New Philly theater company is creating productions for children with disabilities

Sarah Gordin’s love for theater bloomed the moment she saw Beauty and the Beast on Broadway.

At 4 years old, she stood up to watch the entire show through the balusters of the mezzanine, enthralled by the experience. The classic production inspired her to become a performer and later an educator in the world of theater.

Now, as an early childhood movement arts specialist at Germantown Friends School, Gordin, 23, relishes when her students are struck by the same magic she witnessed as a kid. But in the years she’s been a part of the local arts community, she noticed something was missing: a company fully dedicated to performances for children with disabilities.

“Every major city has a dedicated children’s theater, so I was shocked that Philadelphia didn’t have one,” said Gordin, a native of Livingston, N.J. “It’s really important for children to be exposed to theater. And this is the type of work that I want to create as an artist, and sometimes you have to create your own opportunities to do it.”

Jennifer Spencer (center) holds a sensory object (a bumblebee) while rehearsing “Season’s Magical Adventures: A Sensory Play” at Philly Children's Theatre.Yong Kim / Staff Photographer

Gordin established Philly Children’s Theatre in November 2021 with the aim of making theater more accessible to children throughout the region.

Inspired by Oily Cart in Europe, Philly Children’s Theatre puts on “sensory-devised” performances that incorporate interactive elements tailored to young children with disabilities. The company offers pay-what-you-can for entry and brings productions to local neighborhoods to eliminate the cost and travel barriers some audience members may face.

Their first production, Without Wings by Ilana Zahava Abusch, included American Sign Language interpretation at one of its performances in July 2022. And assistant artistic director Erin Gaydos said the group’s next production, Season’s Magical Adventures: A Sensory Play, will include more interactive features to give kids a more direct hand in the production.

Ahead of the play’s premiere on May 6, children in grades 4-8 at the Julia de Burgos Elementary School are making the show’s set and props, which all have a sensory element to them. Props include buttons, fuzzy pom-poms, wax flowers, rainmakers, spray bottles, and fans.

Philly Children’s Theatre is bringing the magic of the arts to children with disabilities. The company's productions include the use of sensory prop items like pom-poms, rainmakers, spray bottles, fans, and other items.Read moreCourtesy of Philly Children's Theatre

The props will be placed in a bag and given to groups in the audience at the beginning of each show. The characters in the production will guide each child using the sensory props as they appear, allowing them to help tell the story. Gaydos said there will also be original music, sing-alongs, and guided dances to engage different senses.

“It encapsulates that immersive and interactive part where they’re going through and creating the show with us while it’s happening,” Gaydos, 23, said. “And that way, they are allowed to experience the show in any way that they want to or can. There’s no judgment.”

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The prop and set-making are led by Julia Gutman, who heads art projects for the Creative Arts and Restorative Education Program. By helping children crochet, sew, and weave the art textile pieces together, she said it’s building a deeper connection between them and the show’s story of the four seasons.

“It’s not just for children, it’s with children involved,” Gutman, 24, said of the play. “I just love how child-centered it is.”

Cast members rehearse a sensory-devised performance of “Season’s Magical Adventures: A Sensory Play” at Philly Children's Theatre. The play will include tactile kits for children to use as part of the production.

Once the show’s spring run ends, Gutman said students will be able to take home the props they designed. The script will also be turned into a storybook by playwright Juana Parral, with Julia de Burgos students illustrating the story.

Through community partnerships, Season’s Magical Adventures: A Sensory Play will debut in a closed performance at the Center for Autism and the HMS School in April. Public performances will take place at the Wyck House, Abington Arts Center, and Historic Fair Hill May 6-13.

Performer Jennifer Spencer, 24, said the theater’s desire to take the show to different neighborhoods in Philly is what drew her to the company, and she can’t wait to see how the children take in the experience.

“It’s important to reach people where they are because not everybody has the same opportunities as everybody else,” Spencer said. “I grew up in a program that allowed me to see opera from a young age, but other kids have never seen an opera or theater show. This is gonna be their first time experiencing something like that, and this is a great way to show them.”

