[All work (c) 2011 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.]

“And Then, When That’s Done…… I Change. What I Was Yesterday Is Cast Aside, Like An Insect Shedding Its Skin” (2009)

“This is DOB, one of my signature characters. The name “DOB” is spelled out by the letters on his ears and his “o” shaped face. The DOB project began as an exploration of what it takes to create an enduring modern icon but before long he became a form of self portrait.”

Chicago-based artist Hebru Brantley is looking to carry on the legacy of the inherent relationship between hip-hop and art, focusing mainly on graffiti. His latest effort to do so is sprawled over two floors and a couple thousand square feet, dubbed “Yesterday’s Losers.” Tucked into Chicago’s South Loop, it features dozens of paintings, graffiti, drawings, installments, sculptures and other pieces.

“I didn’t want to use anything traditional because I don’t feel like my work is traditional,” he says. “Given that I have this space, I didn’t want to use drywall and just hang paintings. I wanted to make it interesting and keep the feel of this space, because it’s very industrial. The opportunity arose to get some of this old hardwood and I felt like it was kind of ideal to put into this space. I use a lot a Nike iconography. Certain older artists would use birds for freedom. As we grew up, we didn’t see many birds. If I did, they were pigeons. The closest I’ve ever seen to flight is what these guys can do.”

Life+Times: Explain the meaning behind the name “Yesterday’s Losers.”
Hebru Brantley: Old folks tend to frown upon the younger generation. But in their time, it was the same thing. It’s generational and keeps repeating itself. I’m a product of the MTV, rap generation. A child of history, and my history is getting richer by the day. We have a Black president now, there’s a power struggle, a shift, but we don’t have a great war, we don’t have what our parents had. Our history is different. I feel like a lot of my generation is looked upon as being shiftless, lazy, and losers. When I grew up the nerds were always shunned. Those kids who were geeky, those kids who were different, who didn’t necessarily subscribe to the track that everybody else rode on. Those different kids – yesterday’s loser’s – are today’s CEOs. Steve Jobs, Bill Gates, Steven Spielberg, Kanye West, those guys who are geniuses. The ones who were shunned upon and written off are the ones who shaped culture.

L+T: Was it hard to get people to pay attention?
HB: At first, [yes]. But my audience has definitely grown, and I’m appreciative of that, because, people say New York or L.A. is hard, but Chicago, I think, is the hardest market. It’s not a place with strong support or a strong background. There’s not a lot of support. Places like L.A. or New York are more fashioned to be spots for the underdogs. They’re boutique-based. Because everybody wants to be on the cutting edge, it’s like, ‘Oh, you don’t know about this? Well let me put you on.’ Chicago is like, ‘Oh, you don’t about this? Haha, well I can’t tell you about it.’ So for me to be as well-received as I have been, it’s a blessing. It’s been great.

L+T: How has hip-hop influenced you in your work?
HB: It has a great deal of influence. It’s what I listen to when I’m creating, brushing my teeth. It is who I am. The [Souls of Mischief] statement, “93 Til…” kind quantifies everything as far as my relationship with art, my relationship with music and where it all derives from. That was a big time in my life, when you get to be a teenager and things start shaping.

L+T: Was graffiti how you got into art, then?
HB: Absolutely. I think for most people in my generation, kids that are into art, it starts one of three way: cartoons, graffiti or comics. Something catches your eye at an early age that sparks that within you. For a lot my peer group, that’s what did it for them.

L+T: As an artist, what is your ultimate goal?
HB: To be considered a master. To go down in history and to be a huge part of history as it relates to contemporary art. The guys that I grew up looking towards, how I marveled at what they did, I want that same thing.

If you haven’t been spooning with your copy of Ellie Goulding’s debut album Lights, then you’ve inadvertently loved her on a mashup. The UK singer/songwriter has spent the greater part of 2011 touring the U.S., selling out shows for adoring (and often crying) fans. She also did this little thing where she was asked to perform at the Royal Wedding. Meanwhile, everyone from Lupe Fiasco to Chiddy Bang has sampled Ellie, whose sound can be accurately referred to as “Folktronica.” A marathon runner, floor-tom percussionist, and steady rising star, Ellie Goulding is what’s happening now. As she brings her Live At Amoeba San Francisco album while penning her follow-up to Lights, Ellie took some time to chat with Life+Times while on tour with Katy Perry.

