The Johnson Low - Summer 12
TABLE OF CONTENTS
7 Editor’s Letter 9 Contributors 11 Mail Junk
50 Three of a Kind Music
80 Breaking Down the Walls The Seventh Letter
12 Trail Blazin’ The Hundreds Spring 2012
86 Top 10 Junior Sanchez 30 Don Pendleton
54 The Real is on the Rise Azealia Banks
88 A Week in the Life Justin Blyth
34 Ben Tour
90 The Hundreds Skateboarding
41 Flat Out S/S ‘12
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68 Road Trippin’ The Hundreds Summer 2012
94 Flagship Stores 96 Stockists
holy departure:
silence of paintings. you language where all language
when the innermost point in us stands
ends. you time
outside, as the most practiced distance, as the other
standing vertically on the motion of mortal hearts.
side of the air: pure,
feelings for whom? o you the transformation
boundless,
of feelings into what? - into audible landscape.
no longer habitable.
you stranger: music. you heart-space grown out of us. the deepest space in us, which, rising above us, forces its way out,-
rainer maria rilke
I NEVER MADE IT AS A MUSICIAN. Trust me, the intentions were there but it just wasn’t in the cards for me. I can hold a pencil straight and my camera is my third eye, but for the life of me, I couldn’t ever get the chords right.
What I lacked in musical prowess, I’ve made up for in consumption and appreciation. My first cassette was the Meat Puppets and when I graduated to CDs it was Gorilla Biscuits’ “Start Today.” My first show was probably Voodoo Glow Skulls at The Barn, my first Napster download was Steve Miller Band’s “Serenade,” and my first Spotify search was Wild Flag. Cliché or not, music is the soundtrack of my life, and like you, I can bookmark my story with specific albums, singles, and concerts.
That’s the splendid thing about music: it’s the common denominator amongst us all and we define ourselves through it. Music bonds and divides us; it breaks down walls and sets up fences. You can tell a lot about a particular person by the music they listen to, and you can tell a lot about a particular type of music by the people who listen to it.
You’re holding our Music issue. It’s a funny thing, writing about music. That’s like dancing about croissants. But we did our best. We have New York ingénue Azealia Banks gracing our cover, Yasmine Kittles of Tearist, and record reviews by Junior Sanchez, for example. We didn’t start out the issue with a focus on music, but now that we look back on our journey, that’s what brought us here and this is where we’ve arrived.
I never made it as a musician, but I can sincerely say that music made me.
by bobbyhundreds
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EDITOR’S LETTER
music: Breathing of statues, perhaps:
MASTHEAD
THE HUNDREDS MAGAZINE VOLUME 3, ISSUE 2
SPRING / SUMMER 2012
PUBLISHERS Benjamin Shenassafar Robert K. Kim
THE HUNDREDS LA Umi Wagoner, Red, Jav Dolla, Alexander Spit 7909 Rosewood Ave. Los Angeles, CA 90048 (323) 807-1754 thla@thehundreds.com
EDITOR-IN-CHIEF Bobby Hundreds
EXECUTIVE EDITOR Ben Hundreds
THE HUNDREDS SF Micah Davis, Bryan Gabbac, Quinn Anderson, TUNZ
MANAGING EDITOR Chelsea Green
585 Post St. San Francisco, CA 94102 (415) 817-9912 thsf@thehundreds.com
THE HUNDREDS HQ Ben Hundreds, Bobby Hundreds, Scotty iLL, Jon Hundreds, Benjie Escobar, Baby D, Tony Rodriguez, Patrick Hill, Vito Nguyen, Switch, Brien Mo, Kimiya Ayubi, Maria Vergara, Nathan Nice, Robert Velasquez, Lil’ Mike, Wallace, Charlotte, Ashley Nichols, Stephanie Weber, Tal Cooperman, Mike Enriquez, Elizabeth Yoon, David Cooper, Josh Vides, Joanna Santos, Bill Cramer, Chelsea Green, Greg Morena, Tao Tong, Dorian Hood, Tide, Vernon Easingwood, David Dyer, Carl Yet, Karla Tovar, Logan Miller 1729 S. Wall St. Los Angeles, CA 90015 thinfo@thehundreds.com
DESIGN DIRECTOR Hassan Rahim THE HUNDREDS NY NA, Justin Bell, Sammy Da Joo CONTRIBUTORS Brooke Nipar, Ethan Scott, Joe La Puma, Justin Blyth, Seth Fluker, Roger Ferrero, Daniel Covarrubias, Andy Froburg, De Ville Nunes
96 Grand St. New York, NY 10013 (646) 558-3114 thny@thehundreds.com
THE HUNDREDS SM Nelson McClintock, Bonnie Lalich, Rahmin Vaziri 416 Broadway Santa Monica, CA 90401 (424) 268-3905 thsm@thehundreds.com
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WWW.THEHUNDREDS.COM Published by Mixed Media Productions, a division of The Hundreds is Huge, Inc.
Brooke Nipar was born and raised in Los Angeles, California and now resides in New York City. When she’s not shooting photos for the likes of Esquire, Nylon, Teen Vogue and Spin Magazine, you can find her practicing yoga or on the dance floor at Le Bain, NYC. Brooke has a large collection of black leather motorcycle jackets, loves Mexican food, and only likes people who can make her laugh. She thinks The Hundreds is Huge. http://brookenipar.com/
JUSTIN BLYTH
CONTRIBUTORS
BROOKE NIPAR
Justin Blyth grew up in Los Angeles, surrounded by hippies, guns, motorcycles, skateboards, palm trees and paint markers. He currently lives in Amsterdam working as a designer and art director on various projects around the world. He travels whenever possible, and occasionally updates his blog them-thangs.com http://jblyth.com/
ETHAN SCOTT Ethan Scott was born and raised in San Francisco, and currently calls Los Angeles home. He’s spent the majority of his twenties building houses and traveling the world—working as a crab fisherman in Australia, a bartender in South Africa, and a Jaguar wrangler in Bolivia. These days he takes a lot of photos, hangs out at Oz farm in Mendocino, and meanders around the southwest as often as possible. http://ethanscottphotography.com/
JOE LA PUMA Joe La Puma is the Senior Editorial Strategist for Complex Magazine, where he handles big idea generation and strategy for Complex’s content. Since joining Complex’s staff in 2006, he’s helped Complex.com grow from approximately 1,000 daily page views to over 1.5 million page views per day. In addition to his digital duties, he’s conducted cover stories with everyone from Katy Perry and Ke$ha, to Kid Cudi and Rick Ross. http://joelapuma.com/
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najeehaa asked: What are your goal and two secondary objectives of your store? The Hundreds stores are in place to provide a venue for The Hundreds experience. They are the only physical environments in the world where you can comprehensively engage in The Hundreds from our pure, unfiltered vision. It’s like getting to watch your favorite band play live in their hometown—that’s as raw and real as it gets.
