#where did those goals COME FROM YEEZUS

[janetsnakehole02]

mbappé is like that professor that doesn't put in your grades till the very end of the semester and then you end up borderline failing 🗿

[momentsinsong]

Moments In Song No. 019 - Victor

“Moments In Song” asks people one simple question, “What are you listening to?” We believe that you can learn a lot about an individual and their experiences based off of the music they love. For every installment we ask someone to make a playlist of 10 songs they’re listening to, whether it be something new they stumbled upon, or a song they’ve always loved, and explain the story behind their choices. The person’s playlist is then uploaded, giving them the chance to share it with others. Each post aims to profile someone from a different walk of life, whether they be an artist, a student, the mailman, a school teacher, an athlete, a nurse, your next-door neighbor, anyone with a love for music; showing that no matter where we come from, what we do, or what we look like, music has the ability to bring us together.

With an ethereal set of songs that accompany his pensive thoughts, pharmacy student and rapper Victor gives us a track by track breakdown of his playlist. We talk his musical influences, Clams Casino productions, and what he thinks is the greatest song of all time.

Listen to Victor’s playlist on Apple Music and Spotify.

Words by Julian | Photos by Tayo

What was thought process behind putting your playlist together?

I just made a playlist of almost all the songs I listen to when I’m in pensive thought or songs that have a cool ethereal mood to them. I’ve always been in tune to that kind of music. That’s why I have two songs from Clams Casino on there. For me, Clams Casino is probably one of the best producers of the past decade. Very influential. His influence spans what most people can even fathom. If I look at his work with Lil B in 2009, 2010, and then look at the type of beats all these rappers are rapping on now, or their style, and how they rap, Clams Casino and Lil B were very influential.

Without Lil B and Clams Casino partnering, Clams Casino doesn’t have the platform that he has today. Then someone like A$AP Rocky probably doesn’t hear him, and so his first two projects don’t have that Clams Casino sound. You look at so many artists that started to blow up in 2010, 2011, A$AP Rocky, Mac Miller, Lil B, they were really coming out with that “drop your top, relax and cruise to music,” and I think Clams Casino is a big part of all of that.

Other songs that I put on my playlist from underground artists like Reva Devito, Thatshymn, Abhi//Dijon, these are artist I listen to when I chill, or when I study. That’s what I’m trying to go for with the playlist. Just a type of sound that you don’t have to necessarily have move to it, you can just sit back, relax, and get into your own zone.

I put my song on there at the end because I thought it helped tie everything on the playlist together.

I was listening to your playlist earlier and I noticed there weren’t any real dance or turn up kind of songs on there.  I felt like they all fell into either a boom-bap category, with like eu-IV and Reva Devito, produced by Tek.Lun, the old school Kendrick, and on the other half, that Clams Casino, Abhi//Dijon, Sango, kind of relaxed and melodic category. Did you know from the start that this is the kind of theme you wanted your playlist to encompass?

Yeah absolutely. Even though some of these songs are kind of old, like “Ignorance Is Bliss,” “Realest Alive,” and “Moments In Love,” which is from the 80’s, I listen to them either every day or at least once a week. Especially times when I’m in school, studying, or in the mood to delve into my thoughts.

“Ignorance Is Bliss” is one of Kendrick’s best songs to me. Overly Dedicated does not get the recognition it deserves as a cumulative work. I personally do believe that Overly Dedicated is on the same tier as Section.80 in terms of Kendrick’s bravado and lyricism, because he’s really rapping something serious on that song. I still go back to those to projects a lot. I feel like a lot of the themes on there are universal. There’s no filler on them. You know exactly what you’re getting.

“Moments In Love” is a long song, it’s like 10 minutes long, and that version has always been my favorite. People don’t know how influential The Art Of Noise are, just to music in general. When people listen to Yeezus or My Beautiful Dark Twisted Fantasy, or some of the stuff from Michael Jackson’s HIStory album, The Art Of Noise did that stuff back in the 80’s.

I’m not super familiar with them, are they a pop group? Electronic?

They were an experimental band in the 80’s from the U.K. So many things that people are doing today, they did 30 years ago, which is mind blowing. The way “Moments In Love” is structured, you have a lot of different part, a lot of ups and downs, a lot of different breaks. And all of these breaks evoke a different emotion, and plays into the emotions that someone might feel in a relationship. When I was making this playlist, I knew it had to be number one. In my opinion it’s the best song of all time.

Wow, that’s quite the claim.

Honestly. Out of everything that I’ve ever listened to I can’t find anything, at least in my personal opinion, that really…

Evokes that same kind of emotion,

Yeah emotion, the techniques they use for the time era they were in. If you listen to other stuff from the 80’s compared to this, this is just crazy.  It’s still even really different compared to music out today. Along with that, its influence that people may or may not know about is amazing.