Life+Times: During your live sets, you do a drum solo to Kanye West’s “Power.” Why did you pick that song?
Ellie Goulding: There’s something about that song that is so, well, powerful. When it comes on onstage, I feel like I have all of the energy in the world all of a sudden. I was just mixing around – because me and my drummer always talk about what we can mash up in my set and make it more interesting and more fun. I heard that and sent it to him and it just seemed to go so perfectly. I want to do more stuff like that, experiment a bit more and see what I can do. There are so many remixes out there of my stuff. I know there’s been a mashup of Kanye with “All Of the Lights.” There’s been loads of those. Also the Lupe thing [sampling Ellie Goulding on “Lightwork”], which came out of nowhere basically.

L+T: In the way you embrace hip-hop in your set, did you realize Hip Hop was going to embrace you back?
EG: No way. Like I love Lupe. His first record [Food & Liquor], I listened to it constantly. It was such a long time ago when it came out. I remember. It’s crazy. I did not expect that at all. I grew up on artists like Lauryn Hill, and I’m really glad to see rappers are fusing my songs, and that I get to incorporate Kanye into my set. I’m really pleased by that.

L+T: You spent a greater part of your early career covering songs. Now people are sampling you.
EG: That’s just mad. Like that Lupe thing came out of nowhere. I just heard it and was blown away. The fact that people just take my stuff and do their own thing to it. It’s the coolest thing ever. I always want to hear a new remix and hear a new mashup. I just find it really interesting the way people interpret my stuff. It’s cool to have that different kind of appreciation from different worlds of music.

L+T: The way the Weeknd remixed Florence and the Machine, he should remix you.
EG: Oh my God. I’d love that.

L+T: You tweeted “High For This” a while back. Are you a Weeknd fan?
EG: Yes! I am! His voice is like a dream. I could just listen to it all night. It’s just one of those things. I remember when I first heard him. It took a few listens and then I was just in love.

L+T: You have some interesting fans. They cry and draw pictures of you and stuff.
EG: I did not know that!

L+T: Well, they’re getting your lyrics tattooed on their bodies.
EG: Okay, yeah, I knew that.

L+T: What are you listening to when you run these days?
EG: I’m listening to Kanye. I also discovered this new person, she’s called iamamiwhoami. She does this live performance art thing, and she’s really cool. Skrillex I’m also pretty into for running.

L+T: Are you tired of being asked about performing at the Royal Wedding?
EG: Someone before asked if I sang “Your Song” at the wedding. I thought that was a thing everyone knew already.

L+T: When you sang “Lights” at the Royal Wedding, how did everyone take to the line “the Queen has been overthrown”?
EG: I really mumbled that line! Like, I really mumbled it. I was like, shit!

Here, on the heels of her departure from Jimmy Choo, Life+Times takes a look at some of the highlights from Mellon’s first foray into men’s footwear, a collection that was inspired by the Mod aesthetic with a hint of a 1960s Mayfair playboy.

“The Cloudmaker,” 1984 (Oil on canvas, 26 x 32 inches)

“Painted in the Canary Islands, on the run from New York. Thinking about Old Master Graffiti, simulated found paintings and jewels.”

Riccardo Tisci is a tough man to track down. After providing creative direction for Watch The Throne, and working tirelessly through Paris Fashion Week, the wunderkind of Givenchy jetted off to Ibiza for some much needed R&R. Upon his return, Life+Times caught up with Tisci to discuss his travels, inspirations and loves.

Life+Times: Glad we connected. Took a while to get through to you. How’s it going?
Riccardo Tisci: I’m good. Crazy moment. But it’s all under control. I’m back from the holiday. And [Givenchy] is launching the new collection, plus the new men’s couture coming up, but having a great time. And you?