Cast members rehearse at Philly Children's Theatre.Yong Kim / Staff Photographer

Going forward, Gordin wants to continue securing funding and support from local organizations to introduce theater to children ages 1 to 5 and make sensory-based productions more accessible throughout the region

“It sounds like a big goal, and it is, but we’re going to talk to community centers, hospitals, homeless shelters – wherever we can bring the show and bring joy,” she said.

Season’s Magical Adventures: A Sensory Play premieres May 6 at the Wyck House. Two other shows are scheduled, May 7 at the Abington Arts Center and May 13 at Historic Fair Hill.

Registration for the 45-minute production opens March 1 and can be found on the group’s website. For more information, visit phillychildrenstheatre.org.

– The Philadelphia Inquirer

Boi-1da, The Free-Spirit Super Producer, In His Grammy Moment

Boi-1da isn’t one for repetition — he’s an explorer of sound. Throughout his run as a top-booking producer, he’s fused his love of hip-hop, reggae, dancehall, R&B, and other genres in pursuit of the next sonic wave, and he’s done it by refusing to limit his creative ambitions.

“I don't like to just do the same thing,” Boi-1da said. “I'll get bored and just feel like doing something completely outside of the box just to challenge myself or push myself. And it's good for the mind. You sit there and make a million rap songs, beats, ideas, and whatnot. But then sometimes I just want to do something different and just get outside of my box and comfort zone.”

From the days he spent obsessing over FruityLoops beats as a teen to the years he’s been cranking out platinum-selling hits like “Headlines” and “Work,” the Kingston-born and Toronto-raised producer has harnessed his artistic powers to spearhead the industry’s biggest musical trends and established himself as one of the top producers in the last 15 years. Between collaborations with heavy hitters like Kendrick Lamar, Eminem, Nicki Minaj, Rick Ross, and fellow Canadian superstar Drake, along with a slew of platinum plaques to his name, Boi-1da, born Matthew Jehu Samuels, has the hardware to back up the claims.

As the Grammy winner’s star has grown brighter, he’s kept his profile low and his goals in frame. And his approach to life and music has led to a second Grammy nod this year for Producer of the Year in the Non-Classic field, with songs like Jack Harlow’s “Churchill Downs,” Kendrick’s “Silent Hill,” and Beyoncé’s “Heated” helping him score a nomination. “It's always a deep honor to get any sort of nomination from the Academy. So to have this again, it almost feels surreal,” the 36-year-old producer said. “It's hard to even muster up a feeling. This is stuff I dreamed about as a kid.”

With the momentum of Drake’s “God’s Plan” setting the industry ablaze, Boi-1da was nominated for producer of the year for the first time back in 2019. That year, the title was granted to Pharrell Williams, an artist he said inspired him to make music. This year, Boi-1da is joined by pop juggernaut Jack Antonoff; Steve Lacy and SZA producer DJ Dahi; The Black Keys guitarist and vocalist Dan Auerbach; and Oscar-winning producer Dernst "D'Mile" Emile II.

While the relatively laidback and humble producer attributes his success to his family and talented friends in the industry, he’s beginning to embrace his own greatness in full — a feeling that’s grown as he’s reflected on his accomplishments. This year’s Grammy nod would have been a “surprise” in past years, but the recognition came right on time.

“I'm not going to lie, I wouldn't say I was surprised this year,” Boi-1da shared. “I did a lot of big songs. I was on some of the biggest albums this year. It is one of those things where you don't expect it but you expect it, you know?”

Boi-1da’s success in 2022 — like all years — is tied to his uniquely aimless approach to music-making, which is about as boundless and free-flowing as the strokes of an abstract painting. Admittedly, he doesn’t always know what songs will climb the Billboard charts, or which artists will hop on which beat. Most times, he said those things come together naturally, and he’s at his best when his mind is transfixed on other things, like video games and movies like the Brazilian crime flick City of God.

“I still watch a lot of movies and play a lot of games because there will be those times when you just don't feel like making music,” Boi-1da noted. “For me, I’ll watch a good movie and be like, ‘Wow, I really like that movie,’ and it’ll make me want to get in the studio for some reason. Or, I’ll play a game and I’m like, ‘I want to make music now.’ It’s always important for me to keep my mind occupied on other stuff because it just leads me back to music every single time.”