And then after that I went to “Realest Alive.” Lil B’s version isn’t on any streaming sites, but it’s a great song.

What era of Lil B is that?

That’s 2010 Lil B. So that’s when Lil B was just really starting to get out there. This was back when Lil B would release 5 songs a day. Literally he would release 5 different songs a day, and he would have 4 troll songs, and one song that was great. And he would do that on purpose because when he tries he’s an extremely good rapper. The thing is that he’s a deconstructionist. If you listen to Lil B from 2008/2009 he’s rapping on perfectly on the beat, but towards the end of 2009 he released “Like a Martian” and started doing all his based freestyle, stream of consciousness stuff. So during that time, this would be the 1 out of the 5 songs he’d be serious on. By 2011 he was legitimately a well known phenomenon.

Yeah I feel like around that time he was doing a lot of work with Soulja Boy, and influenced that way he made music after that. And even guys now like Lil Yachty and Lil Uzi, there’s definitely some Lil B DNA in them.

For sure. So from “Realest Alive” it goes to “Ignorance is Bliss,” which has Kendrick rapping about a whole range of different topics.  I feel like that streamlines very well into “Numb” by Clams Casino. Now from “Numb” I wanted to lighten up the mood a little bit so I went into songs that are love related. Once you get to “IVyou Pt. 2,” “Rose Gold,” “Therapy” those songs show more of a positive side of what one can feel in a relationship.

You go to “How Do You Love Me” by Xavier Omar and Sango. That song is actually about Xavier Omar asking God, “How could you even love me, even though I am the way I am, even though I am this imperfect being?” I think it segways nicely from “Therapy” because Thatshymn talks about how weed, drinking, and sex can be a form of therapy, but for Xavier Omar he’s talking about how God can be a therapy. For me. I feel like that’s a great contrast, and shows two different forms of love.

And I just finished things with “Stu Pickles.” It’s a good mellow track, talking about relaxing with friends and everyone working together to achieve their goals. For the lyrics I say, “I’m way to blessed to not stress right now,” it’s just me talking about God blessing me to be in the situation I’m in.

I think in our society we take a lot of things for granted. I saw a crazy statistic one time when I was younger. It said if you have a house with electricity, a roof over your head, a bed, and all these other commodities, you’re already richer than 75% of the people in the world.  If you think about that it’s crazy. Everyday really is a blessing, and you try your best to fill it out, and find your way to where you need to go.

What songs and artists made you want to start rapping and making your own music?

If I’m thinking about my favorite rappers growing up, Tupac is number one by a mile. Tupac was extremely influential to me. All Eyez On Me, I know that entire double album back and forth because my dad had the OG double CD that was released in 1996. So after Tupac, it’s Nas, all of his stuff. The first album I ever bought with my own money was his Untitled album. That and the Wu-Tang Clan’s 8 Diagrams. Wu-Tang Clan was also very influential to me. Enter the 36 Chambers  I know that album so well. ODB was so ahead of his time. You listen to “Brooklyn Zoo” and the way he’s rapping is so crazy, but somehow he’s perfectly in pocket, he’s perfectly on the beat. In order to rap like that is extremely hard. ODB to me is just an extraordinary rapper.

Any final thoughts on your playlist?

It’s a microcosm of me throughout the years. It represents the type of music I listen to when I’m in a pensive mood. It’s “sit down and think” music.

Connect with Victor:

https://twitter.com/viceroy_o

https://www.instagram.com/victorolalekan_/

https://soundcloud.com/victorolalekan

Connect with Moments In Song:

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https://twitter.com/moments_in_song

https://tinyurl.com/MISAppleMusic

https://tinyurl.com/MISSpotify

[theparaminds]

  It is almost unimaginable how many musicians have been given a listen due to their album artwork. Being the first impression itself, the artwork obviously holds the same weight as the music in many cases. Back in the days of record stores, there was no 10-second preview; the artwork was all there was between the consumer and the artist. Though, it is now a digital age in which attention is the most valuable commodity, in which standing out is just as difficult as ever. Some believe that the artistry of an album has been lost and in a sense it is arguable that the lack of physicality within the medium has hindered the appreciation of the art form. But many on the other side of the scale believe that is completely wrong in every sense, many being the graphic designers themselves; one of which is pushing to retain the art form he built his base on. 

  Max Cohen is a Waterloo, Ontario born and raised creative director and designer who has established himself a major player in the hip hop scene; creating artwork for some of the hottest acts currently, which include: Killy, Pierre Bourne, Murda Beatz, Smokepurpp and of course many more. Max understands the importance of branding as well as the visuals themselves, hoping to share it with those unaware of its essentialness. Parmaind sat down and spoke to Max about his work and visions, the rap industry as well as his views on the future of music marketing. 

 Paramind: First question as always, how’s your day going?