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thisthingcalledtype asked: I respect your brand and what it stands for. Your collaborations are from the heart, you work with people you admire and respect. Being a long time spectator of this thing we call streetwear, I’ve noticed that other brands collaborate within their safety net. You go outside of that. Go with your heart and the people will follow. We try our hardest to do so and thanks for acknowledging it. Sometimes we lose money on passion projects and it bums me out that kids don’t pick up on the significance of what we’re doing, but it’s comments like yours that stoke the fire to continue on. Thanks man.
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ririyabeezy asked: Any tips on how to make it in the streetwear business? What obstacles did you have to overcome to get to as far as you did? RESPOND. DON’T REACT. Responding means being proactive, taking the initiative, and answering what’s already out there with your own personal take on streetwear. Offer your own opinion, and express your unique self. You should be doing this because you have something to say, or you don’t like how something is going and you want to change it. So come into the game swinging, trying to upset the setup. If you merely react to what is going on, then you’re taking the passive approach, you’ll be knocked around by the latest trends and you’ll never establish your own identity. This is what 99% of new brands do and this is why they fail. They think they’re being original but they’re really just a reflection of what’s going on around them. Reflections aren’t real.
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wonkythots asked: I really want to get my hands on some of your collection, except that I live in boring old Ottawa, Ontario. The shipping is crazy expensive, and the only store in Ottawa that stocks your stuff has a very limited collection. Is there any alternative way to get some of your clothes? Leave Ottawa.
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MAIL JUNK
ask: bobbyhundreds.tumblr.com
THE HUNDREDS SPRING 2012
Creative Director + Stylist: Bianca Kristensen / Video Director: Owen Parrott / Models: Phillip Thomas & Pete Hallpatch.
PHOTOGRAPHY BY SEth fluker
OPPOSITE: wind
crewneck In athletic heather. PLATT SHIRT JACKET IN brushed camouflage. joshua short in red. friday duffle in splatter camouflage. valenzuela low in black/red. ABOVE: saguard jacket in navy. channel tee in oatmeal heather. kruger pant in brushed camouflage. valenzuela low in navy.
LEFT: wind
crewneck In athletic heather. PLATT SHIRT JACKET IN brushed camouflage. joshua short in red. friday duffle in splatter camouflage. valenzuela low in black/red. RIGHT: saguard jacket in navy. channel tee in oatmeal heather. kruger pant in brushed camouflage. valenzuela low in navy.
ABOVE: slant
snapback IN navy. bryce woven IN blue. OPPOSITE: kobuk zip-up in athletic heather. kruger pant in khaki . valenzuela low in black.
TOP left: sequoia
pull IN red. kruger pant IN khaki. top right: scotty 2 pullover in black. olympic slim denim in indigo. johnson mid in black. right: slant snapback in navy. bryce woven in blue. joshua short in khaki. johnson low in navy.
sequoia pull IN red. kruger pant IN khaki.
left: petra
flannel IN green. platt shirt jacket IN moss. Joshua short in black. johnson mid in brown. OPPOSITE, right: st. elias jacket in charcoal/ woven in red. canyonlands pant in black. valenzuela low in black.
moss. smokey
ABOVE: dunes
woven in indigo. bull 2 boardshort in navy/white. valenzuela in black.
petra flannel IN green. platt shirt jacket IN moss. Joshua short in black.
ABOVE: st. elias jacket in charcoal/moss. smokey woven in red. OPPOSITE, LEFT: st. elias jacket in charcoal/moss. smokey woven in red. canyonlands pant in black. OPPOSITE, right: petra flannel IN green. platt shirt jacket IN moss. Joshua short in black. johnson mid in brown.
