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Format: Please give our readers, who may not know who you are, an introduction to JR Mint.
JR Mint: My name is JR Mint, I come from Toronto’s Junction area. I bring a new youthful sound that uplifts and inspires listeners. I’ve always been a trouble maker. I like gear, I like to stay fresh. My favorite color is green.

Format: You recently released a mixtape entitled Magnificent Road. What’s the story behind the name and why should people check this release out?
JR Mint: The name came from a bus stop around the corner from my studio. Every day I would take the bus past it and hear “Next Stop Magnificent Road”. So eventually I decided to record it on my phone, that’s where I got the sound clip from, and decided to name the mixtape after it. People need to check it because it’s my hottest material of 2009 that isn’t going to be on my album. It has cuts and was sequenced by one of the dopest DJ’s in Toronto, Yo Ev. Straight fire, from start to finish.

Format: Your biography mentions a history in battle rapping. How has this part of the industry helped you get to where you are today?
JR Mint: My most memorable battle moment is definitely winning Mic 4 Your Life with Mad Linx from BET in 2007. I battled some of the best dudes in the city and went home with a giant check for a thousand dollars.

Although I don’t really battle anymore I still follow it a bit and watch some of the GrindTime and KOTD battles on YouTube. I think it’s important for all aspects of hip hop to get love and have its own scene that’s popping.

Format: Over the past several years, swagger-rap or hipster rap has become huge. What sets you apart from all the other artists in this space?
JR Mint: I have been rapping for longer than swag rap has been popular for so I am never pulled in any direction by what’s popular. Swag is natural, I am trying to bring you into my life and give you a vision. I think swag rap actually stems a lot from party music and feel good shit that the South made really prominent in the game. When the South is hot up north cats wanna dip into that sound and it spreads. But in the end good music is good music.

Format: With the main features on your upcoming album being from Termanology, Emilio Rojas, Deuce Wonder, and M-Phazes so far, do you worry about being put in a box as an underground artist?
JR Mint: No, not at all. I can go either way, but nothing can take away that Mint energy and vibe on a track. I have mainstream records and I have some more rapper type hip hop tracks but everything is cohesive. It’s really a perfect mix. Pro Logic laced me with a good portion of the party feel good shit and I have gems from MPhazes, J. Glaze, Tone Mason. This project is going to sit well with hip hop heads because the production is tight and all the songs are lyrical, but I have good concepts musically and visually that I think are gonna take it to a wider more global market.

Format: For an independent artist, you’ve clearly put a lot of work into your visuals. How important is image to you as an artist?
JR Mint: I think it’s very important to provide a visual with your music. It’s important for artists to have an image because it keeps it interesting and fun. It gives the audience something to look at and helps connect to a wider audience that will enjoy your music. On top of that I enjoy the design aspect and business part of the game where as some artist’s don’t. I like to be hands on with everything.

Format: You also own and operate Belvia Studio in Toronto. How important do you feel it is for artists to diversify their hustle with music sales continuing to drop?
JR Mint: It’s not easy coming up as an independent artist and having to pay for things especially studio time. So I knew from the start that I wanted my own studio and did anything and everything I could to make it happen. I have had to work shitty jobs so I am grateful to be in the studio when I work, even if I’m recording another artist. I’m lucky enough to own the studio with “Pro Logic”, one of the city’s youngest, best producer/engineer’ for hip hop/r&b in the city. When it comes to shows we’re heavy on the merchandise tip. I have Make It Green T’s, Mixtapes, Stickers, and more surprises to come. So holler at me if you wanna do business, I’m always open to new ways to make money!

Format: In 2009 it’s hard to talk about Toronto without mentioning Drake. What are your thoughts on his explosive rise in the industry this year?
JR Mint: Drake is real talented and definitely put Toronto on the map for good. I think everyone in the city should continue to support him. It was crazy to see him blow up so quick. I don’t think anyone has really seen that before in hip hop. I’m looking forward to his album Thank Me Later and interested to hear what direction he takes it.