Max: Good man, it was ok; school was school. I’m living bro, living good.

PM: So, why don’t you tell everyone who Max is?

 M: Oh god, my name is Max Cohen; I am a student, I am an artist, I make album covers and work on branding for a bunch of different artists and labels, just an overall creative.

PM: So of all those projects you’ve done, what are the three you’re most proud of?

 M: Oh, Killamonjaro for Killy, Bloody Hands…this is tough… oh the Fiji and Yachty one for sure. 

PM: It is seen in those projects that you work tightly in the hip hop community, but do you think that’s where you’re happy staying? Or would you want to expand and if so, where?

M: I mean I love all genres of music so I’ll do anyone I listen to and primarily listen to the people I work with. It’s nice to have that personal connection with the artists. But in general with rap its probably where I’ll stay, it’s what’s popular and what I enjoy the most; it’s the black renaissance coming into play and that will be prevalent as time goes on. Also I work more on an industry level than a Soundcloud one now as well. I’ve worked with Universal, Interscope, real label shit. It’s my niche and I’m enjoying it and once I continue to expand my range of talents it’ll just get better and I plan to stay prevalent and influential in the industry.

PM: So do you plan to move towards shooting concerts, live visuals, etc. as arguably album artwork is static as an art form?

M: Yeah it can be sometimes, but photography is so saturated right now that it’s hard to stand out at all because thousands of them exist, so there’s no real point. People have asked me to shoot or do video work and my friend who goes by the name Sogross basically just taught me to diversify my skillset and so if an artist wants me to go on tour for a couple months and do all the visuals and creatives I can do that.

PM: But you’re still doing album art, it is still your main focus; and there is now the question of why it’s relevant. Akon recently tweeted making fun of even caring about album artwork anymore...

M: Akon’s on bullshit man

PM: [Laughs] so then why is it relevant then in your mind?

M: It’s the most important thing towards marketing and building your brand and fan base. Off the top, cover art is an art form so it needs to be maintained. But that whole idea of branding is important, it’s like saying ‘why do we need advertisements for companies?’ It makes no sense. That is literally the equivalant. Its part of the marketing, and of course, its part of the vision.

PM: But what about album covers with no art? Like Yeezus?

M: Still art. Still branding. That’s totally art and expression and what the artist wanted to display. It was curated by Joe Perez , dude is so smart. But it’s a message against the music industry.

PM: Kanye called it the coffin or death of album covers, does he have a point?

 M: Kanye is a visionary but he’s also dramatic and sometimes stupid so take everything he says with a grain of salt.

PM: While on the topic of album covers, can you tell me some that have influenced you in some way?

M: Anything Bryan Rivera does, he does Post Malone’s stuff, I don’t have specific influence from one piece or it else my art wouldn’t be my own. So maybe not specific covers but more portfolios.

PM: Can you give any secrets or hints at album covers or work you have coming soon?

M: Geez, lot of Toronto work. I don’t like talking on my moves before I make them. No reason to flex a piece before it’s done. I can speak on the fact I’ll keep working with Murda Beatz if all goes good.

 PM: Nice, on top of working with musicians you’ve also worked with some other graphic designers like your friend Jeff and I know you’ve been shouted out in Justin Wilson’s interview with Untitled, so can you speak on your connections or your future in terms of collaboration?

M: The community is very tight knit. You have very industry based designers who only fuck with people in their circle and no one else. But that’s some drama LA shit. But in terms of the community, I’m in a lower tier but it’s so tight knit. I’m in group chats of about 40 different designers and creatives in the industry and everyone’s friends. The piece I recently did with Jeff for bloody hands was me just not being able to do the edits because I went out one night so I sent it to him and he got it done no problem.

 PM: So what would be the dream for you then? What is the end goal or place you’d be happy ending up at?

 M: I mean, I’m not going to university for graphic design; I’m going for creative industries, which is more the business behind everything I’m into. But if I could make graphic design my career I’d be the dream. Vision wise, I will realistically work with Ovo in the next 6-8 months and they’re the biggest Canadian entity and I already have work that’s been viewed millions of times by millions of people, which is unreal. I’m so happy where I am and I just enjoy being in the scene and reaping the benefits of working in music. I want to have a presence and make great work...

In the end, it comes down to the art not the clout.

PM: True, you’ve worked with some big artists such as Pierre Bourne and Killy as well as SmokePurpp. But you have to wonder who those out of reach people are for you that you desperately want to work with.

M: Migos. No doubt. Coach K and Quality Control are tight knit on what they do. But if I can work with them It’d be crazy. And anyone large and I respect. Even like on a lower scale, like Yellow days. That’d be lit. But I try not to be driven by who I’m working with and rather be driven by the quality of the art and how much money I’m making. [laughs]

PM: [laughs] Do you lose your artistic integrity in the pursuit of money or social media numbers?