DON PENDLETON words by Chelsea Green
We’ve been a fan of Don Pendleton and his work for as long as we can remember. From his days as a professional skateboarder, to his transformation into one of the most sought after graphic designers in the skate industry, Pendleton is nothing but original—eating, sleeping, breathing, and basically living his passion and dream. He’s known for creating art at the beat of his own drum, and in turn, influencing an entire culture. With his clean, modern designs, quirky characters, and creative individuality, it’s no surprise that he’s gained the respect of his peers and beyond. We are pleased to have worked with him on a special collaboration for The Hundreds, and very excited to be able to ask him a few questions about his career in skateboarding, art, influential friends and mentors, and what drives him to create one-of-a-kind, signature designs. Explain the role that skateboarding plays in your art and in your life. Skateboarding has been one of the few consistent aspects of my life, along with art, family and friends. I grew up with skateboarding, made a living from it, I love to watch it evolve, and I still love to skate. When something has been a part of your life for over 25 years, it feels like a big part of you. It quit being a “hobby” a long, long time ago—it’s more like a giant piece of my life and something that I’m still passionate about. What are some of your favorite skate spots? As I’ve gotten older, those always change. I’m not trying to kill myself these days so I have more fun with a manual pad, a curb, a little ditch or a bank. There is one spot that I started skating in 1985 that I still go to—it’s a sidewalk at a school near my house in West Virginia that has a metal edge on it. You can ollie out from the sidewalk to a slick curb. It’s been in some video parts that I’ve done but when I’m visiting my parents, that would probably be the place I head to if I’m going to skate. What persons have driven you to do what you want? Who are your influences? The early years of skateboarding and the culture surrounding it were huge inspirations as to why I got involved with skat-
ing—it was back when skaters did their own graphics and it was its own culture of creativity and originality. I had notebooks in high school that had all of the OG logos drawn all over it. Neil Blender is someone I’ve always tried to give credit to over the years as not just an artistic inspiration, but for his skating and music. Also, there’s Mark Gonzales and Natas Kaupas. I think Andy Jenkins was the first artist that I really took note of as someone who was making a living from doing the things I wanted to do. He was a skateboarder doing magazine comics, writing, and creating skateboard graphics. People who did a little bit of everything associated with skating inspired me. When I was 18, I thought Andy Jenkins was the luckiest guy in the world. Having met him quite a long time ago, I realize now that it wasn’t so much luck, he’s just genuinely talented and works his ass off. What is your favorite skate trick? For years it was the 360 flip because it took so long to learn, and always felt good when I had it down. These days I’d say it’s a backside 360 ollie. Chris Cole does those backside 360 kick flips and that’s fun to watch—I think people call them helicopter flips or something, but they’re just a backside 360 ollie with a kick flip thrown in. Was there a pivotal moment in your career that made you go in the direction you went? I’d say on a family vacation that I took to Virginia Beach in 1984. It was the first time that I was exposed to modern boards and saw people street skating. Fourteen years later, my apartment burned down and I ended up getting a job at Alien Workshop—that was a pretty eventful year. It wasn’t until I worked at AWS that I had any real audience for the art I was doing. Where and when did you get your start? Professionally speaking, it was when I got the job at AWS doing graphics in 1998. I always created art as far back as I can remember, but Alien gave me a reason to produce a lot of art, and an audience to go with it. Before that, I was doing copy editing at newspapers, publication design, and illustration.That was a good way to build my portfolio but a stressful way to earn a living.
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How has your work changed and progressed throughout the years? I hope that it has evolved naturally with some kind of order to it. There are times when I think I could have done one character and used it over and over in the same medium, but I’ve chosen to do thousands of characters in a bunch of different mediums. That’s not considered smart marketing from a branding standpoint, but it has kept everything fun for me. When I enjoy what I’m doing, it has a way of shifting naturally over time. When people look at my work, I hope they see a rational evolution over the years that make sense. I think I’m more worried about having fun while I work than creating something that is relevant in the landscape of what other artists or companies are doing. Did the skate companies you worked for in your career influence your style and design today? Working at Alien Workshop was a challenge at first. It was an established brand already, and I wanted my work to fit into the landscape of what they’d created, but also show a new angle of design and imagery. After I’d been there for a while, I felt comfortable just working by instinct—having fun and enjoying the process. My theory was that if I created an image that I thought was cool and the other guys dug it, then skaters would like it. I was doing so many graphics that the consistency was there and I wasn’t afraid to make something that would fail. We ignored the popularity aspect in favor of just creating something a little bit different. Element was a huge shift from that. They’d look at sales figures and demographics and that kind of thing...kind of zapped the idea of doing cool graphics for the sake of doing them. What has been one of your favorite projects to date? The whole time I was at AWS was fun because it was unfiltered for the most part. I had my hands in a little bit of everything, from tradeshow booth design to catalogs, websites, and clothing... that’s really what you need to keep things evolving. It’s a lot of work but it’s necessary to keep it from getting boring. The Mountain Dew project I did with Green Label was really cool. The people involved had a lot of respect for the artistic process, and for creating something that’s more about the image and the impact than just falling in line with what other companies are doing. I walked away from that project with a lot of respect for the people involved. Has music played a big part? What are some of your go-to artists when working? What about when skating? Music is always in the background when I’m working. I prefer the classics to newer stuff these days, but I mix it up. I’ve always loved Joy Division and The Smiths, and what used to be referred to as ‘alternative.’ I’ve
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always been a fan of Elliott Smith because I play guitar (badly), and I listen to his music every day. I don’t listen to much music when I skate, though. I mean, I had a video part once using a Geto Boys song and I skated at contests to Eric B. and Rakim, but I like the sound of silence when skating at night by myself. Skate wear and streetwear play a huge part in today’s youth culture. What are your thoughts on that? Were you into that sort of stuff as a kid? The culture of skateboarding definitely shaped me when I was growing up. There was a camaraderie between people who were wearing similar clothes and had the same style. I went through the Tony Hawk haircut with Jams, all the way through the super baggy Plan B/Girbaud jeans and chukka boots, clear through to watching everyone wear the tightest jeans they could possibly paint on. It’s all good... As far as streetwear proper, I think it’s rad how small companies are able to come up and do their own thing and build followings just by speaking to specific people with a clear message. I think identity is an important part of how we see ourselves. Whether it’s Stussy, Fucking Awesome, The Hundreds, Mishka, whomever... they were all able to take their voices and have them heard with their brands and styles. That’s a positive thing in my book. Can you talk about your project with The Hundreds? Hawaii Mike was the guy I worked with on the Green Label project for Mountain Dew, and I have a ton of respect for him. He’s a business guy in a sense, but he’s also a real guy who isn’t afraid to put everything on the table. He approached me on behalf of The Hundreds with an opportunity to do some products, and I was down. Anytime someone knows my artwork and history and wants to work with me, it’s always an honor. I have a lot of respect for Ben and Bobby, and how they’ve been able to create something so substantial from the ground up. What’s on the horizon for you? I’ve spent the past five months in the studio painting for some solo exhibits next year. I’ve been in front of a computer for twelve years so it’s nice to focus on the fine art aspect, where there’s no real direction or pressure to just create images that come naturally. For the first time I’m focusing on gallery shows and the freedom associated with making something from scratch. It’s a new chapter for me. I’ve done a lot of exhibits and museum shows, but I’ve never had the desire to put together a full solo show—that’s eventually where all of this is headed. I still take on select commercial jobs, and I’m fortunate that I can still pick and choose who I want to work with, but I love the idea of being able to spend most of my time on my own art.
