The Layzell Bros embody America as a destructive but lovable toddler for Sarah Silverman show


After seeing The Layzell Bros comedy music video for Adam Buxton, Sarah Silverman approached the animation and illustration sibling duo to make the title sequence for her new show. The comedian’s Hulu series, I Love You, America, explores unity in an increasingly divided country, so the concept for the 30-second animation depicts the US as a giant, belligerent, but ultimately lovable toddler.

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Gucci Mane Cleans Up Nice on ‘Mr. Davis’

Nobody will ever be able to say they’ve experienced all there is to life. However, from the outside looking in, one might look to Gucci Mane as someone who has seemingly experienced much of what life has to offer – the good, the bad, and the ugly. He’s helped pioneer trap music from the outskirts of mainstream reach to the Billboard charts, released dozens of heralded mixtapes and albums, dealt with a string of incarcerations and a dark drug addiction and met the love of his life.

But before the wedding bells and standing tall before his fans as the mature elder statesman of trap we never could have imagined, Gucci would serve a three year stint in an Indiana federal penitentiary for federal drug and gun charges. For the now 37-year-old Atlanta-based rapper, this particular isolation from family, friends, fans, and his career weighed heavy and marked a pivotal moment in his life. So much so that by the time he was a free man, we were introduced to a totally new Gucci Mane (hence the clone jokes). Cleaning up his act, mentally and physically, it was a career overhaul as he reinvented his image and refocused on his passion for music in a new way that would allow him to live and work as he truly wanted to.

The past 17 months have been a whirlwind for Gucci Mane. He’s released a telling autobiography, got a clothing line on the way, got his own signature Guwop Reebok, proposed to Keyshia Ka’oir (they’re getting married on October 17, 2017, because duh); and began writing a screenplay with the push of Spring Breakers-director Harmony Korine. And as one of the more popular rappers of the past decade, Gucci Mane’s music career is flourishing like never before as he earned his first ever No. 1 on the sales-based Top R&B/Hip-Hop Albums chart with his post-prison, ninth studio album Everybody Looking. Not to mention, he’s been featured on a handful of charting singles on the Hot 100, from Rae Sremmurd’s smash hit “Black Beatles” (his first number-one single as a featured artist) to Selena Gomez’s “Fetish” and Fifth Harmony’s “Down.”

Since his unexpected, but deserving, commercial high point, Gucci continued to feed his ever-growing fanbase with a bevy of solo and collaborative mixtapes and two albums: Woptober, Free Bricks 2, The Return of East Atlanta Santa, and Droptopwop. With a wicked and celebrated work ethic, comes much responsibility, and of course, Gucci stepped up to the plate and delivered.

Upholding his winning streak, Gucci has released the highly-anticipated Mr. Davis, his eleventh studio album, after pushing the date back by an entire month. Unlike his stacked discography, the title alone is leaner than ever and has a sobering aura of maturity that breathes easier than his latest offerings. After living his life out in the media, being scrutinized for his mistakes and ultimately learning from them, and going on to embark on a successful career resurgence, Gucci turns to making nothing less than honest art.

On the album’s Murda Beatz-produced opener, “Work in Progress,” Gucci rattles off a list of vile things he’s endured throughout his 37 years of life: sleeping on dirt floors, facing eviction notices, sitting in a cold jail cell. “Sometimes I think about my past, it make me start tripping / I was gifted with a talent that was god-given / But I was so hard-headed I would not listen.” In the same breath, he lifts his Trap God guise and unveils a stunning vulnerability: “How you gon’ judge me? You don’t know what I been through / I think these killers need a hug, I need a hug too.”