M: When you work in a service industry, like I do, its not necessary sacrificing artistic integrity and instead doing what the customer wants and doing it the best I can. I will sometimes make a piece I don’t love but that my client will love because that’s what they wanted. So yeah that could be seen as losing integrity. It’s a hobby and I love it but it’s also a job, this is my part time job. Sometimes if someone does something I can’t support I’ll have to turn it down but that’s it

PM: So in those cases is it about them as a person or just not enjoying their music or vision?

M: That’s hard because so many rappers are fucking scumbags. There are so many bad people popular in rap right now, its difficult to find that line lately… actually lets stop that topic [laughs]

PM: [laughs] Yeah best to move on for now… going back to album art and design, how do you feel you’re making yourself stand out and why do you matter?

M: My shit’s hot man, my art’s sick and I can make anything anyone wants. Perfect example is Killamanjaro... Wait hold on let me pull out these texts…

[Max pulls out his phone and finds a conversation with Killy]

M: He gave me the vision of “crazy dystopian dark world art cover, needs to be crazy and memorable” and It was my job to make something sick and something worthwhile. And that’s what I want to keep having is the ability to see something in my head and then execute it to the highest degree, because that’s what makes me worthwhile and unique.

PM: For sure, thanks so much for your time man, anyone you want to shout out?

M: Shout out Liam, shout out Luke, shout out Tuti; Tuti’s my Brazilian homie who I’ve known for like 3 years and has been on this design shit forever. Also; Jeff, Dj, Trap, Zero, Jermane cause he’s putting me on right now, my parents, my sister, oh and my dog.

Paramind would like to thank Max for his time, as well as speaking his mind and giving us insight into his art and future.

Follow Max online:

Twitter: @Mxxchn

Instagram: @Mxxchn

Words and photos by Guy Mizrahi 

[noirmornings-blog]

Kanye West: Inside His Creative Agency DONDA

The brand the everyone wants to create but no one really knows what it is...

Kanye West’s first creative agency, DONDA, still remains as a mystery to most of us. They continue to crank out album covers and projects, but no one really knows who is exactly behind the work. Obviously, Virgil Abloh is down, but who else? VIBE discovered that a former Mercer Kitchen waitress by name of Hanna Christian was one of the first employees and helped hire others. However, she is no longer on-board. So who else is down? VIBE investigates…

The rest of the DONDA stable is virtually anonymous. And West has a tradition of cobbling together a rotating cast of collaborators, which makes it tough to distinguish who’s actually part of the core clique. Liner notes on Yeezus list Joe Perez as DONDA graphic designer and Justin Saunders as art director. Those who are believed to have worked with the company consistently include West’s longtime barber and style consultant Ibn Jasper, art directors Matthew Williams and Guido Callarelli and graphic designers Nathaniel Brown and Alex Milsom. Perez declined to be interviewed, and the others did not respond to requests. Before Abloh could even be contacted, he sent a pre-emptive refusal: “We appreciate the interest, but our staff is not doing interviews at the moment. If our stance changes, we will be in touch.”

BEFORE HANNA CHRISTIAN started working for Kanye West, she was a waitress at The Mercer Kitchen. The exclusive restaurant serves as the cornerstone of New York City’s Mercer Hotel, where West and Jay Z camped out in early 2011 to record their album, Watch the Throne. When West returned in October of that same year to take a series of meetings, Christian, then a 21-year-old college dropout and aspiring visual artist, struck up a conversation. For a week, West picked her brain about everything from architecture to fashion to art. He invited her to a Watch the Throne tour stop in New Jersey. She came back to work the next day raving about the elaborate stage design. Noted visual artist Es Devlin (a frequent West collaborator who’s also worked with Lady Gaga and Rihanna) projected video of sharks and Rottweilers onto enormous cubes that doubled as podiums for West and Jay Z during the show. After gushing about the design elements, Christian went for broke. “I love The Mercer,” she blurted out to Kanye. “But I want to work with you!”

Christian was hired on the spot as West’s personal assistant. And within 24 hours, she was attending the Victoria’s Secret Fashion Show at the Lexington Avenue Armory in NYC. Three months later, he announced his latest venture, DONDA, an experimental design agency named for his late mother. Christian transitioned to office manager, interviewing applicants and helping to build the company’s early infrastructure.

She’s bubbly and effusive when she talks about her big break into the entertainment industry. But when asked something seemingly as innocuous as where the DONDA offices are located, Christian shuts down. “I can’t talk about it,” she says firmly. “It’s in my confidentiality agreement.” A confidentiality agreement with a clause about office headquarters? Sounds ludicrous. But no one does private and mysterious like Kanye West. And for a potential entity born out of one of his legendary Twitter rants, it almost makes sense. Almost.