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BEN TOUR words by Chelsea Green
Ben Tour is a Canadian artist with a true talent. His creations are whimsical, dark, and very intriguing—using sparse colors and lines to represent figures and portraits of people he finds in pictures, from his memory, or on the streets. As a fan of both fine art and street art, Tour’s own work has a certain aesthetic influenced by such, combined with his own original eye and ideas. The Hundreds is pleased to have been able to work with him on creating a collection featuring his unique art. We also had a chance to ask him about his creative process, where he finds inspiration, what’s in his sketchbook, and his thoughts on streetwear, amongst other things...
and white sketch work is ballpoint and markers. For the more elaborate pieces I use ink and pencil crayons with little touches of Montana. I also use house paint for larger stuff on walls. I haven’t really messed around with oil too much—I’m saving oil painting for when I’m old.
What kind of artist would you consider yourself? I usually tell people I’m a visual artist. Depending on what the project requires, I may have to think like an illustrator by telling a visual story and following a brief; or creating my own self-directed pieces, which are more of a reflection of who I am and how I see things.
Where do you draw your inspiration? That’s a tough question. My work and my life are a bit of an oxymoron. For the past few years I’ve lived in a small coastal town outside of Vancouver—population 4,000. In 2009 it was voted the most livable community on earth by the United Nations. But my artwork is quite a dark reflection of society most of the time. I still find that my inspiration comes from what I’ve always been interested in—expressing the human form and recording the things I see. My personality and life experiences are as important to the work I create as the techniques.
Do you use live models? I do use live models when the opportunity presents itself. I reference a lot of found photos from my personal library of images I’ve collected over the years. There is an amazing picture reference library in downtown Vancouver that has supplied many of my pieces. These days it’s easy to go online and find amazing photos to draw inspiration from. What I try and do is take my own photos and mimic poses from photos I’ve liked and distort them. That being said, I do also draw out of my head. What are the mediums that you use to create your pieces? I use water-based material. I love ink on heavy paper—140 lb to 300 lb Arches or Fabriano. I sketch on big cartridge paper pads—all the black
What are your thoughts on art school versus street art? What did you learn participating in both? I don’t classify myself as a street artist although I have done both traditional graffiti and street art. Most of my favorite artists are directly related somehow to the street, from Fred Herzog to Barry McGee. Both art school and working in the street afforded me the opportunity to meet and collaborate with like-minded individuals.
What’s in your sketchbook? I have two sketchbooks on the go. One is notebook style, which I use to record ideas, memories, song titles, grocery lists… I usually write things down in there and never look at it again for months. The other book is a larger sketch pad where I can stretch out and have more space to really draw. How has your work changed throughout the years in your opinion? I don’t think it’s changed drastically, which is probably a fault
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of mine. When I look at a lot of the artists I came up with, their work has grown and changed dramatically or they work in totally different mediums like film and sculpture. Most of the critiques from friends and family are that they would like to see my work move in different directions and to take more risks. I agree, and want to develop some new elements but stay rooted in what I do now. It’s great to have dialogue with people who can tear down your work and not bullshit you. Not all critics are haters. How did you get involved with The Hundreds? Vancouver is a small town. I met Gary Bone, the owner of Livestock in Gastown, and we later collaborated on some t-shirts and murals for each of the Livestock locations. Gary also owns Take Five which distributes The Hundreds in Canada. Basically I said, “Yo Gary—hook me up with The Hundreds,” and he made it happen. Are you a fan of streetwear and street culture in general? Being a teenager from Toronto in the 90’s, I was obsessed with graffiti, hip hop, comic books, weed and girls—I was streetwear’s target market.
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Can you talk a little bit about the collaboration you did with The Hundreds? The collaboration is five t-shirt graphics—I approached the images as a series in which I wanted to showcase my style. My themes involve strength and fragility, love and remorse. I’m also really feeling circles at the moment. What is your advice for anyone who wants to pursue a career in the arts? I’m always looking for some advice myself. If you want to make art for a living, then do it. Don’t let other people dictate what you’re capable of. You should feel blessed if you have any tendency to make art, whatever it is. Make yourself happy while you can. Join the cult. What are some upcoming projects you’re working on? I have a self-directed book project that involves illustrating the alphabet. It’s a kids’ book but I’m not sure parents are going to like it. I’m showing my work in Vancouver in early 2012. Stay tuned to social media and my website and hopefully I’ll get some of this work finished before somebody turns off the lights on this crazy planet.
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FLAT OUT: S/S ‘12 photos by Scott turner styled by Chelsea green
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Team beanie in Green / 2 Jags belt in teal /
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Carlsbad pant in teal / 4 Forever Team Logo tee in white /
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Johnson Mid in charcoal & cream
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FLAT OUT
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Team beanie in athletic heather / 2 Slant snapback in red /
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Unloaded jacket in charcoal heather & blue / 4 Twerk belt in red /
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Lou bag in red / 6 Kruger pant in khaki / 7 Lassen LS woven in red /
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Scully shoe in red
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THE HUNDREDS S/S ‘12
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Cot snapback in black / 2 Deuce cap in navy /
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Animal House tee in white / 4 Boyd LS woven in grey /
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Kruger short in black / 6 Valenzuela Low in navy
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FLAT OUT
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SEQUOIA PULLOVER in black / 2 DEUCE NEW ERA in BLACK /
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Basic snapback in red / 4 Everglades tank in brown camo /
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Jag belt in red / 6 Kruger short in black /
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Guadalupe short in green / 8 Johnson Mid in brown
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THE HUNDREDS S/S ‘12
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Lassen LS woven in teal / 2 Outie tee in banana /
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Yosemite jacket in teal / 4 Fountain denim /
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Johnson Low in white
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FLAT OUT
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Jon backpack in red / 2 Gunnison tee in blue & oatmeal heather /
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Chain snapback in red / 4 Pop 5-panel in navy /
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Valenzuela Low in navy / 6 Twerk belt in blue /
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Kruger short in red
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THE HUNDREDS S/S ‘12
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Chain snapback in black / 2 Peaks tee in white /
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Lassen LS woven in black / 4 POP 5-panel in navy /
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Johnson Low in black / 6 Jags belt in black / 7 Centinella denim
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FLAT OUT
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Kruger pant in brown camo / 2 Slant snapback in black /
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Lou bag in black / 4 McHenrey SS woven / 5 Letters tee in black /
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St. Elias jacket in brown & khaki / 7 JOHNSON LOW in GREY & BLACK
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THREE OF A KIND: MUSIC words by Chelsea Green photos by Scott Turner
Music is a universal language, a shared understanding. It spans the ages, races, and religions around the world. furthermore, People are working tirelessly to enter the industry; clawing to the top, reinventing themselves, and going against the grain. We wanted to feature three unique women writing the script to their dream careers as producer, performer, and dj. they’re making it happen.