Seemingly, Gucci’s newly adopted brand of maturation has aided his domination of rap’s mainstream, but he doesn’t leave his day one fans in the dark. Across the board, Mr. Davis achieves a careful balance of his diverse musical capabilities: The Offset-less Migos-featured “I Get the Bag” is a laidback yet flamboyant victory lap as the threesome trade stories about their expensive lifestyles featuring a plethora of women, wealth, and drugs, and “We Ride,” assisted by R&B chanteuse Monica, is a blissful take on the enduring beauty of his relationship with his fiancé Keyshia Ka’oir.

Gucci Mane used to rap about partying and excessive drug use and distribution. Mr. Davis is full of sophisticated (at times still ratchet) swagger: “Old Gucci Mane was addicted to dranking / New Gucci Mane, I’m addicted to Franklins / No, we not the same, I’m evolving.” Throughout the album, Gucci doesn’t shy away from addressing themes that are prevalent in his life. There’s his unmatched hustle (“Members Only”), his affinity for securing the bag at all costs (“Money Piling”), and reveling in his post-prison transformation (“Changed”). But that doesn’t mean he’s totally ditched the Trap God repertoire that’s led his ascent. In particular, “Make Love,” featuring Nicki Minaj, is a nostalgic moment reminiscent of 2010’s “Making Love to the Money” and Gucci’s taste for exuberance. The twinkling, piano-laced beat melts into a tough bassline as he serenades piles of cash with an unassuming loverman voice on the melodic hook.

Mr. Davis’ most powerful moments are split between “Lil Story” and “Tone it Down.” While the ScHoolboy Q-assisted “Lil Story” is a deep cut that tips its hat to the classic era of the Gucci Mane who made his claim to fame from his hankering for gloriously gutter and grimy narratives, “Tone it Down” has an immediate commercial appeal but also finds Gucci commanding the track with a barrage of bars with absolute precision alongside Chris Brown.

It’s safe to say, Gucci Mane has found his sweet spot.

For more of our reviews, take a look at our thoughts on the new solo album from Macklemore here.

PUMA Unveils 50th Anniversary “Suede” Campaign Featuring Tommie Smith

PUMA announces the 50th anniversary celebrations of its iconic Suede silhouette and on this day in 1968 at the Summer Games in Mexico City, American athlete Tommie Smith broke the 200m world record in PUMA spikes, who then walked to the victory stand carrying a single PUMA Suede on his left hand.

Marking 49 years since the Suede’s first and greatest moment in sport culture, PUMA is officially kicking off the year-long celebrations through its 50th Anniversary in 2018.

To honor the Suede’s legacy, PUMA is partnering with brand and icons in music, fashion, street, and pop culture to introduce 50 unique drops of the classic silhouette as well as re-releases of beloved OG styles and brand new iterations.

Fittingly, kicking off the celebrations is PUMA’s long-standing Track & Field athlete, Tommie Smith.

This celebratory Suede 50th Anniversary edition debuts at select PUMA retailers and online starting Saturday, November 4, 2017.

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Books From The Future’s experimentally collaborative and investigative publishing


Books From The Future is a London-based publisher working at the intersection of research, education and publishing founded by educators Yvan Martinez and Joshua Trees. The pair started Books From The Future as a way to explore the models used to structure contemporary art and design education that are “no longer relevant yet have become so institutionalised and internalised that alternatives can seem wildly idealistic and unrealistic by comparison.”

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How The “Anxiety And Disorder Of Our Time” Is Changing Design

Graphic design legends Milton Glaser and Mirko Ilic reissue their seminal book The Design of Dissent. Here, they talk exclusively Fast Company creative director Florian Bachleda to us about visual design in the Trump age.

The Design of Dissent

In 2005, designers Milton Glaser and Mirko Ilic released The Design of Dissent, a book showcasing socially and politically driven graphics from around the world. Since then, events ranging from the Arab Spring to the election of Donald Trump, have destabilized global politics and led to a renaissance of visual dissent. Glaser and Ilic have expanded the book to include design projects from the past decade. Here they talk about the newly reissued book,  how social media has changed graphic design, and what designers can do to fight 21st-century authoritarianism.

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