally when we created it, we had a lot of good feedback from user in the photography field. A lot of photographers used it and people that had met followers too. But for the second version, we were kind of like broadened out a little bit. We were thinking we want more people to use it especially brands. I want like a shoe store to use it. I want Nike to use it. I want businesses to use it because they could really like crazy something dope for their audiences. Smaller businesses that are you picking it up, but then eventually like I mean creators are our number one audience.

What was that moment inspired you to do storytelling on Instagram? Rather than just creating a gallery of photos?

I think so there’s actually really a moment for this. So I actually I was in Atlanta for work and I took near 80 pictures. Visiting Buckhead and going to Wish ATL - I just love the scene over there. It was my first time so I took a lot pictures of the architecture; The Schuster, the boutique stores and just like all these buildings and I wanted to show that to my followers. I wanted to get a closer experience to what I experienced in Atlanta. And it couldn’t be told but just like swiping and seeing one picture, second picture, third picture that doesn’t really tell a story just gives you a number of pictures, right? It doesn’t tell you the full story. So I started creating the different layout and I was inspired by magazines because you think that typography you get in like different ways of interacting with images and I did it Photoshop and once I executed it in Photoshop and I posted it. I got like near people hitting me up about how I created it. Yeah, that’s that’s what I was thinking like. Oh, this is a potential idea for people that don’t know how to use Photoshop. Like a lot of people do not know how to create it as fast as me so I was like, “You know what? I’m just going to create an app” and this is my first time doing it. I didn’t know what I was doing but behind it up working with it Anthony. He held me down and kind of like fleshed out but app and logistics for me.

How important was it to make this app easy to use for users?

The whole reason why we made this app because I didn’t want people to use Photoshop to achieve the same thing SCRL provided.This app to be easy to use or no one is going to use it. The first version literally had like two buttons and and it was just like “Drop your images and Export it to Instagram.” That’s it. People kind of love that because it’s simple. All the details to make a minimal and simple to use app is harder to achieve than creating a more complex or robust app because you want simplicity to be one of the main features of the app. Yeah, even in Photoshop. I know that there’s a basis you have to have your dimensions. Right, and there’s no real cropping tool to like kind of gauge wasn’t what’s missing from your image. So to be able to like recreate that yeah in a simple fast way.

I know you probably had your processes of how you how you did that, but I know that probably was very important as far as like just creating an app in general just to create. Doing the same or trying to achieve the same things without losing any resolution.

That’s another just that’s another thing I should bring up because those technical aspects have to be major on app and that gives you seamless results because you don’t want people don’t know what’s really behind that app.

When someone uses it they don’t even think about like what we did for them.

But like like how you said, it’s like we got to get all the pixels right. We want it to be seamless for the user. It’s important. And the thing is like I think we achieved it is that we don’t want them to think about this. So we wanted we put a lot of thought when we created those technical things like this on the back end.

TECH

Why do you think it’s important to have variety in ways to be expressive through images, especially on Instagram?

Instagram is the fastest growing app and social media platform and it suppresses Facebook and Twitter by like three times as far as growth every year. Instagram is a platform where, literally, it was meant to share pictures. Sometimes you’re limited by your frame where you can strain and to make it a little bit more eye-catching because everyone is just steadily scrolling and I wanted to see something doper than just what everybody’s posting. I’m not super big on being on social media but everything is going to get saturated. And even like my pictures are gonna get saturated but that’s why you got to keep updating the app and to get different forms of showing what you care about.

What was the most difficult aspect of creating SCRL? I think something that I learned that was difficult for us is that I saw it. I designed everything so I went to this program called Sketch and I designed every single interaction. What happens when you press this, when you press that, and I gave it to my business partner, he coded it but after you drop something it’s like there’s so much marketing involved like the marketing aspect -- that shit is serious!

That’s a whole different game!

If you don’t have any marketing or you got corny marketing ideas your shit is not going to go anywhere because we could have just created it and put an app store. But that shit was going to be dead feel like in order to really have people download it and engage with your brand.

We have to create like a community and there was something that physically inspired us and just like a lot of Chicago brands that inspired us like especially because we support each other here. So we wanted to create something that supports the artists and in return they’re gonna support us.

Their support will be showing their followers and creating a community. That’s not easy because you gotta be authentic when it when it comes to that. You gotta be real. You just can’t be doing it for the downloads.

SCRL just integrated with stock imagery and developer called Unsplash. How does that improve the app?

Some of the feedback we got, especially from brands and businesses, they don’t have photographers.

The images they’re finding are not as great as Unsplash which is a really dope stock image website that has all modern photographers and not corny, cheesy stock images. And we made that available for a small business or brand… I think that was a nice touch.

Speaking of your personal favorite things, who are some of your favorite visual designers?

I have a lot of favorites but what was really inspiring me are more like art directors and creators. A dope glasses and cologne fragrance maker, Neil Bardon, in California. His brand is Saint Rita Parlor. I love the detail he has. Of course, Chicago artists like Brandon Breaux; I love what he stands for. Louis de Guzman, of course another Chicago artist. I really love this brand called ouur. I love what they’re doing and they get featured a lot in Kinfolk another dope magazine that I read a lot.

What about the tech industry compels you to invade this space more?

I feel like it needs better visual components to it. I think that’s one big major difference from my app, which is technically, related to tech. Yeah, it’s the big difference when we add just like taste to it or just eye for detail. When we created the app, it’s not just an app, it has to be a brand. We really focus on every single visual we add or every single visual we advertise because that really matters and how it represents your brand. Something that we’re trying to do is kind of merge the tech and creative world. I feel like other tech companies should really focus on branding. I know a lot of them do but it’s just a different style of branding. When Facebook, Shopify or Instagram does something everyone else copies what they do and that’s something I don’t like. We gotta learn there’s different Inspirations you could take from. We have to switch it up and especially as a Hispanic person. We wanted to make black and brown folks the face of SCRL, you wanna go in on something that represents you. People can too relate to people that look like us... And if we don’t do it then no one’s gonna do it. (continued on next page)

ALEX FLORES

TECH

ALEX FLORES Something that we’re trying to do is kind of merge the tech and creative world. I feel like other tech companies should really focus on branding. I know a lot of them do but it’s just a different style of branding.

When Facebook, Shopify or Instagram does something everyone else copies what they do and that’s something I don’t like.

We gotta learn there’s different Inspirations you could take from. We have to switch it up and especially as a Hispanic person. We wanted to make black and brown folks the face of SCRL, you wanna go in on something that represents you. People can too relate to people that look like us... And if we don’t do it then no one’s gonna do it.

Now what are some of your favorite software apps to use outside of SCRL for for social media or a general?

I work with a lot of artists and one thing they suck. It is communication and one one thing I always tried to. To get better but when I’m working with like my clients or artist is a try using this called slack slack basically like a way to communicate with maybe your team and you could have categories called channels it really fixes miscommunication.

VSCO is a big inspiration to me still. I love their marketing and I love their aesthetics. I started using this Dropbox app call Paper. This saved my life because I really get organized with it. Everything I do is on Dropbox Paper and it’s like a note taking app that helps you to get organized. You can create tables you could mood boards.

For more on Alex Flores follow him @AllxFlores and keep up with updates on SCRL on Instagram: @scrlgallery.

photography by pedro gomez

MUSIC

Wildheart T

MIGUEL

Tour Live

Miguel performed live at the Rivera Theatre in Chicago and swooned the crowd with his smooth vocals while dazzling the crowd with his drawing and effortless style.

MUSIC

Ch

hicago

MIGUEL