like soulful R&B up-and-comer Bago, whose powerful performances and eerie recordings leave us with chills. DJ SOSUPERSAM is one of the hottest primetime DJs around and a driving force in rapper Childish Gambino’s live performances. And then there’s Yasmine Kittles of experimental-noise band TEARIST, whose wellrounded career and strenuous past experiences have left her with an incredibly original creative outlook.
We had a chance to hang out in the studio, take some photos, and ask all three musicians about their past, present, and very exciting future. Read on to see what they’re all about.
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BAGO
How would you describe your sound and the music you play? I don’t know man... groovy. How did you get started? I moved down to Los Angeles from San Francisco, and Alexander Spit was my only friend. Some time went on and I moved in. We had no money so we saved up for equipment. When I felt like singing, I got in the closet and recorded. What’s your favorite thing to do outside of music? Listen to music. Where do you draw inspiration? Crazy people.
What is something people may not know about you? No one knows me. I enjoy shooting guns and drinking gin. My nails are always painted and I prefer blunts. Favorite album/artist of all time? I always thought if I got to be a superhero, I would have the voice of Etta James, the words of Johnny Cash, and the heart of Dolly Parton. Where do you see yourself in 5 years? Still singing and not serving tables.
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DJ SOSUPERSAM
How would you describe your sound and the music you play? Four words: ALL OVER THE PLACE. I love all types of music, so I might find a way to play Al Green, Hudson Mohawke, Dirty Projectors, and Wu-Tang in a single sitting. I just love it all. How did you get started? I wanted to DJ since I was about 14, but didn’t get the cash together to buy equipment until a few years ago. I bought a used pair of 1210’s and a beat up Vestax mixer that I’m in love with. It took me a while longer to save up for Serato, so I spent a good amount of time digging for vinyl, and learned the fundamentals in what some would call the “traditional” way. I’m really lucky to have been surrounded by DJ friends and mentors like DJ Remitch, DJ John Magic, DJ Mark Marcelo, and my cousin DJ TommyGun. There is a lot more to DJing than perfecting a clean blend, and they’ve dropped many pearls of wisdom on me. What’s your favorite thing to do outside of music? I look at my phone. All. The. Time.
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Where do you draw inspiration? Traveling inspires me. A certain song will sound one way when you listen to it while walking hurriedly down the street in New York on a humid summer day, and it’s a completely different experience when you hear it while cruising down Sunset Boulevard on the way to Malibu, in a car full of friends with the windows rolled down. What is something people may not know about you? I was a big time sneakerhead many years ago—Dunks, Jordans, you name it… I probably had a pair. I’ve since sold a lot of my sneakers, but I kept my Jordans and they creep into my shoe rotation regularly. Favorite album/artist of all time? Stevie Wonder is THE BEST ARTIST IN THE HISTORY OF ARTISTS, and Songs in the Key of Life is THE BEST ALBUM IN THE HISTORY OF ALBUMS. Where do you see yourself in 5 years? I see myself flying back and forth between Tokyo and New York City on a Breton striped magic carpet, with a tote bag full of Green Tea Kit Kats for sustenance.
YASMINE KITTLES of TEARIST
How would you describe your sound and the music you play? I honestly don’t know how to describe it, which is something I like. The moment we realized that we had no idea what the band sounded like—to the point of being afraid of the sound—was the moment we knew we were doing something right. How did you get started? I’d been in various bands and worked as a studio musician singing backing vocals, but I didn’t feel like the projects I was involved in “represented” me. I stopped believing that such a project or partnership even existed, then I met Will. The first day we hung out was at a weird park in Downtown LA, sitting there quietly looking at this rusted train car. I said, “I wish we could just plug in on top of that thing and play a show,” and he looked at me and nodded. We realized we were on the exact same page and that’s when we started TEARIST—not knowing what it would be or what it would sound like, but it was our movement. What’s your favorite thing to do outside of music? I am an actress and I am very passionate about it—I have been acting my whole life. I do performance pieces and I’ve starred in various films and shorts. My last film I starred in with Laura Silverman and Adam Busch just finished a two-month run on Showtime. I am currently starring in a pilot for the BBC. I also have a performance project called “In Lust” with Eric Wareheim that consists of shorts, and encompasses all types of mediums—film, music, photos, etc. Where do you draw inspiration? Artistic movements heavily inspire me. They have been driving forces in my life, allowing me to see things in ways I would’ve never thought were possible. When I realized
I could incorporate those things into TEARIST, that was it. The thing that I felt was so impossible to attain—a band that challenged me to push myself into territories that made me uncomfortable, even scared, yet were so inspiring—was all possible, I just had to do it. It was up to us. What is something people may not know about you? My lungs have collapsed three times—both lungs have collapsed, and one has collapsed twice. I used to be a high soprano, but I think the tubes in my throat scratched my vocal chords, making my voice deeper and changing my range, but I am happy with that. I was recently confronted with having to make a video message for terminally ill children about not giving up on music, and I broke down. I didn’t know what to say—I didn’t think I could talk about my own experiences because it was “too heavy,” but I realized that was exactly what I needed to do. I had a portable record player in the room that my friend had brought me, and I would just sing in the room. The nurses weren’t happy with me bouncing around and agitating my body so close to being out of surgery. But, I’ve always been incredibly defiant and I would take that as a challenge. It was important for me to let kids know that the reason I would recover so quickly was because of my attitude. I was constantly practicing in the hospital and not letting the doctors and nurses dictate what I could and couldn’t do, or how long it would take me to get better. Favorite album/artist of all time? Impossible. Where do you see yourself in 5 years? I see myself doing exactly what I am doing now—pursuing my passions, the things I believe in, and doing what I love... but in a bigger way.
