KEAPHOPE INTRO
It’s not secret I’m a fan of cover art. From working on my own adaptations for singles to KeapHope’s recent project with Tanya Morgan for, The Sandwich Shop EP, my interest in cover art goes back to a time when the image, color and concept that surrounded a packaged piece of music was as much a part of the purchase process as hitting play for that first time. I remember buying, The Life and Times of S. Carter Vol 3, with the classic Jay-z intro and his statement “If you’re like me you’re reading the credits right now,” well thats who I was. I loved opening a CD. Trying not to crack the jewel case when I would pop off the cover tray (this made getting that pesky top sticker off a lot easier) to the smell of the liner note insert. I may have have grown up a bit late for the Vinyl revolution but trust that CD purchases were a regular occurrence. Every Tuesday it was off to the local shop to pick up something, anything, and much of those early purchases were stemmed from what looked good. It wasn’t as easy to preview tracks from an album or check a leak, we were making decisions based on what spoke to us from the shelf. Often the familiarity of a project or its features could spark dropping a cool $15 on a new CD, but I loved looking at those covers. I still keep a few hundred CD’s around my apartment in a big ass binder, and all those CD have the liner notes sitting in their protective sleeves. I hated those cardboard cases that wouldn’t have anything inside to throw up in the binder.

It’s funny how times have changed. As music has gone to a mostly digital world we’ve lost a lot of the importance of cover art and overall branding that used to go into making a project stand out. We’ve seen some recent examples of good work here and there, and its those exceptions that inspired this conversation to start. While distracting myself on twitter from the growing mountain of work for the day job I checked the homie Richie Cruz’s twitter update talking about a release with something special, Curren$y’s upcoming, Pilot Talk. Richie was praising the originality of the artwork, and reading his statement, I found myself nodding in agreement and immediately emailed Richie to talk about getting this conversation going. After a quick lunch, we found ourselves on the same page with music art. We will be sharing these musing both here on KeapHope and on Richie’s personal blog,Suits Is Watching.

Over the coming weeks Richie and I will take some time to present one upcoming project a week and dig into the details that round out these releases creatively, beyond the music, to make them standout among the seemingly thousands of free downloads, mixtape, torrent searches and classic releases that fill our itunes daily. We begin with the project that launched the discussion, Curren$y’s, Pilot Talk.

After the jump, intro thoughts from Suits Is Watching and our conversation on Pilot Talk

SUITS IS WATCHING INTRO
Honestly, album art and inserts are (were) the reason I’m such a hip-hop snob. The thing about hip-hop is that we don’t always require the most incredible, thought-provoking Canibusesque rhymes or photoshoots with million dollar budgets- those things are great at surface value, but usually don’t pay dividends in the grand scheme of things. All I ask for is honesty and some type of artistic integrity (sounds like a pipe dream, but I have faith that it exists somewhere…) Ultimately, the demise of the CD has led to something interesting… and great. Music is everywhere. Google a song name, it pops up in mp3 format with the associated artwork transfixed neatly next to it. The problem is that its about 5 pixels tall by 5 pixels wide.

Ok, that’s an exaggeration, but you get my point.

More music being downloaded means more artwork needs to be produced. Standards need to be established for digital single/mixtape/album art…so they can be broken and surpassed by another. The amazing thing is that we’re living in a time where access to tools like Photoshop enable everyone to create. The problem is, every one shouldn’t (even if they can). Hopefully through the subsequent posts, Jamie and I can figure out what the hell is going on, and make sense to what should be applauded and frowned upon as artwork battles for the blog, the iTunes corner, and most importantly, the iPhone screen.

THE CONVERSATION

KEAPHOPE:

Before we even get too deep into this project, I just wanted to comment on your email notes for the project. You made a great point on the size relationship to music, with all of our current relationship to music art being limited to the lower corner of itunes and maybe the screen on an iphone/ipod. How much do you think this is changing the work? Is it becoming something that requires readability at a super small scale? Talk about a big change from the 12×12 world of vinyl covers.