Format: Who else do people need to check for from Toronto and why?
JR Mint: There are so many dope artists up here. Almost too many to name, but here it goes: Deuce Wonder, Omar Linx, JD Era, Tona, Saukrates, Shaun Booth, Rayhaan, Notes to Self, Rich Kidd, P Reign, Richie Hennessey, Adam Bomb, Colin Munroe, Smash Brovas, Big Scen & D-Sisive.
These guys are all original vets and up and comers that you need to check for if you don’t already know them.

Format: Anything else you’d like to mention?
JR Mint: Shout outs to McFly, Pro Logic, Deuce Wonder, Omar Linx, Bigz and everyone I work close with. Look out for my album Canadian Mint dropping this summer. 2010 is gonna be a big year, pay attention.

Check out my MySpace page at http://www.planetminty.com

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Since their self-titled first album in 2005, critically-acclaimed and outspoken duo Calle l3 (comprised of lyricist Rene ‘Residente’ Perez and master composer and instrumentalist Eduardo ‘Visitante’ Cabra) have consistently pushed the boundaries of not only reggaetón — the genre through which they jumped into the industry’s lens — but of world music as a whole. Residente’s forward-thinking lyrics are a progressive and creative muddle of Puerto Rican nationalistic pride, witty, irreverent wordplay, and of reality – an odd mix, no doubt, but it’s resonated with millions of people of all cultures, facilitating their skyrocket to international icon status. Yet, no matter how successful they’re perceived by industry standards, they’ve consistently maintained an uncanny authenticity, and have used their podium to speak on injustices and inequalities, no matter how politically incorrect their case.

The popularity of the 11-time Grammy winning duo has been a double-edged sword since their 2005 self-titled debut; the pull-no-punches honesty for which the world embraces them, also gets them crucified. Case in point: a couple of months ago, while on the air at the MTV Latin Awards, Residente used some of his airtime to criticize Puerto Rico’s governor Luis Fortuno as a vocal reply to the Puerto Rican government’s recent layoff of 17,000 workers. The result: automatic shutdown of Calle 13’s Halloween concert in Puerto Rico. But, as the lines of controversy and popularity continue to blur for the group, it’s allowed them to reconcile their artistic side with their commercial, their zenith occurring at one powerful sentiment: Calle 13 is one of the world’s most important cross-cultural artistic movements.

Audaciously poking fun at popular culture and addressing elephants in every room they step into have been predilections for Calle 13 – in their just-released documentary, Sin Mapa (‘Without a Map’), they trek through South America in a wildly-entertaining journey to find sense of self through being amongst the people, all while exposing the hypocrisy and political false pretense that runs rampant, but rarely addressed. (While describing mass media in Venezuela, Residente says, “In a country where 90% of the people are the color of cinnamon, the television embraces those with white faces”, and of the over-commercialization of South American historical landmarks, Residente likens Machu Pichu to Disneyland). Sprinkled with a unique brand of comical-yet-serious humor, and commentary so raw and honest it’d scare NatGeo, Sin Mapa serves as an accurate view of contemporary global Latino culture, and removes the veil of insincerity that has long existed within 3rd world countries whose people have been left behind.

All of Calle 13’s recent global activity has brought them to the present, where there have been rumblings within the industry of a global mainstream penetration similar to that of M.I.A., including possible collaborations with high-caliber producers the likes of Diplo. If their recently-shot television commercial for adidas and clean sweep of the Latin Grammy Awards (they won every award they were nominated for, including Album of The Year) a few weeks ago are any indication of where the ultra-expressive cultural ambassadors are headed, then the world, no matter how destitute or overwrought with depression, is about to be culturally rich. Get ready.

More Info: www.lacalle13.com

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Format recently caught up with graffiti artist-turned gallery sensation Eric Haze at his New Abstracts & Icons at New York’s Level 2 gallery. Eric describes New Abstracts & Icons as a reductionist process and while the artist might have matured since his days as young graffiti writer, his approach and sensibility is as fresh and innovative as ever.