L+T: We’re good. No complaints. Where were you for August?
RT: I went to Ibiza. I was supposed to go to Turkey. But, I had so much fun in Ibiza that I decided to spend the entire month in there. I love music and I have lots of friends who DJ, and it’s one of the best places for music. So, I spent the entire summer there meeting new people and DJs and having a good time.

L+T: How was it?
RT: I spent time with my friends a lot. We would spend time together, and relax, and do yoga, chill, and go out on the boat. And then, we went wild. Especially on Monday night. Do you know the club DC10? I love it there.

L+T: I don’t. What’s it like?
RT: It’s one of the clubs in Ibiza. I’m not super old, I’m 37, but it used to be much more free and much more underground. I used to go there when I was young and since then…in the last ten years or so, once things got much more “luxury.” This club has managed to stay, umm, ghetto. DJs start there when they are young. On Monday nights, it’s 7am to 2am. It’s this big garage, and it used to be after hours. Now, everyone goes and has the best time. So Monday night, it was like going to the church. Every Monday a new DJ. Everyone I knew was going to be there. I really love music and DJs. So, I spent a lot of time there.

L+T: Did you dance?
RT: A lot! I went crazy. I don’t know if I’m a good dancer or not. My friend Maria Carla says I’m good. I used to dance to Latin American music when I was younger. Until like five or six years ago, it was difficult to dance in public. But now, I don’t care. I just let go. I love dancing to electro music. But, I’m not good at dancing to rock music. It’s more about the vibe. There’s this song called “Infinita” that I love. DC10 is more about old school and electronica, which I love.

The term “influence” is thrown around a lot these days. Generally, it’s a term that applies to how many Twitter followers one has or what parties you can get into. However, for director and visual artist Kenzo Digital, “influence” is about moving culture, particularly with visuals. In addition to holding court at Weiden + Kennedy as a Creative Director, his work has appeared in the TriBeCa Film Festival, the Guggenheim Museum, Tate Museum, and National Gallery of Art. Most recently he directed Beyonce‘s live performance at the 2011 Billboard Music Awards and today releases his Kanye West film project. Life+Times caught up with Mr. Digital for an in-depth conversation about art, music, the narrative of the music video.

Life+ TImes: If you had to give one of your projects the most credit for getting you to where you are today, which project would it be?
Kenzo Digital: City of God’s Son is probably my favorite project. It was certainly the most ambitious and work-intensive. Effectively, it’s a Greek tragedy told through the lens of ’90s New York hip-hop culture that features JAY Z, Nas, Ghostface, Biggie, Raekwon, Samuel Jackson, Delroy Lindo, and Laurence Fishburne as a fictionalized cast. It is a concept project that really explores sound and music as a narrative format, and is a really unique and one-of-a-kind musical cinematic experience. It is a film created with a microphone instead of a camera. I created that to make a timeless piece of art that always lives on the Internet. The speed and scope of information consumption on the internet is increasing at an incredible rate, and with that acceleration comes the atrophying of consumer attention spans. This trend unfortunately causes a lot of well-crafted pieces of work to be overlooked by potential audiences, and, even worse, dissuade creators from even engaging in production because they feel that it’s a losing battle from jump. As an artist who heavily uses the internet as a resource for my craft, I’m most interested in creating timeless pieces of art that can thrive online despite the challenges I described above. I haven’t accomplished this yet, but hopefully, with time, I’ll be able to realize those goals.

L+T: What projects do you have going on currently?
KD: I’m about to release a dope video art concert series that I did for Kanye West. A lot of concert videos are very straightforward in their approach; this series is a cinematic, abstract exploration of Kanye’s live performance that really turns that concept on its head. Another project I was recently involved in as a producer was a documentary about street photographer Jamel Shabazz by [Wild Style director] Charlie Ahearn. Besides that, there are a few ideas I’m developing with Wu-Tang, and a couple of crazy TV and film concepts that I’m getting ready to shop around. Plus some commercial stuff I can’t really discuss.