I remember reading something about Kanye’s cover art for 808’s, about how its simplicity translated in the modern space. Clean lines, no photo, just text. It worked great for the mood of the album but more importantly was a strong visual cue to what was actually being listened to. Lets start with this point as jump off point for the Curren$y project. First off what makes this work great? For me it starts simply with getting away from the played out BIG ASS HEADSHOT cover that so many new artists use. Here we have illustration, down to the text.

How readable is it small? Well, maybe not super readable but it think its clearly Spitta. The color alone is a cue that Curren$y has embraced, from his love of herb to his JETS logo use. That alone give a nice visual reference to the listener when glancing down at that ipod.

Illustration. How great is this? DD172 has done a couple pieces in this style, and there is a good crew poster with headshots of all of the memebers in this similar free flowing look. To me it evokes the clouds of smoke you think of when picturing a Curren$y show and you’ve got to love the New York to New Orleans elements from the skyline to the Super Dome.

SUITS IS WATCHING:

Well, as someone who appreciates depth, dualities, and metaphors, it was fresh to see a contemporary rapper incorporate a “look beneath the surface” approach to illustration while maintaining some universal elements that won’t box out the masses that refuse to think. I’m not a creative director by any stretch of the imagination, but I work with the best of ‘em (ha!), and I’m pretty sure that they’d appreciate the boldness (not to mention the symbolic significance) implied with the heavy use of green. It immediately reminds me of how purple was used as the dominant color in Big Boi’s first installment of “Got Purp?” (ironic how weed references define the hues…)

Another interesting thing worth noting is the absence of Curren$y’s likeness in the cover. The classically-trained marketer in me is screaming, “It’s his debut album! People need to see him!”, but the culturally-aware marketer in me feels the opposite and recognizes that this is actually a blessing in disguise. The artwork for “King Kong” and “The Hangover” are consistent in aesthetic, setting up this final “big reveal”. Also, as self-assured and cocky as his rhymes are, he isn’t arrogant or narcissistic- his rhymes are his identity, and he chooses to define himself through his words- which, in the attention-starved landscape, is admirable.

All in all, I think your man is onto something. In linking with an “art collective” in DD172, he’s engineering both mystique and artistic credibility at the same time, setting a foundation for himself while setting himself apart from the status quo.

Regardless of performance, he’s already won a victory in my book.

KEAPHOPE:

You make some great points. Is the weed thing too much sometimes? Maybe, but this dude is playing perfectly into his audience. He knows who is buying his music and why. The kids need something to ride to and from what I’ve heard, this won’t dissapoint. I can easily picture this cover up front in a video with Curren$y and Wiz Khalifa breaking up bud on the top of the jewel case. It has a bit of a timelessness to it that I think you may have hit on with the no photo setup. There is a tactic we don’t see much. It seems way to easy to go ahead and throw an artists mug on the front a CD with some of-the-moment type treatment and call it a day. This steps enough away from that system to really make its mark.

I like that you brought up the single cover art for “King Kong” and “The Hangover.” Here we have three different treatments, each with their own style that make them standout on their own, but we have some similarities through out. First on “King Kong” we actually get a glimpse of a Spitta character, still illustrated, but perched over the destruction below. All black/white/grey and looking like a foot in the door, “I’m here now pay attention” message to the hip-hop community. This is a dude who has been aligned with No Limit, Cash Money and now sort-of-Roc-a-fella, but def Dame Dash and this is him being presented like his first true release. While most will sort of snicker at the idea of a dude with a near thousand+ song catalog calling this his debut, I agree with Richie on this being an introduction to the masses. Fitting for the cover art on “King Kong,” the firs single for the project.