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Born and raised during the eighties, Greg Mike grew up around the street artists and skate kids of New York City. It didn’t take long for him to find his own voice in this maelstrom of art and street culture, spending his formative tagging anything he could get at. As Mike honed his craft by night, and paid bills by day, a part of him struggled to break free and develop a new medium for himself. So then were Mad Cans, pop cans detailed with wild street art designs, born. The cans took off, finding homes in galleries and private collections. In this exclusive interview, Greg Mike talks with Format about what goes into his art, and the future of art as communication.

“I think from a line style and color perspective, it’s apparent that I come from that arena. I’ve always enjoyed the character work over lettering as I it was so easy to relate to.”

Format: What is your earliest art-fuelled memory?
Greg Mike: As a youngster I remember being glued to the T.V. watching the classic cartoons. The bright colors and animation of those Disney toons were such an inspiration to me. My desire to emulate those characters is what led me to pick up a pencil and brush for the very first time. My older brother, who was also into art as a kid, encouraged me to create and was a huge inspiration.

Format: How was ‘The Loudmouth’ born?
Greg Mike: I had been doing a lot of sketching at the time, and was drawing numerous pieces that I was calling ‘Mad Cans’, all with open mouths and missing, chipped, or jagged teeth. I began to notice that every character had a missing or chipped tooth in the same spot. The mouth was a focal point that took on a life of its own, creating an energy and emotion for every character, so much so that it deserved its own name: The Loudmouth.

Format: What is the history behind ‘Popstars and Cokeheads?’
Greg Mike: Originally, when I was sketching the Mad Cans, I had no intention of painting soda cans. As the characters evolved, it hit me that I should take it to the 3D form. With a soda in hand, I attempted to paint a few cans. In the beginning, the shape and texture threw me off. Like any artist, I was accustomed to painting the typical two-dimensional surface.

I started with two or three cans, which quickly grew to 10, and then 20. Soon enough I had an entire army of Mad Cans. Everyday, new ideas, characters and concepts would flood my thoughts. I lassoed my ADD, and decided to create a series of cans with a goal of 100 in mind. The small cans inspired me to take it to the next level and create the 3ft tall large cans that I will be debuting in San Francisco.

I soon grew tired of the name Mad Cans and needed something new and energized. The term ‘coke head’ came to mind for obvious reason, I was painting my character heads on coke cans. But this wasn’t enough. As the characters developed, I noticed many of them began to resemble some of our more notable pop icons. That bright light above my head came on and the concept of Popstars and Cokeheads was born. It was somewhat edgy, somewhat risqué – it was perfect.

Format: As Popstars and Cokeheads is your first solo show, what do you expect to be the outcome?
Greg Mike: I expect it to be a great series. I’m looking forward to exposing my art to new markets, getting new ideas, and in turn, creating new concepts and characters. I enjoy the collaboration process, and am hoping to expose my work to others, sparking creative collaborations with individuals in other lands.

Format: What does Popstars and Cokeheads say about Greg Mike?
Greg Mike: Popstars and Cokeheads, as a series, is a animated expression of color and simplicity that I feel shows my energetic, simplistic and bold state-of-mind at the current time.

Format: How did the union between Medicine Agency and Popstars and Cokeheads come about?
Greg Mike: About four years ago, I co-founded Trafik Tradeshow in South Beach, Florida, and served as the Creative Director. For this contemporary fashion-based show, I was handling the interior design, art and DJ selection, etc. Every show featured live art installation and design. Rama Mayo, one of the founders of Medicine Agency, was representing multiple artists and designers at the time. We worked together for many years, booking creative talent for Trafik Tradeshow. Throughout this time, Rama became very familiar with my private label design and artwork. As Medicine Agency expanded its doors this year to a larger, more productive space, their new art gallery seemed like the perfect fit to launch my show.

Format: Your background is incredibly diverse, you have made your mark on both the fashion and design worlds and your formative years were spent bombing the streets, how have those experiences influenced your art?
Greg Mike: Of course, I think both sides of the design / art world compliment each other. Working with the pencil vs. creating from scratch on the computer, I feel allows the mind to create more freely. Recently, I’ve noticed a lot of the style lines and colors evident in my fashion design work crossover into my fine art work.