L+T: The role of the music video has changed over the course of its coexistence with the music industry. Where do you think it’s going next?
KD: Not to sound nostalgic, but the dysfunctional relationship between the internet and the music industry has really taken a toll on any semblance of art that was once involved with the creation of music videos. Between the increasing affordability of video production equipment and how people consume content online today, music videos have almost been rendered formalities. They’re still viewed as necessary, but for no good reason other than “there needs to be a visual attached to the song,” so budgets and quality have been driven to all-time lows. That said, there are some incredible directors out there who are still making great work, and they continue to prove that innovative music videos can bring new life and meaning to a song. Spike Jonze’s video for “Otis” is a good example of how a simple visual can add dimensionality to a track. I’d like to think my video with Beyonce for her “Girls” performance achieved the same thing. In regards to where I’d like to see things go next, I’m always interested in how interactivity can play a more meaningful role in music videos… and of course, I’d love to see a resurgence in real narratives. People don’t tell stories with videos anymore.

On the eve of the release of his debut album Cole World: The Sideline Story, Life+Times captures J. Cole waxing poetically about his music, his growth and what the future holds. J.Cole’s Cole World: The Sideline Story will be released on 9/27/2011.

By the age of 26, Dr. Steve Perry had accomplished more than some do in a lifetime. He had directed a grassroots organization, nabbed a full-ride scholarship to the University of Pennsylvania’s School of Social Work, and written a book – the first of his four. In 2004 after focusing on education in the inner-city and kids from low income housing, Dr. Perry’s work led him to found Capital Prep, a charter school in the lowest performing area of Hartford, Connecticut. Capital Prep now boasts some of the best graduating rates in the country and was recognized as one of the best schools to attend by US News & World Reports. In this sit down with Life + Times, the good doctor talks about the benefits of the arts, how hip-hop helps and what he would change with today’s youth.

Life+Times: What is the “American Dream?” Is it an achievable goal for today’s youth?
Dr. Steve Perry: The American Dream is to live out your full potential. The American Dream is really having the freedom to dream and live the dream. It is absolutely attainable, yet, some children’s ability to dream is more limited than others.

L+T: If you could erase a concept from the collective mind of the young, what would it be?
SP: If I could erase a concept from the collective mind of the young, it would be that that failure is an option.

L+T: Classically, the arts have been the black sheep of the school system, and generally are the first to get cut. How do you feel the arts should be handled?
SP: Children learn differently and arts are a very effective way of teaching. I have not met too many dumb artists, most of them are insightful and often well-read. Encouraging more children to participate in the arts is essential.

L+T: You’ve expressed a distaste for hip-hop, citing misogyny. But given its cultural impact, don’t you think an education in hip-hop could help the youth?
SP: Hip-hop helps in many ways. It makes children think anything is possible, it’s the quintessential fantasy world. Practically speaking, people like JAY Z, Kanye, Eminem, Lil’ Wayne, Lupe and Pharrell have changed the actual language that we speak. People like Snoop, love him or hate him, have created a sub-slang – a slang within a slang. Finally, hip-hop encourages children to write. And oh, by the way, what form of music isn’t misogynistic?

L+T: A student wants to advance, but certain societal hurdles are excessively taller for him/her than they are for others. Should this student work out more, and learn to jump higher? Or should he simply duck under the hurdle?
SP: Students should do whatever it takes, whatever they’re capable of, to get past the hurdles in their life.

L+T: You have succeeded where others haven’t. What is it about your philosophy/approach that is so successful in reaching your students?
SP: My kids know that I love them so they forgive me for being from another generation or being especially hard on them.

L+T: How has your life experience helped you succeed in educating your students? Can you imagine how your life experience might hinder your effectiveness with your students?
SP: I don’t know that my life experience in particular has prepared me in the sense that traditionally, people think that if you grew up poor, than you’re better at educating the poor. I think the part of my life experience that matters the most is that I abhor losing and love winning.

L+T: Some educators question a “one size fits all” model. Do you think your approach can be duplicated in all schools?
SP: There are parts of our school experience that need to be duplicated in all schools but everything ain’t for everybody. Schools should go year-round. Every child needs to be assigned a professional that needs to work with them as an advisor. High expectations need to be the standard and teachers should love their students as they love their own biological children.

Dr. Perry’s new book, Push Has Come to Shove: Getting Our Kids The Education They Deserve – Even If It Means Picking A Fight is in stores on September 13. Order here.