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Stylist: Ian Bradley / Hair: Linh Nguyen at PR at Partners using L’oreal Professionnel / Make Up: Cheyenne at Top 5 Management.
THE REAL IS ON THE RISE Azealia Banks is ready to
show and prove.
words by Joe La Puma photographed by BROOKE NIPAR
A
“You’ll get some points for having a gimmick, but it’s not going to last long, and that’s something I figured out. I’m trying to be innovative, I want to be like Missy Elliott was, respected and accepted for doing her own thing.”
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zealia Banks is playing dress-up. It’s not the kind of dress-up that immediately comes to mind when thinking of an average female twentysomething, for a night on the town or a date. She’s trying on looks for her first magazine cover. Surprisingly, it’s not as exciting as it sounds… Far from the average 20-year-old, Banks is left to manage her career on her own over the next few days. It’s a crucial period, involving photo shoots, studio time, and shows overseas. The night before the cover shoot here in New York City, Banks fired her management and has now taken on the daunting task of moving everything in the right direction— nothing short of directly answering calls from major music labels. She’s stressed, but nowhere near broken. She even arrives at the shoot alone and leaves alone, a rare sight in hip-hop’s entourage dominated scene. Azealia Banks hasn’t always flown solo. She grew up in a strict home in Harlem run by a single mother; her father passed from pancreatic cancer when she was just two years old. Banks’ mom kept her on a tight leash, sheltering her as much as possible, and raising her under an extremely watchful eye. But when mom wasn’t looking, Banks escaped to her aunt and cousins who lived on Harlem’s infamous 112th Street— staying out past 2 a.m., roaming the streets and eating chicken wings. Banks’ free-spirited character was molded through the nights she spent ripping and running the Harlem streets, but her professional focus came through the arts-driven private schools her mom enrolled her in when she was just ten years old. By age 16, she was attending New York’s talent incubator: LaGuardia High School. “My junior year, I was in the school musical and I got picked up by an acting manager, and that’s when I matured about my art. Four days a week I’d get out of school, go to my job at Starbucks, do my makeup and then go to my next audition,” Banks says. Coming up on the acting scene was tough; Banks says she’d often get passed over for roles because her young age was seen as a liability issue. “It felt like I was failing because I was so used to being in programs where I was accepted and told I was great, and now all of a sudden I’m in the real world, and it wasn’t really happening for me.” Her lessthan-fruitful acting career was a blessing in disguise. Feeling depressed about the lack of acting gigs, she turned to hip-hop music. “Rapping was my way of being like, ‘Okay I’m going to be super raunchy and super nasty and I’m going to get attention for being a rapper and then drop it and start acting.’” But her plan to parlay her tongue-and-cheek raps into an acting career got derailed once record deals started formulating. Nowadays, any conversation that involves a female rapper usually draws in Nicki Minaj, and while it’s easy to find similarities between the two, Banks makes it clear she’s not trying to be compared to Young Money’s cash cow. Minaj and Banks both attended LaGuardia High School and they both adopted a Barbie-esque persona, but Banks claims Minaj took the style a little too far. “The butt, the hair, the this, the that, all the other shit, like… As much respect that I have for her, we’ve seen you do this already, what else can you do?” Banks looks to Missy Elliott as the blueprint for her career. “You’ll get some points for having a gimmick, but it’s not going to last long, and that’s something I figured out. I’m trying to be innovative, I want to be like Missy Elliott was, respected and accepted for doing her own thing.” Criticisms of Minaj aside, Banks has stronger words for the new crop of young women rappers. “As much as Kreayshawn would love to be considered part of this ‘rap game,’ she’s not,” Banks proclaims. “I guess a part of me is kind of annoyed that those white girls are making these songs, and it’s like, if these girls were black and making the same songs would you be that interested?” When asked how she felt about Kreayshawn’s White Girl Mob partner, rapper V-Nasty, using the N-word in her raps, Banks becomes a bit more agitated. “Have some fucking respect, you have no respect for anything and you don’t deserve anything. When you have respect for other people you don’t do stuff like that.” She then turns the focus to Iggy Azalea, another white female rapper whose song “D.R.U.G.S” references questionable racial matters. “She’s making runaway slave master references in a song and it’s like,
‘Bitch, who the fuck do you think you are?’ Not like I would do anything to her, but if I wasn’t trying to get my career started I would spit right in your fucking face. How fucking dare you?” Although Banks’ lyrical content may not be as controversial as some of her peers, it’s far from politically correct. For example, the song she’s most famous for, “212,” has multiple drops of the word “cunt” in it. On “L8r,” Banks spits, “He tricking off, ‘cause my verse is perverse, jerking off when a bitch rehearse/so when I lift the skirt, a nigga never have to be coerced to just squirt.” Rather than shying away from graphic content, Banks keeps it one-hundred when talking about the in-your-face sexuality of her lyrics. Her defense is a testament to how comfortable she is when talking about sex: “It’s crazy because I have all these interviews that ask, ‘How are you so comfortable talking about sex?’ And it’s like, ‘How are you so uncomfortable?’” Don’t front like you don’t go home with your lover and do some nasty shit, it is what it is. That’s why people are listening to ‘212,’ because they’re hearing all of this stuff and they’re just like ‘Oh my God, I want to do that.” Banks has a tattoo of a fully covered heart on her ribs. She explains that it’s a cover-up of an ex-boyfriend’s name. “He’s my soul mate in a sense. I know that sounds weird with me being only 20 years old, like how the fuck do I know about soul mates and shit like that, but I really love him a lot and he’s always a good source of guidance in my life.” Banks addresses the elephant in the room when she giggles and states, “If you can’t tell, I have mad daddy issues.” Even though she was a toddler when her dad passed, she later discovered that her father had another family on the side. Although it doesn’t affect her when it comes to cheating, Banks admits it offers a stern outlook on the thought of relationships. “I always had to look out for myself. When I die, I die alone; you’re not going to die with me. It’s not that I don’t have respect for a lover and stuff like that, but if something’s not making me happy, I’m gone with no explanation,” Banks says. When asked about her type, Banks quickly responds with, “I’m into older guys, I won’t front.” Delving a little deeper into the topic, she notes that when she was 17, her boyfriend was a 57-year-old man whom she met while working at Starbucks. She acknowledges the fact that it was a bit pedophilia-esque, but wipes her hands clean by chalking the relationship up to people having “different impulses.” It’s this type of conversation where Banks goes from a pint-sized, cute 20-year-old girl, to a woman with an outlook most people her age won’t develop for years. “I’m not cute and tough, I’m nice and stern. People see my purple hair, they hear me talk and they’re like, ‘Yeah, she’s cool’ but then I switch it, and I’m really trying to get my point across and really trying to get you to understand what I’m saying.” She goes on to say that people get confused as to where the assertiveness comes from, and she explains it’s just about having good communication skills. Good communication skills are what the self-managed Banks is going to need in the coming days. Blowing up in the U.K. off of a mere two tracks, the major labels are calling. For the first time during the interview Banks gets tight-lipped when asked about potential deals. “Hell yeah they’re calling! But I’m not going to say anything, I don’t want to jinx anything.” When asked about the immanent new fame and if she’s prepared to handle it, she’s quick to embrace the thought of it. “I’m not going to front, I want to be a pop star. I’m not trying to be the cool girl, I want to be the pop star.” While a lot of industry people say the come-up is the best part of an artist’s career, Banks shrugs it off and aspires for much more. “My favorite part hasn’t happened yet. I’m just excited to keep working. I’m not excited that I fucking met Jay-Z, or to fly on a private jet. At the end of the day, I’m an advocate of being honored based on performance.” Only time will really tell if Banks reaches that coveted pop star status, but it wouldn’t come as a surprise to many if and when she does. Who knew such a multi-talented, no-holds-barred, potty-mouth Lolita was making your soy latte behind the counter of that New York Starbucks just a couple of years ago…
“It’s crazy because I have all these interviews that ask, ‘How are you so comfortable talking about sex?’ And it’s like, ‘How are you so uncomfortable?’”
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Producer: Patrick Hill / Art Director: Hassan Rahim / Stylist: Chelsea Green / Models: Calvin Marcus and Wil Donegan.
LEFT: bend tank In blue. kruger short IN black. blackball snapback in blue. phoenix sunglasses in black. RIGHT: biscayne raglan in black. guadalupe short in moss. chain snapback in black. riley high in grey/red.
THE HUNDREDS SUMMER 2012 PHOTOGRAPHY BY ETHAN SCOTT
ABOVE: bend tank In heather. kruger short IN black. BELOW: biscayne raglan in black. guadalupe short in moss. chain snapback in black. OPPOSITE: gates ss woven in red. richie 11 pant in khaki. johnson low in grey/black. morrison sunglasses in black.
OPPOSITE, TOP: waterton tee In charcoal heather. pop 5-panel IN blue. OPPOSITE, MIDDLE: bryce ss woven In blue. team snapback IN red. OPPOSITE, BOTTOM: bryce ss woven in blue. above: johnson low in black/grey. yellowstone crew in black heather. reyes short in adam pattern.
above: zion pullover In athletic heather. carve boardshort IN blue. crest snapback in blue. phoenix sunglasses in black. OPPOSITE, TOP: canyon jacket in olive. OPPOSITE, BOTTOM: bryce ss woven in blue. kruger short in black. riley high in grey/red.
BELOW: gunnison tee In black/charcoal. richie 11 pant IN black. blackball snapback in green. phoenix sunglasses in black. bottom left: guadalupe short in navy. OPPOSITE: yellowstone crew in athletic heather. riley high in grey/red.
left: biscayne raglan In black. slim fit denim IN temple. right: gates ss woven in red.richie 11 pant in khaki.
breaking down the walls The Seventh LetteR words by BOBBY HUNDREDS
It’s been more than two decades and The Seventh Letter is still going hard. Committed to over 100 members, the world’s most proficient graffiti artists all fall under The Seventh Letter: the letter “G,” as in Gods of Graffiti. EKLIPS steers the ship; the godfather of AWR and MSK built this platform here in Los Angeles back in 1988. In that time, only the best of the best need apply: REVOK, RIME, SABER, RETNA, PUSH, ZES, NORM, and so on.
The Seventh Letter is the more public, accessible arm of the now-merged AWR and MSK crews. There’s a clothing label, an art gallery, corporate gigs, and advertising work. It’s also the opening The Hundreds needs to work alongside with this creative army. This summer, we’re teaming up with five of The Seventh Letter’s primary artists on a collaborative project spanning art, design, apparel, graffiti, the streets of Los Angeles and the world beyond.
This is your introduction to the artists who need no introduction.
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TOP 10 ALBUMS THAT I LIKE
(BUT MUSIC SNOBS WILL HATE ME FOR) WITH Junior Sanchez is a world-renowned producer, DJ, artist, and remixer who’s worked with every big name in today’s industry—from Katy Perry and Madonna, to Good Charlotte and Placebo. We’re positive that he knows a thing or two about music. Check out his top ten favorite records from his favorite genre—electronic music.