Next we look at the Mikey Rocks assisted cut, “The Hangover.” Again illustrated ties to the other content, though this time with a slightly more colorful setting. Funny if you were too consider this the results of a night full of, Pilot Talk, infused fun. I like the almost Art Deco inspired treatment to Curren$y’s name on the “King Kong” cover that seems to be revisited here in the color palette and comic’d treatment to this cover. At first glance one might not see that the pool scene is completely trashed from a night of debauchery, but to me that ties in perfectly with the idea of a hangover, like the movie, its not always clear till you start piecing together the details. The type treatment here ties in well being almost an after thought, scrawled in to the cover like a name and number on a napkin. To me this looks like a sample sketch that was refined and left a bit loose and compliments the more detailed refinement we see on the albums true cover.

I think its important we at least mention the artist involved in the illustration of the cover. Pilot Talk, was illustrated by David Barnett, the Creative Director for DD172. I haven’t been able to find out too much information on the artist, but lets hope his work continues to influence the direction of the DD172 collective and rings out among other new projects from the rest of the hip-hop community. Mr Barnett, if you ever want to get down on the next conversation be sure to drop me a line.

Till the next Covered Conversation go out and cop, Pilot Talk, in store today.

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#cmonlebron.

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Here’s a little kinetic typography to hold it down as we continue movin’ on this side… Respect to Cookin’ Soul for putting this together… Spotted at NahRight (peace to “The Originators” Dre & Eskay)…

More SUITS soon enough….

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ABSOLUT BROOKLYN is a Limited Edition flavored Vodka created in collaboration with Spike Lee.
It is a blend of Red Apple and Ginger that captures the vibrancy and uniqueness of Brooklyn and the creativity it inspires.

“Brooklyn wins again.” – Jean Grae (and damn near everyone I know from the borough…)

You KNOW I’m happy about this one.

Happier to find out that the 750ml 1L bottle (their 4th in the “American City” collection” is in collaboration with Spike Lee.

Enthused at the fact that the homie Lemon provided this prose that will be located in the recipe flyer:

Sitting on the tenement stoops
Brownsville steps
crown heights flights
funky medina repetoire
5 star borough
tree lined blocks
somewhere in the world
Brooklyn’s in the house
and you know we won’t stop
spreading love
cause that’s our way

From the small morsels of information that I’ve read, it’ll be released in 2 months. All the brand buzzword banter that I hear on a daily basis about the importance of “community” and “culture” can be accomplished simply by doing it and committing. Thank you, Pernod-Ricard USA for giving this humble Brooklynite more fodder for my geocentric rants.

Catch me at the launch party.

SUITS!

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I had a chance to stop by The Armory Show yesterday afternoon; it was my first time going through and I was thoroughly impressed.

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…all in the name of fashion, of course (check the 0:30 mark).

Taken from yesterday’s FW10 Y-3 Show at The Armory.

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Earlier this week, the really good folks at 94×50 & NSW flexed their creative + marketing muscles and allowed me to partake in a very uniquely curated one-night experience.

It basically happened like this…. a delivery man showed up to my office with a mysterious paper bag (with the exception of my name etched in Sharpie, it was unmarked). I opened the bag, and removed its contents-  a miniature orange Nike box, suited for either a baby or  an adult with abnormally tiny feet. Inside the box was a burner (if you don’t know what that means, please watch The Wire), and a strip of paper with instructions to text my name to a random number. It texted me back with a time and address.

Now, there aren’t many brands that could pull of a Matrix-esque invitation process and keep the mystique (and expectations) high, but if there is one thing I know, it’s to never ever-ever-ever-ever-ever come here no more doubt Nike.

I showed up to said location, my expectations wide open, and there was a party bus waiting on the corner. Jumped on the bus, and saw a bunch of colleagues, friends, and influential people I hold in high regard on board. I sat down next to the homie Jonathan Mannion, and asked him what this was all about, to which he responded, “I have no idea”. If he didn’t know, it was safe to assume nobody did.

The bus took about 20 of us to Tompkins Park, where Bobbito (random!) was in the middle of the playground, along with a bag of DD hot chocolate. After greeting everyone, he kicked off the evening with anecdotes on his career, and the role that the Air Force One played throughout. (Light bulb!) I know a lot of self-proclaimed and industry-recognized sneaker/cultural anthropologists/historians, but I’ve never encountered someone who is as genuine about his affinity for sneakers, their underlying stories, and their cultural relevance, as this man. As a marketer in a volatile industry (and consumer) landscape, it’s an anomaly to witness someone who lives way beyond advocacy to the extent that he does- he’s now the validator for the brand, a conduit for its ongoing relevance.