In January 2012, West laid out a series of tweets, highlighting his plan to create a firm with more than 22 departments staffed by a bevy of experts in divergent fields. He name-checked everything from architects, video game developers and nutritionists to doctors, lawyers and what he called “app guys,” plotting to house them under DONDA.

His master plan reads like a stream-of-consciousness riff that becomes an epically ambitious screed (think Jerry Maguire’s infamous manifesto). There will be summer school programs with filmmaker Spike Jonze! An overhaul of the prison system! Nutritional consultation on achieving energy balance! Amusement parks! West tweeted: “We want to create, advertise and produce products driven equally by emotional want and utilitarian need.”

The kicker was that he intends to not just turn a profit or join the billionaire’s club. He wants to change the world through design and fill the void of late Apple cofounder Steve Jobs. A bit extreme, sure. But Kanye’s bombastic statements are expected. And for a man who secretes naked ambition and pretentious overtones from his very pores, it almost makes sense. Almost.

DONDA may sound slightly absurd, but the idea wasn’t completely random. Even before his Twitter proposal, he fantasized about launching a creative clique to those in his inner circle. In 2008, during a New Zealand press conference promoting 808s & Heartbreak he talked about building art installations. Four years later, he aimed even higher. “I want to work on cities [and] amusement parks,” he said while premiering his short film, Cruel Summer, at Cannes Film Festival. “I want to change what entertainment experiences are like.”

Kanye’s fight for creative control is long-standing. Collaborators describe him as a hypercritical presence on photo shoots and film edits. So it’s no surprise that with DONDA, he was looking to circumvent middlemen who might dilute his vision. “They wanted to eliminate the person who has to interpret the idea to the brand,” says Marc Moran, who cofounded the Chicago-based RSVP Gallery with West’s longtime right-hand man Virgil Abloh.

Post-rant, West moved quickly. Just a day after the online proclamation, his attorney Brad Rose filed the first trademark papers for DONDA. The list of goods and services sounds more profit-based than the good works and lofty world improvement goals in his mission statement. Expect to see the DONDA name on “toys and playthings, plush toys, teddy bears… home furnishings, bedding and linens…”

He also tweeted an e-mail, contactdonda@gmail.com, for like-minded aspiring trailblazers to pledge DONDA. Thousands of applicants poured in, according to Christian, who left the company in May 2012 and now works as a creative assistant for actor Jason Sudeikis. “We moved forward with quite a few people who submitted portfolios,” she says, refusing to reveal who made the cut.

Essentially a future funnel for West’s obsession with his legacy, DONDA is poised to be the ultimate vanity project. And yet, he barely references it by name. Rather than a string of credits on an official Web site, DONDA projects are denoted by album liner notes, cryptic tweets, hashtags and Instagram photos (“NUMBERS ON THE BOARDS. NO ARTWORK. DONDA,” @virgilabloh) from his inner circle. Will this mysticism carry on to a true vision with results? Some experts are doubtful.

“When [Kanye] talks about Apple and those other companies, [he] has a very clear mission or statement in mind,” says Andres Nicholls, a partner in the brand and marketing consultancy Prophet, which lists GM, BMW and Visa as clients. “I tried to find a Web site. I couldn’t find any. He needs to formalize the vision of the company if he wants to expand to a broader consumer.” In addition to no website, DONDA no longer has a brick-and-mortar presence. Christian followed up her interview several weeks later to give an update on the DONDA office in New York: it no longer exists. “When I was there, we were just starting to set up shop, so I’m not surprised that so much has changed since I left.”

Expanding to a broader consumer may prove difficult for West, considering his desire to keep everything he does under tight wraps. During a June listening session for his newest album, Yeezus, at New York’s Milk Studios, a black van was parked outside, projecting a video of Kanye (shot by his go-to director Nick Knight) rapping the lyrics to his single “New Slaves” onto the side of a building. The screenings were part of a larger, international guerilla-marketing scheme— Kanye’s idea—that initially took place in 66 cities. When pressed for info on the installation, a woman operating the video offered a non-committal smirk and riddled responses:

Are you a member of DONDA? “We don’t have any input in the content. We’re just hired to project it,” she said.

What’s the name of the projection company? “I’d rather not say.”

Did Def Jam or DONDA hire you? “I’d rather not say.”

Following West’s lead, the DONDA collective hasn’t done interviews regarding their affiliation. LinkedIn profiles and liner notes help piece together a rough masthead, but there’s no clear consensus on who’s involved. One source suggested finding Virgil Abloh because “he is DONDA.”

Abloh’s credited title has varied from head creative director to art director for DONDA. It’s easy to see why the Chicago native and former architect would be Kanye’s right-hand man when it comes to DONDA. Abloh has the holier-than-thou hipster vibe down cold. He’s a Birkin-bag-carrying dude who owns a clothing boutique that sells $200 T-shirts. He drops obscure style references, like waxing poetic about the genius of German industrial designer Dieter Rams.