Format: Of all the different mediums you are involved with, which is your favorite and why?
Greg Mike: I would have to say painting because it’s the most hands-on and requires the most control and thought. With fashion, you can design a garment but from start-to-finish it goes through so many hands. From the fabric mill that creates the fabric, through the dying process, the trim factory that makes the buttons and zippers, to the individual who is actually cutting and sewing the garment. When creating for larger brands this process is exciting but the lack of control and potential for human error are unnerving.

Format: How does the process of creating clothing differ from creating a painting or an illustration?
Greg Mike: With clothing there is always that question of: will people buy this, will people like this? With the art side and illustrating it allows more natural expression, without boundaries, as those questions aren’t present.

Format: How has your background in graffiti influenced your art?
Greg Mike: I think from a line style and color perspective, it’s apparent that I come from that arena. I’ve always enjoyed the character work over lettering as I it was so easy to relate to.

Format: What is the next step for Greg Mike? Are you planning to conquer any other mediums?
Greg Mike: I am looking forward to future shows, series, collaborations and projects. I have some interesting concepts for the future and I’m jazzed to bring them to life.

Format: The artistic process is always something that I find inspiring and incredibly different from artist to artist, how would you describe yours? Who do you look towards for inspiration?
Greg Mike: I find inspiration in everything that I see and interact with. Both the good and the bad push me in certain directions. Traveling always helps fuel the creative process and sparks new concepts and ideas. At the end of the day, it all starts with a vision, and my job as an artist, is to bring that vision to life.

More Info: www.gregmike.com
Photo Credit: Oh Snap Kid

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South Africa has long been home to some of the sickest beat merchants on the planet and Cape Town-based African Dope Records is the one label supporting the best-of-the-best South Africa has to offer. Mix n Blend, made up of Kevin, Jon and Ross, is one of the newer acts in the Dope stable and they have just released their debut album Look Mom, No Hands. The album is an awesome mix of monster bass, reggae backbeats, and toe-tapping funk with a definite ska undertone. Although Mix n Blend is an electronic act, the guys have made an effort to include plenty live instrumentation and vocal collaborations that showcase some of the Mother City’s finest vocal talents. Format caught up with the ‘muppets’ from Cape Town to find out about the album, the live performances and more.

“Because we have it in separate elements and we’ve got eight channels, we can take a track that’s about 80bpm, and in a second you can start making a drum n bass version out of it.”

Format: Tell us about your different roles in Mix n Blend.
Kevin: Well in terms of our performance we swap in-and-out, it’s more fun that way.

Jon: I think we’ve all got different things that we’re into. We all like different sounds, I know I’m into everything from jazz to punk, and Ross is more into that West Coast, glitch-hop / click-hop vibe. Kev will play anything from breaks to drum n bass, but we all crossover. I think that’s what’s cool about us — we all flip through a whole bunch of different equipment on stage — it’s not like one guy will be rocking the sampler all night.

Format: What, or who are you influenced by at the moment?
Kev: I think the person who has influenced us the most musically, is Heather ‘Honey B’ Nel and she’s pretty much into everything. She was the first person who actually showed us that you could play a big time swing track and then smash it into drum n bass and then people would go crazy!

Ross: For me it was more Sibot and Marcus [The Real Estate Agents] and that kind of movement.

Kev: A lot of local guys, like the original Dope crew.

Ross: At the moment I’m getting influenced by Bayside California, glitchy sort of
crunk. It’s called EDM or Emotional Dance Music.

Format: Tell us about the production process for the new album Look Mom, No Hands.
Jon: We pretty much did it all ourselves. Some of the vocals we recorded at Ross’s studio. The other studio that we did some tracking in was Ross McDonald’s from The Rudimentals. He’s got a really nice studio… good mics… great mics!

Kevin: We played with a couple of ideas and we needed live instruments, so we got guys in to record and then put it all together and engineered it.

Format: How do you translate your studio tracks into live performances?
Kevin: Well when you’re making a track you’ve got all the separate elements. So when it comes to the live performance you take it from the stage before you’ve mastered [the track], when it’s all still in it’s separate elements, we basically set it up so that with all these elements playing, we can slot in elements from the other tracks and basically have the ability to match tracks together.