Over time, Boi-1da has learned to let the music happen and have fun in the process, and collaborations with friends like Harlow on “Churchill Downs” breed those kinds of moments. Boi-1da and the Louisville rapper came together seamlessly for the song’s concept, and the Drake-assisted track later turned into one of the biggest songs of Harlow’s career and a standout on his debut album, Come Home the Kids Miss You.

“Working with Jack is just so effortless and so easy,” he said. “It's like two homies just get in the studio, we crack some jokes and we just figure it out.”

His collab with Kendrick was much of the same magic. The two superstars have worked together for years on album cuts like “The Blacker The Berry,” so putting their minds together to notch out tracks for the Grammy-nominated Mr. Morale & The Big Steppers was like another day in the studio. “Anytime I’m in L.A., I always got to tap in with Dot,” he said. “So we were just having fun and cooking up some ideas in the studio. He’s a mastermind. He took everything we did and just went into his hut, master-crafted it, and put it all together. But it’s always effortless working with Dot. He’s one of my favorite people to work with.”

On his discovery of untapped sounds that turn to trends, Boi-1da has mastered the ability to bend the familiar and make it nuanced. Whether he’s working on stadium anthems like “N95,” soulful, sample-driven hits like Drake’s “Pound Cake/Paris Morton Music 2” or fierce, dancehall-infused tracks like Beyoncé’s “Heated,” his appetite for experimentation has reached towering heights. And working with artists like Beyoncé brings his Frankenstein-like production to life.

“It's always a pleasure working with Beyoncé,” he said. “That's the queen, man. Whatever she does, whatever she stamps, or whatever idea she has, it's just always a goal. She just doesn't miss and it's just a pleasure working with her.”

As he charts his path forward, the super producer is chasing another “dream” of his: a compilation album. He shied away from revealing a release date, but he said fans can expect “everybody’s favorite artists” on the project. “I'm taking my time with it and making sure it's the best quality of music that I've ever done,” he said. “That's just my dream — to do something I haven't done yet. I can't wait for everybody to hear it.”

In fulfilling his dream, Boi-1da said he will continue to roam freely as a creative and drift toward whatever inspires his path of musical exploration.

“I'm just a free spirit with music,” he said, “I just go wherever the wind takes me, so I couldn't even predict what I'm going to get into. It's just going to happen. You're just going to hear about it. I go where the wind takes, where life blows me.”

– MTV News

Resetting the metronome: Philly beatmakers build community through monthly meet-ups

Dan Brightcliffe knows the isolation of beatmaking. All the hours spent fixed to an MPC drum machine or needling through sample packages on a laptop can be grim even for the most withdrawn of producers.

To forge a culture of collaboration, Brightcliffe, 33, and fellow producer Quinton “Q No Rap Name” Johnson, 30, host Flipabeatclub, a monthly beatmaking event that is generating buzz and building community in Philly’s music scene.

Since August, Johnson and Brightcliffe have drawn producers to Cratediggaz Records to create hip-hop, house, and electronic beats in tandem. Some dig into their vinyl collection, and others use computer programs or phone apps, but what brings them together is their love of beatmaking and eagerness to connect.

Philly’s FABC looks to reset the metronome by bridging the gap between artists and producers, and expanding the club’s reach beyond the city’s borders.

“There really hasn’t been much of an outlet for people who make sample-based music,” said Brightcliffe, who produces under the name “Philth Spector.” “It seems like there’s a slight disconnect between the people who make beats and the people who rap, which is one of our goals outside of just giving producers a platform and a network to create.”

Dan “Philth Spector” Brightcliffe (standing far right) checks the progress of the beatmakers during the Flipabeatclub monthly beatmaking event at Cratediggaz Records, 711 S 4th St., Phila., Pa. on Fri., Jan. 20, 2023.Read moreELIZABETH ROBERTSON / Staff Photographer

Producer Matt “$LiMs” Leahey, who has been a part of the Philly club since its inception, said FABC is etching a path for beatmakers who create boom-bap and lo-fi tracks, and veer away from the trap-heavy sound of mainstream rap. The monthly meetups are also big for Philly rappers, many of whom haven’t caught the same gleam as artists in other cities with hip-hop influence.