The rest of the DONDA stable is virtually anonymous. And West has a tradition of cobbling together a rotating cast of collaborators, which makes it tough to distinguish who’s actually part of the core clique. Liner notes on Yeezus list Joe Perez as DONDA graphic designer and Justin Saunders as art director. Those who are believed to have worked with the company consistently include West’s longtime barber and style consultant Ibn Jasper, art directors Matthew Williams and Guido Callarelli and graphic designers Nathaniel Brown and Alex Milsom. Perez declined to be interviewed, and the others did not respond to requests. Before Abloh could even be contacted, he sent a pre-emptive refusal: “We appreciate the interest, but our staff is not doing interviews at the moment. If our stance changes, we will be in touch.”

Whoever’s pulling the strings, the overall theme seems to be minimalism. And so far, DONDA’s work still falls in the domain of hip-hop: album artwork stage sets (West’s Atlantic City Revel Resort shows); promotional apparel; and visuals for Ye’s G.O.O.D Music compilation, Cruel Summer. With the interactive video for West’s “Black Skinheads,” DONDA has been focusing on multimedia projects. They were also hired to re-edit the trailer for The Canyons, starring Lindsay Lohan.

The DONDA-designed cover for I Am Not a Human Being 2 spotlights a lone butterfly on a black background. And instead of a cliché mean-mug close-up, 2 Chainz’s Based on a T.R.U. Story features two chains draped over a black backdrop. Some say the DONDA design style currently on display is a brilliant respite from hip-hop’s often-aggressive literalism. Some say it’s basic. “Because hip-hop has been so literal, esoteric things excite people. But it doesn’t mean that it’s good,” says Joseph Buckingham, aka Joe Buck, a graphic designer whose album artwork includes the classic De La Soul Is Dead cover. “That seems to be the trend now, to just be beyond hip-hop. Kanye plays that game well.”

The abstract approach can be vexing for the executives who write the checks. “The label wants to go with what’s obvious and marketable,” says Courtney Walter, a creative director who’s designed packaging for Chris Brown (Fortune) and Miguel (Kaleidoscope Dream). “If it’s conceptual, sometimes you’re pushing boundaries that make more of a statement than you need to.”

West is already barreling full steam ahead with his own music. Yeezus is the musical equivalent of a splash painting. From the anti-packaging to the loony American Psycho–inspired commercial starring two Kardashian family affiliates. He does what he wants (and more importantly, corporate bigwigs allow him to do what he wants) because it’s profitable. Kanye’s audience is built-in and primed to respond to whatever he’s pumping out, even if it’s a pair of $245 Nike Air Yeezy’s, which once sold for $90,000 on eBay.

“Marketing is usually so much about ‘reach,’” says Patrick Ehrlund, creative director of B-Reel, the company that produced West’s 2012 commercial for the Cruel Summeralbum. “Because Kanye West is such a strong brand, you don’t necessarily have to worry about reach, because it will always reach people. So it’s about how you affect people. Visuals have become a much more permanent and visible part of hip-hop. I think it’s amazing that artists are exposing people that might not be exposed to these kinds of artistic things.”

It may be unrealistic to expect DONDA to run like a traditional business and actually attempt to attract media attention. Especially since Kanye has become more paranoid about his message being misinterpreted. The true test will be marrying his laissez-faire approach with the eventual need to gain investors if he’s serious about turning DONDA into a conglomerate.

“From a funding point of view, it can be a challenge when you have people who aren’t used to thinking outside the box,” says Jessica Irish, director of academic affairs at Parsons’ School of Art, Media and Technology.

West’s ambition to succeed Apple is clearly a stretch. But he may have the ultimate business consultant in Steve Wozniak, who cofounded the iconic tech brand with Jobs. They met this year and discussed Kanye’s top-secret plans. When contacted for comment on DONDA, Wozniak stated via e-mail: “I have opinions about it, but they would be personal between myself and Mr. West.”

West isn’t alone in his determination to push the margins of the entertainment industry. From Nicki Minaj and Drake to Jay Z and Pharrell, rappers are expanding their résumés beyond endorsements and fragrances. Ten years ago, vanity labels and clothing lines were compulsory. Now, it’s about creative direction for major brands. West can certainly transform DONDA into a lucrative movement. He’s defied odds before.

In February 2012, four months after the lukewarm reception to his women’s collection, West started work on the first official DONDA endeavor—the Cruel Summer short. He commissioned three design firms and a post-production company and scored funding from the Doha Film Institute in the Gulf state of Qatar, where the film was shot. The team spent four months constructing an unprecedented seven-screen display and a white tented pyramid to contain it.