Jon: Because we have it in separate elements and we’ve got eight channels, we can take a track that’s about 80bpm, and in a second you can start making a drum n bass version out of it. Break it down again and maybe start looping it out and bring another element in. It’s not like a DJ thing were you’re just playing one track and bring another track in.

Ross: The result is that it never sounds the same.

Jon: When we actually sat down and decided how we actually wanted to do stuff, what we realized was that a lot of electronic acts out there, like The Real Estate Agents, all their stuff is done on the fly. But with other electronic acts a lot of their stuff sounds rigidly the same. We don’t want people to go like ‘here’s the drop, here it comes.’ When we’re operating with Ross on the sampler and Kevin on the APC, for instance, there’s quite a big opportunity for things to go horribly wrong.

Ross: We kind of look at each other and go ‘OK, now what’s going to happen?’

Kevin: Sometimes we can just get lost. But there’s a few safety exits that we have.

Format: You seem to collaborate with a wide variety of other artists, did you initially decide that you would collaborate on this album or was it just a natural outcome of the production process?
Kevin: Well, we wanted to have as many live instruments as possible, for example, a bass guitar when it’s played live, you can never mimic that with an electronic bass. And we decided we’ve met all these creative people, brilliant artists, and we were like ‘let’s take a stab in the dark’ and it worked well. Often we wouldn’t say what we wanted, we just gave them the track and every time it came back we were like ‘wow!’

Jon: Pedro we kind of highjacked at Oppikoppi. And we were like ‘we’ve always wanted to work with 340ml.’ I don’t think he knew what hit him because he was like attacked by these muppets with samplers.

Format: The album artwork is awesome, who’s responsible?
Jon: Mike Saal, he’s been a friend of mine for a while.

Kevin: The idea was you’ve got us being the three monkey muppets who take this ship and off we go on our little endeavour. Kind of like what happened with the album, and the interesting people we’ve met along the way.

More Info: www.mixnblend.com / www.myspace.com/mixnblend

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For those of you not in the circle of trust (Meet the Parents, anyone?)

BlakRoc = The Black Keys + Damon Dash + a fiery line-up artists, including but not limited to; Mos Def, Jim Jones, RZA, Nicole Wray…

+side note: Here’s the varsity jackets I made that were exclusively commissioned for the BlakRoc project.

Peace!

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Starting with little more than a desire to get know, and get paid, boxmeup was founded as a freelance design company in New Jersey by two graphic designers. Now re-branded as wedothenasty, and boasting a client list that includes Warner Music, Ciroc Vodka, XXL Magazine, and adidas, Jimmie Solomon and company are among the most exciting graphic designers working today. Format sits down with wedothenasty co-founder and graphic designer Jimmie Solomon to talk about design, inspiration, and visual marketing.

“On most projects I am at liberty to do what I want ….Just because [clients] ask you to do something a certain way, doesn’t mean that’s the only way you can present it.”

Format: So how did you get into graphic design? Was your background in art?
Jimmie Solomon: I got into graphic design around 8th Grade. I remember being on AOL in the chat rooms trying to get a pirated copy of Photoshop. I remember I learned everything on what was then
Macromedia Fireworks, then I finally got my hands on a copy of PS. Life hasn’t been the same since.

Format: With work like advertising design, so much of the communication is non-verbal. How do you effectively send the client’s message across to the consumer?
Jimmie Solomon: The client’s message is always the priority when working in advertising. Especially with the bigger budgets, they nitpick with the biggest magnifying glass, but we usually just take what they want — which is usually pretty corny — and make it cool.

Format: Is it easier to work with companies with an iconic logo like Nike, or more difficult? The use of the Swoosh helps the brand communication so much, but is there that concern that the logo overpowers the design?
Jimmie Solomon: It’s usually more difficult to work with established identities because you already have limits. The flip side of the coin is the project usually develops faster and is more successful because the foundation is already set. Logos never really over power the design – except for in my experiences with working with Bad Boy. One of the first things I was told when I started working for Atlantic was “Always make the Bad Boy logo big.”