JUNIOR SANCHEZ
Manuel Göttsching - E2 E4 I remember when I first heard this record; I must’ve been around 13 years old. I couldn’t believe one song could be so long, melodic, amazing and epic all at the same time. An older friend had the record, and it took me ages to find the original pressing—when I did, that great chess cover captivated me. Having a record that you could hear at a chill-out room at a rave like NASA, which I attended in my teens, and knowing that the DJ could throw this record on and literally leave to the restroom without any worries, was insane to me. The record is in total 59 minutes long, 30 minutes on each side—and no doubt inspired the Nike LCD Soundsystem song that’s 45 minutes and 33 seconds. It’s genius that James Murphy would give a new generation of kids and clubbers that experience.
Kraftwerk - The Model Everybody speaks of “Numbers,” “Trans-Europe Express,” and numerous other songs by the influential Kraftwerk, but people seem to dismiss or simply forget the legacy of this song. Originally released as a B-side in 1978, it wasn’t until 1981 that a UK DJ played it, pretty much forcing EMI to re-release the single in the UK. Not only is this a super amazing melodic song, but it also proves how far ahead these guys were in their “KRAFT.”
New Order - Blue Monday After Ian Curtis’ death, no one would ever expect a band to emerge from such a tragedy, let alone remain sane enough to continue. That’s exactly what Joy Division did—they transformed, evolved and materialized into New Order. The “Blue Monday” single was not only the best selling 12-inch single in UK history, the record sleeve designed to look like a floppy disk was genius at the time, and goes down in design history. What other single can you say had so many lives? Originally released in ‘83, then ‘85, ‘88—now remixed, reedited, booted and copied to this day. I’m just happy that Bernard, Hooky, and the crew fell in love with electronic and dance music at the time, made a classic record, and a classic band.
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Art Of Noise – Moments in Love This single defines so many moments for me. Trevor Horn is a musical genius, and one of my all time heroes. Together, with Ann Dudley and the rest of the group, they created such a classic record. You can listen to this one while driving, making love, or just sitting around in the studio to get some divine inspiration. Art of Noise defined a time, and let’s not forget how Trevor championed the ever-so-expensive Fairlight CMI sampler from Australia. It cost as much as a car at the time. LEGEND!
Goldie - Inner City Life This record was crazy—I remember Armand Van Helden and I were obsessed with drum and bass at the time; from Mikey Finn, Roni Size Grooverider, etc., but then this record came out. We used to dance around pretending we were at Awol in London, a night neither of us ever got to attend. This record changed the drum and bass game and changed our lives. I can definitely speak for Armand on this one. I believe this to be one of Pete Tong’s golden moments—he signed Goldie to his FFRR London imprint.
Masters At Work, featuring India – I Can’t Get No Sleep This is one of house music’s finest moments. There’s no other voice like India’s—you play this for any true house head, and it’s over! A circle will be made, and a battle will begin on the dance floor.
Todd Terry (Black Riot) - A Day in a Life What can I say about the legendary Todd “The God“ Terry that has not already been said? He is straight up one of the realest guys in house music, and his samples are unique and unparalleled. He’s the guy who brought that dirty grit to house music, and has forever changed the genre—he practically created it in a lot of ways. I listened to this single every day when I walked home from second grade—yes, second grade!
808 State - Pacific State The UK always knows how to take electronic music to the next level. My buggin’ out rave record was 808 State—so melodic and vibey, no one could resist this song. Be it a kid that loved techno, or a kid that loved deep house music—this made everyone feel and understand house music on another level, and bring baby powder to the dance floor.
A Guy Called Gerald Voodoo Ray I first came into contact with this record back in 1988, when I was ten years old— my boy DEV brought this 12-inch to my house. I will never forget hearing the doorbell ring and him holding the 12-inch and saying “Yo! You can borrow this, but I need it back.” He never got it back…
Daft Punk - Da Funk This was their second single, and I vividly remember making every DJ I knew buy this record. It was like a movie or an amazing food dish that you could not stop talking about. I first met Guy-Manuel and Thomas Bangalter at the World Music Conference in Miami in ‘94 or ‘95. They were friends with my boy Sneak from Chicago. Sneak would come to NYC to go record shopping, and we’d talk about these new up-and-coming kids. Then we’d go back to Armand’s house and vibe and listen to the records we bought. Daft’s sound was so immense at the time, with the way they compressed their record.
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Max Snow with Ferrari, Amsterdam.
ME, SEATTLE.
Bone Church, Kutna Hora, Czech Republic.
BBQ Time, Baja, Mexico.
A WEEK IN THE LIFE: JUSTIN BLYTH
A week in someone’s life is tough to follow, people are busy these days—but luckily with such a boost in social media and technology, one is more inclined to document it all. Meet Justin Blyth, whose über popular blog, Them Thangs, gained immediate notoriety and an enormous following. Blyth specializes in design and photography, but at the end of the day prefers good ol’ fashioned film. What a breath of fresh air. Check out his world travels…
Santorini, Greece.
ACE HAS BALLOONS, AMSTERDAM.
ASSETS, LOS ANGELES.
Santorini, Greece.
RIGEL, WINTER IN PRAGUE.
Natural thermal pools, Oregon.
Green Thumb, Northern California.
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THE HUNDREDS SKATEBOARDING MIKEY BURTON / 360 flip PHOTO: Andy Froberg
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RICKEY WEBB / back tail bigspin SEQUENCE: Daniel Covarrubias
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MIKE FRANKLIn / feeble grind PHOTO: De Ville Nunes
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carlos zARAZUA / halfcab boardslide to back lip to switch front crook 180 out SEQUENCE: Roger Ferrero
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FLAGSHIP STORES
THE HUNDREDS LOS ANGELES
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Hours: Monday – Saturday: 11AM – 7PM Sunday: 12PM — 6PM
THE HUNDREDS SANTA MONICA
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THE HUNDREDS SAN FRANCISCO
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THE HUNDREDS NEW YORK
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