That May, his 30-minute movie about a car thief and an Arabian princess (He even consulted with a local Arab woman on wardrobe) screened at the Cannes Film Festival. The verdict from most media outlets: flawed, but ambitious. The movie has yet to be released on DVD or screened anywhere outside of Cannes. It hardly matters. Kanye pulled it off, and his first step to achieving what he wants with DONDA was complete.

Whether DONDA becomes another told-you-so moment or a pipe dream remains to be seen. Limitations exist in the corporate world, but from the looks of it (the ambiguous anti-business business plan), West wants to see just how much he can break the rules. As DONDA progresses, he’ll have disciples and cynics, either blindly following or silently skeptical, but never counting him out.

Story By Clover Hope

[lindyhunt]

The Essential Engagement Quiz: How to Make Sure You’re Ready for Marriage

Premature proposals have become somewhat of a trend as of late. First, we had Pete Davidson popping the question to Ariana Grande after just a few weeks of dating. Then, Justin Bieber pulled the same move, putting a great big diamond ring on Hailey Baldwin’s finger. Sure, these two have history, but the “Sorry” singer and former FASHION cover star rekindled their romance only weeks before taking this huge step in their relationship. Everything is happening very fast.

If these early early engagements end with Baldwin and Grande walking down the aisle, what will the marriages look like? Greg Behrendt (author of the romcom classic He’s Just Not That Into You) and his wife, Amiira Ruotola, just dropped a new relationship book that might have the answer. Inside the pages of How to Keep Your Marriage from Sucking, the New York Times best-selling authors share a 24-question engagement quiz that every couple should before making this major commitment towards marriage. Or, you know, before spending a fortune on a sparkly ring. Here’s an excerpt from the book:

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Here is a quiz for you to take with your mate to get into the sticky bits that can be hard to talk about. Grab a couple sheets of paper and pens and write down your answers. Once you’ve answered each question, share your answers and see if you’re completely in sync or if there’s some talking to do. It’s important that you are honest with yourself and each other on all the big things because if you start this union off withholding your truth, it will cause you nothing but trouble. What you’re going for here is full transparency. Starting a dialogue is more important than being completely matched up on your answers. The conversations you will have on these topics will bring you closer together as a couple and make it more likely that you can overcome any standoffs you might have had otherwise. Talking good. Secrets bad. Lies worse. So, let’s get started with the How to Keep Your Marriage from Sucking Engagement Quiz. Bon appétit!

FINANCES

The money I make is considered… A. Our money because we two are one, and I want to share everything with you. B. My money. Keep your grubby paws off it you big free-loader. Get your own J-O-B. C. I suppose it’s our money since we’re going to be married, but I might not want to put it all in the joint account because I’m not all that confident you know how to live within a budget. Maybe I’ll have a separate account on the side and just put a portion of my money (I mean OUR money) in that account each month, so if you totally blow it, I won’t completely panic. D. I make money?

I know the state of my finances… A. Always down to the penny. B. On payday. C. Once a year at tax time. D. When the collections agencies call.

SPENDING

I would describe my spending habits as… A. Impulsive. I can’t leave the checkout line without getting suckered into a pack of gum, and, if I really love some- thing, I get it in two colors. I live on the edge of my finances. B. Cautious. I’m good at stretching a dollar and saving one. I live below my finances. C. Reasonable. I spend money on quality not quantity and live well within my finances. D. Out of control and I want to change…last week I bought a monkey.

I want to be able to spend money… A. Whenever I want without having to check with you. B. When it’s important for the both of us. C. On things we need for everyday life at my own discretion but check with you on big-ticket items. D. To online shop like a motherfucker and hide my purchases from you, but please love me anyway.

For our first few newlywed years I would like to… A. Live large now and then rein it in before we have kids. B. Save for the future starting now and be responsible. C. Travel and vacation as much as possible before we are shackled to real responsibilities. D. Start our own zoo with that monkey I bought.

Where will we live? I would like to see us… A. Buying a home ASAP and becoming homeowners. B. Renting for the first few years until we can save up to buy. C. Living in one of the dwellings we currently are in. D. Staying with one of our parents to save money until it becomes awkward for everyone.

When I think of kids I see us… A. Having an allergic reaction to the thought of them. B. Wanting only one child because I loved being an only child. C. Having at least two because I hate “only children.” D. Shooting the moon with three or more because I like a full house and want to make sure there’s someone to look after us when you’re in adult diapers.

Religious matters… A. Not at all to me—religion is no biggie. B. To my parents so we’re going to have to pretend—I’m conveniently religious. C. Did I mention that I want you to convert? D. My religion is a huge part of my life and who I am, and that’s not going to change no matter how hot you are.

Religion and kids… A. Kids must be raised in the faith. B. Can they be disciples of Yeezus? C. If it’s important to you, I’ll pretend it’s important to me. D. I don’t want religion to play a role in the way we raise our kids.