Format: A lot of designers find it difficult to find a good balance between good ad design and what marketing needs in terms of branding and visibility – how do you find that kind of balance?
Jimmie Solomon: Great marketing ideas rule everything. If the idea is good, who cares about the rest of that junk (branding/visibility). People will get the message and know from whom the message is coming.

Format: I really enjoyed your work on the Diddy web site, was the minimal-classic look the client’s idea or yours?
Jimmie Solomon: Haha, thanks. The look for the Diddy site came straight from the horse’s mouth. He’s just like “It has to look like Diddy. Clean. Sharp.” So… that was that.

Format: Could you talk about your creative process? What does your working day look like, and just how does a project go from a conceptual idea to a finished product?
Jimmie Solomon: Usually it all begins with gathering inspiration. I look at all of my favorite design blogs, some magazines, even music and movies that are out. I just take everything I like from that bunch and then its like… what can I do with all of this greatness? Then when time allows, I like to start
off with a tonof sketches. Then we narrow them down to two or three good ideas. From there I do mockups, almost like full versions of the project, which I then give to the client to go to town.

Format: Do you feel that your work might have looked radically different if you had been given more creative freedom?
Jimmie Solomon: Honestly no, because on most projects I am at liberty to do what I want – at least initially. I feel it’s the same for everyone. Just because they ask you to do something a certain way, doesn’t mean that’s the only way you can present it. Maybe you have one the way they like and one the way you like. Again…great ideas are undeniable.

Format: Some designers find it difficult to find a balance between the client’s needs and their own belief in what’s best – do you find it difficult to put that nagging feeling away, or have your clients been
creatively accommodating so far?
Jimmie Solomon: Oh nagging clients are the worst! They always make me not want to do the projects at all. There have definitely been times where I’m like ‘OK fine. Just tell me what you want exactly and I’ll do that exactly the way you ask.’ Ironically enough, those pieces rarely make it to my portfolio.

Format: If you were given the opportunity to move out of freelance and into a permanent salaried position, would you think of that as a step up, or a step down? Would you value the opportunity for more stable work at the cost of creative and career freedom?
Jimmie Solomon: Well right now I do both. I work full-time for Warner Music Group then after work I moonlight as an employee for my We Do The Nasty title. It’s a tough call between full-time and freelance. I can’t call it.

Format: Could you give us any design horror stories? Like designs that you thought were absolutely perfect but you ended up never using or the client ended up not liking?
Jimmie Solomon: At my 1st full-time job out of college, I worked at Miskeen Originals. I always thought I had a shitload of great ideas that they didn’t end up liking. That job was kind of a horror story
because my ‘design director’ was someone who couldn’t design a damn thing so that was frustrating.

Format: Everybody gets stalled when they’re working. How do you sustain creativity over the course of a project? How do you keep your mind fresh so you can keep polishing your project?
Jimmie Solomon: Just keep getting inspired. There are a ton of people online and around the world doing cool shit everyday. I always see great ideas and am like ‘Shit, I gotta have an idea that good too.’ So then I go and make one!

More info: www.wedothenasty.com

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With a heap of successful singles and an awesome album under his belt, David Dallas is one of New Zealand’s hottest rappers. After high school, he went to University to pursue a degree in Computer Science. During his studies he had the opportunity to kick-start his career as a rapper who’s vibe, in tracks like “Indulge Me”, “Big Time” or “Front To Back”, is truly distinctive. So much so that we believe this guy has a lot more to look forward to in the future. After his debut album Something Awesome hit the New Zealand Top 20 charts, and with a few shows in the US, Format jumped at the opportunity to talk with him about his music and career in the rap scene.

“Feels good – it [Something Awesome] hit #1 on the iTunes album chart over here too, so that was nice. But, the most validating part is still hearing from people who picked it up and are feeling it. That’s the shit.”

Format: Hey David, how’s it going? Please introduce yourself to our readers.
David Dallas: My name’s David Dallas, I’m a hip-hop artist from New Zealand.

Format: When you were young, what was it you wanted to be most in life?
David Dallas: I wanted to be a bunch of different things, but I think I most wanted to be a videogame reviewer… or rich!