Bobbito @ Tompkins Park from suitsiswatching on Vimeo.

After his monologue, we boarded the bus again somewhat reassured enlightened, and were off to destination #2. After about 10 minutes, we pulled up in front of an unmarked building (for a brand that owns the world’s most iconic logo, it sure has a fixation with unmarked sh*t), boarded an elevator, took it to the 6th (or 3rd- I can’t remember) floor, and walked down the hall into a studio…where Clark Kent was waiting for us. In the same vain as Bobbito, he kept the evening’s program going by offering his unique perspective on Ones. He also broke down his next collaboration with the brand, and per his request, I won’t go into it. But it’s ill. Like super dope ill.

After about 30 minutes in the studio, we got on the bus again for what would be our last stop of the evening- Crif Dogs/PDT in the Village. I’d never been, but I heard about it, and I was pretty hungry. So I OD’ed. At the end of the night, they gave us each a pair of the buttas.

The above slideshow has all the evidence. (I had no idea what I was getting into, so all I had to boot was my iPhone. It was pretty dark throughout, so apologies for the less-than-spectacular imagery- you can check Yoshi’s pics and account of the evening here…)

In retrospect, it was very well-presented, and impressive shot in the arm to the unique culture that was bred, and still lives, here. Peace to Heron, Kristen, Will, Will P., Jonathan Mannion, Va$htie, Chad, Scott, Yoshi, Susana, Bradley C., Chris Vidal, Paul Rivera, and shouts to NSW x 94×50 – you guys really bodied that, and illustrated a sensibility and passion that usually gets lost within the process.

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A close colleague of mine (whose image I’ve cropped out in respect of his privacy)was putting together names for an upcoming seeding (using the word “influencer” to describe myself is too vain. plus you all already know. ha!) initiative his agency is executing, and he IMed me to let me know.

One can only wish, right? lol…

For those who are reading that don’t fully understand the context of the above microconvo, click here for Mr. Kirshenbaum’s stats.

SUITS!

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They’re no strangers to relying on guerilla tactics, however- remember what they did to promote the latest season of “Entourage”?

I had an opportunity to screen the first few episodes for a review of the show for AOL (look out for that shortly), and I am very impressed as to how authentic and “home grown” the characters are. Victor Rasuk has been, in my opinion, a great actor, most notably in “Raising Victor Vargas”.

“How To Make It In America” debuts this Sunday on HBO.

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Christopher Rios, p/k/a Big Punisher a/k/a Big Pun died exactly 10 years ago today. Not only was he one of my favorite rappers, but the impact that he made on the hip-hop community was instant, and reverberated throughout the country.

As someone who was an ultra hip-hop head during the years that Big Pun rose to prominence, his existence (although short) has a special meaning for me. Usually, when I get into the barbershop-esque arguments with colleagues and friends (and you know how heated those can get) over who the greatest MCs of all time were, I’ve always mentioned Big Punisher, and usually the response is “you’re saying that because you’re Puerto Rican!”.

Um, na.

In efforts to avoid a “Hip-Hop is just as much Latino as it is Black” argument, I’ll just say this: Big Pun’s achievements within the scope of two years were like the appearance of Haley’s Comet or a solar eclipse- these events don’t happen often, but when they do, it’s special.

And although he wasn’t a perfect man (no man is), his masterful, wizard-like alignment of words and phrases, matched with his razor-sharp wit, charisma, and sense of humor made him an artist so unique that it’s almost embarrassing that he isn’t as celebrated as some of the greats.

That being said, the next time you listen to “Capital Punishment”, remember that what you’re listening to might never happen again for another millennium, until a child is born that can perform at a level beyond
.

SUITS!

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