Families (in-laws)… A. I’m marrying you, not your family, so keep them away from me. B. My mother is the most important person to ever draw breath, and I will always choose her over you (but I don’t want to have sex with her). C. Big families are what make the world go around; the more the merrier. D. I accept your family, warts and all because I love you…but we may end up drinking a lot. E. Do we have to let our families know we’re getting married?

Friends… A. Your friends are great, and they get along with my friends. No lines being drawn here. B. Here’s the thing…you could do better. I think you should spend more time with my friends. C. We each get to keep two, the rest are negotiable. D. There is going to be a massive editing of friends. Players are getting cut from both teams in a bloodbath.

Careers… A. We both have careers that are equally important. B. Whoever makes the most money is the priority career. C. I never said I wanted to be a stay-at-home mom. D. Your band is a hobby, get a job. E. You knew this was my life when you married me, so don’t act surprised now.

Long-term goals… A. To have kids and send them to college, vacation from time to time, and retire with money to move to Hawaii to raise chickens and bees. B. To have no kids, travel whenever and wherever we want, and spend our lives together. C. To get you elected to the Senate. D. To find a way to be happy, no matter where life takes us, and be the envy of all our neighbors. E. To get a reality series where we look like idiots but can release our own clothing line.

When we combine our things, we’ll keep… A. All my stuff only. B. All your stuff only. C. A little of this, a little of that—start fresh combining some of our stuff but also adding new stuff we choose together. D. Just those pictures of you and your nana up at the lake. E. Don’t even think for a minute that your ________ is coming in this house.

DAILY LIFE

Who will do the household chores? A. We will split them 50/50 and make a kick-ass Raise the Roof/Clean the House playlist and blast it while we clean our love palace. B. Whoever loses the coin toss that week. C. The housekeeper that we will gladly pay cold hard cash to. D. I thought it was your turn. E. Where do we keep the washer and dryer?

How will food happen? A. I’ll do the grocery shopping, you do the cooking. B. We alternate grocery shopping and cooking depending on who has the time to do it. C. I will orchestrate a complex and detailed schedule of weekly runs to Whole Foods, Trader Joe’s, and the Farmer’s Market and blow your mind with my wine pairings. D. I only know how to make takeout. E. I’ll trade sexual favors to not have to cook, grocery shop, or think of food.

I’d like to eat dinner… A. With you every night by 7 p.m. and talk about our respective days around the dinner table. B. With you every night no later than 8:30 p.m., time and place TBD. C. In front of the TV with my fingers while you’re still at work. D. With my friends at a restaurant, but I’ll bring you takeout. E. Every man for himself.

Sleep matters… A. I’m an early riser but will bring you coffee in bed. B. I’m a night owl and will make you stay up with me binge-watching Netflix because you love me…and I know your weak points. C. Cuddling is something they made up in the movies—don’t touch me while I sleep. D. I will hog the covers like a baller and leave you shivering in your pajamas. E. You’ll have to work around my dog because he was here before you were.

If I’m sick… A. Leave me the fuck alone. B. Treat me like I’m seven and bring me grilled cheese, tomato soup, and ginger ale in bed. C. Crawl into bed with me and get sick too so we can catch up on House of Cards. D. Acknowledge that it sucks and buy me a present before abandoning me to save yourself. E. I expect a stack of my favourite magazines and foods on my bedside table and for you to have queued up my favourite movies on the DVR.

AND FINALLY…

We should have a frank and open conversation about sex because… A. We are best friends and should never be afraid to share who we are with each other no matter how embarrassing it may be because I am your safe place. B. We are the only people we are supposed to have sex with for the rest of our lives. C. I need to know what to get you for your birthday. D. If we don’t it could lead to problems down the road that have a devastating effect on our marriage…and no one wants that. E. That shit is real.

The truth about me is that I like porn… A. More than you know. B. More than anyone you’ve ever met. C. Not at all. D. Occasionally when paired with the right wine. E. Less than I like extensive dental surgery.

If you’re into porn it will make me feel… A. Like you’re a healthy human being in touch with their sexuality. B. Like you’re a creep. C. Like you’ll expect our sex life to be off the charts and crazy all the time. D. Like I’m never going to be enough to satisfy you. E. Less than sexy, unless you at least share or explain why you like it so I can get a better grasp on it and you. And maybe we can try it together rather than you alone.

As far as our sex life goes… A. I’m game for anything, anytime, anywhere. B. I like to go the more traditional route—indoors mostly, no kink. C. 50 Shades of Grey is my bible. D. I’d like to have one. E. No animals watching. F. No animals.

My libido is directly proportional to… A. Our connection. B. Your hotness. C. Your paycheck. D. My security in the relationship. E. The testosterone that courses through my body.