Format: When and how did it come to be that you started rapping?
David Dallas: I’ve listened to rap for as long as I can remember, due to my older brother. I’d always learn people’s songs and recite them to myself, but I’d never thought about actually trying to rap, not until I met a couple friends who were doing their thing while I was at University. I had heaps of spare time so I started downloading instrumentals and reading up on how to record. Once I bought a cheap mic and got my hands on some ‘cracked’ recording software, it was on!

Format: How does it feel now that your album Something Awesome has broken into New Zealand’s Top 20?
David Dallas: Feels good – it hit #1 on the iTunes album chart over here too, so that was nice. But, the most validating part is still hearing from people who picked it up and are feeling it. That’s the shit.

Format: So have you reached the feeling you’re talking about in “Big Time”?
David Dallas: Haha, nah not yet. I’ve still got a whole lot of things I’ve gotta accomplish before I’ll feel like that.

Format: What’s your favourite song on the album and why?
David Dallas: “Indulge Me” is a special one to me – I’ve always liked smooth artists, and this one just has that vibe, yet it’s still up-tempo enough for people to dance to. I dig the fact that it’s a song about a female that isn’t corny, that can be played in a club. Difficult combination.

Format: If you had the chance to feature a rapper of your choice, who would that be?
David Dallas: Any one of the following would be a life highlight: Jay-Z, Andre3000, Eminem (circa 2002), The Prodigy (circa mid 90s), Methodman (circa mid 90s)

Format: You were a member of Frontline. How did it come to be that you’ve gone solo?
David Dallas: FortyOne, who was the other half of Frontline, was never into the whole ‘artist’ side of the business (doin’ videos, interviews etc). He just wanted to produce and make beats, so me steppin’ out was the logical step. He still ended up producin’ half the songs on my album. Best thing about it is it’s freed me up to make music solely reflective of my own tastes. I don’t have to worry about representin’ no one but myself.

Format: What’s been the best moment in your career to date?
David Dallas: Playing my first show in the U.S.

Format: Lastly, any upcoming projects or plans our readers should know about?
David Dallas: Look out for my album Something Awesome, which is available worldwide on iTunes. I’ll be in New York for the CMJ music marathon in October, and I’ve got more new material in the pipeline. Just finished a remix with a dope U.S. act that’s set to drop in the next couple weeks. Check my web site out if you wanna keep up with what I’m up to.

More Info: www.daviddallas.co.nz / www.myspace.com/daviddallas

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2. DJ Vibe and Max Barbaria are from the future, but its now, so it might be the present too.
3. David Choe: Thumbs Up!

Founder and creator of Radii (ray-dee-eye) Footwear, Casey Arisohn knows sneakers. With design lines boasting bad-ass names like Straight Jackets, Stranglers and Thrillers, it’s no surprise these hip pieces have aroused attention from music moguls and fashion-forward dudes and divas the world over. Still in his mid-twenties, this sneakerhead got going in the industry early on. A little over a year ago he made a move and branched out on his own. Now he’s sitting pretty and sharing shelf space with myriad top brands, from Cr8tive Recreation to Alife, Reebok to adidas. Stiff competition? Hardly. Looks like this California dreamer has the right attitude. See what we mean by reading on.

“We went from being a brand that no one had ever heard of, with a few people seeing potential in us, to having an icon like Jay-Z wearing our shoes.”

Format: Tell me a little bit about your background, how you got started in the shoe biz?
Casey Arisohn: I was born and raised in Huntington Beach, which is basically the hub of the action sports industry. I grew up with the owners’ sons of an iconic shop in Huntington, so I started in retail as soon as I turned 16. I’ve always been a shoe guy. Some people like sunglasses or watches; I’ve always been a sneakerhead. Most people that know me will attest to me having too many shoes to even fit in my closet.

Format: My friends could say the same, though less sneakers, more vintage high heels. So, what inspires you?
Casey Arisohn: I’m influenced by other shoes. Anybody in the shoe game is. It’s our passion. Right now, I’m into Christian Dior, Android Homme and Common Projects. I’m influenced by history. Fashion trends from different eras [hint at] where the new era is headed.

Format: Viewing the current collection live online, the look is über urban. As it stands, these shoes are awesome, but not always 9-5 appropriate, unfortunately.
Casey Arisohn: I agree with you. These are not always 9-5 appropriate if you’re a suit-and-tie type person. It’s all perspective. They are 9-5 for athletes, entertainers and young entrepreneurs. We are striving to take over the shoe market, so, for the future, there will be more clean, mature styles that will cater to the true 9-5 person. We’re taking baby steps. We’re still a brand new company.

Format: Despite being little more than a year old, I understand the brand has done quite well. Can you comment on this success?
Casey Arisohn: I am slightly pessimistic when in comes to forecasting. I am hard on myself and would rather be pleasantly surprised than let down. That being said, our first year of business has surpassed my expectations. We went from being a brand that no one had ever heard of, with a few people seeing potential in us, to having an icon like Jay-Z wearing our shoes. The even better news is our sell-throughs have been out of control. Accounts are re-ordering weekly, until we’re completely sold out.

Format: That’s stellar news. Congrats! So, how does it make you feel to see Jay-Z and The Black Eyed Peas, among others, rocking your designs? Who else has been caught donning Radii?
Casey Arisohn: It was pretty crazy to hear that Jay-Z had bought two pairs of our shoes and was wearing them on tour. We have tons of celebrities wearing our shoes. We have athletes, from Martellus Bennett (Dallas Cowboys) to Ryan Grant (Green Bay Packers) to Joba Chamberlain (New York Yankees), and many more.

Format: What sets you apart from the competition?
Casey Arisohn: I really listen to my customers. We don’t have egos here. We don’t think we’re going to design something that only we like and then try to force customers to buy the product. We make what our customers want. This is the reason we’ve been so successful. From our prices [$80-$120] to our styles, I think you can see what sets us apart from the competition at first sight.

Format: What has the response been from skaters? Are these skate-friendly shoes?
Casey Arisohn: We have a great response from the skate customers. By no means are we producing skate shoes. We don’t spend any more on R & D to help develop shoes that are skate-able. We don’t target any skate shops as our retailers either. That said, we make very comfortable shoes. You can skate in our shoes and they would hold up pretty well. We have a handful of skate stores that carry our shoes and they do very well. We have that crossover customer.

Format: Who are your biggest customers?
Casey Arisohn: Our biggest customers are the streetwear customers. It’s definitely a sneakerhead type following we have right now. The U.S. is still our best country, but our Korean distributors opened up a Radii store in Seoul. And Japan does very well with our kicks too. They are more edgy when it comes to fashion, so they don’t hesitate when they see the bright colors.

Format: In general, which style is the most popular?
Casey Arisohn: To date, our 420 Top is the best selling style we’ve had, but that is also due to the fact it has been in the line since the first season. Our Straight Jackets have done very well, even at the higher price point ($120). For Holiday we’ve had a huge buzz on our Timeless Deluxe style, so we’ll see how it sells over Christmas.

Format: Are the Thrillers named after MJ?
Casey Arisohn: Actually, yes. They were named long before he passed, though. Our shoes remind me of the 80s and that vibe. We have some cool throwback names in our new line too.

Format: Have you considered creating a vegan version?
Casey Arisohn: We are constantly working with new materials and styles that will help us broaden our customer base. We haven’t specifically set forth to make a vegan shoe yet, but I’m sure it’s only a matter of time. If our customers want it, who are we to deny them what they want?

Format: Do you plan to branch out into other accessories or clothing?
Casey Arisohn: Eventually, yes. We’d like to be a well-rounded accessory company. My vision is to have pieces that don’t say ‘Radii’ all over them. We’d rather make amazing pieces where people have to ask you what you’re wearing because it’s so dope. I’m talking jackets, wallets, hats, bags.

Format: Speaking of the new line, what’s next?
Casey Arisohn: We’re just going to continue to try to make shoes that are fun. We’re really excited for what 2010 has in store for us. We’ve got some new materials and color combos that will have heads spinning. We’re going to add more business casual shoes to the line to help diversify and gain more followers. We have some stuff in store. I can’t give it all up, though. We have to keep you wanting more. I’ll end with…stay tuned!

More Info: www.radiifootwear.com

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