“I think [FABC is] really important because Philly doesn’t have much of a hip-hop scene in the same way that Atlanta, New York, or L.A. [does],” Leahey, 21, said. “Most rappers in Philly that I’ve seen come up in the last decade — except for superstars like Lil Uzi Vert, Meek Mill, and others — don’t really break out of Philly.”

Leahey said the same problem goes for the local beat scene. But with the presence of FABC, he’s confident things will turn around.

Bob Fisk, who owns Cratediggaz, said FABC is the grounds from which producers can perfect their craft and form connections with Philly rappers, songwriters, and singers. And in time, breathe new life into the city’s soundscape.

“There’s so much talent in the city, it’s crazy,” Fisk, 39, said. “There’s always been the existence of it. New York had the clubs, but we always had the talent.”

At each meetup, club members craft a beat from a chosen sample, then play their records on a Zoom call with FABC chapters in L.A., Toronto, D.C., and Sacramento. And at the end of each month, their beats are packaged as a compilation and released on Bandcamp.

The Sacramento club is helmed by FABC founders Donell McGary and Armando Montesinos, better known as “Dibia$e” and “Mon$rock,” who started the beatmaking network in November 2021.

Back then, only a handful of creatives met at Sacramento record store Twelves Wax for a session. But after a surge in COVID-19 cases, McGary and Montesinos moved the sessions to Zoom, which quickly drew in viewers like Brightcliffe and others from countries as far as Tasmania and Turkey.

“Being a hip-hop producer has always been guarded, like you don’t share your secrets,” said Montesinos, 43. “But it’s important to spread love, connect with people, and have those interactions.”

One of the club’s original members was Johnson, a Dallas native, who used to drive from Vallejo to Sacramento to make beats alongside McGary and Montesinos when he lived in the Bay Area. Before he moved back to Philly, Johnson talked to Montesinos about bringing the FABC brand to the East Coast.

Quinton “Q” Johnson of Phila. (right) gets Gregory Bissell of Phila. set up so he can broadcast his beat during the Flipabeatclub monthly beatmaking event at Cratediggaz Records, 711 S 4th St., Phila., Pa. on Fri., Jan. 20, 2023.Read moreELIZABETH ROBERTSON / Staff Photographer

Johnson, unsure of the new chapter’s direction, met Brightcliffe at the first event in Philly, and brought him on as a cohost. Inspired by the Sacramento club’s success, Johnson wants to bring Philly’s beatmaking sessions to a live audience.

“They built like a Wu-Tang of beatmakers out there,” the Mount Airy resident said. “I don’t know if it was planned this way, but now they have built up a lineup if they ever want to do a show … Our plan is to do something similar.”

Philly FABC member Gregory Bissell, 29, said he saw the chapter’s growth in attendance and impact after just three meetups.

The Louisville, Ky., native, who started making beats in 2020 to pass the time in quarantine, said the club’s beatmakers have already collaborated on shows with local artists. And with more members, showcases, and meetups outside Cratediggaz, he believes the music scene can reach new heights.

As FABC looks to stretch its reach even further, McGary, 46, said Brightcliffe, Johnson, and other chapter leaders just need to stay the course.

“There’s a five-year plan,” he said. “If we do this, and we do it well for the next five years, it will do wonders. It’s only going to magnify.”

– The Philadelphia Inquirer

No fade on prices: Why Philly barbers are charging $100 and up for haircuts

Kenneth Carruth IV, the North Philly native known as The4thKen on social media, has made waves (literally) with his haircut tutorials and videos. The 20-year-old barber has amassed more than 1.8 million likes on TikTok, with his biggest video reaching over 2 million views. But it’s not always his clean lines and tight fades that are attracting attention.

In one video, Carruth showed off a mid-fade and noted, “My client paid me $80 for this haircut.” Other videos list prices well above $100. While some viewers were in favor of the price tag, others called the haircut a “scam” and wrote how their barber could do the same job for $15.

Before the COVID-19 pandemic, Carruth also charged $15 per head. But with more demand, and the rising cost of running a business, he had to raise his rates.

“I feel like pre-pandemic, barbers were undervalued,” Carruth said. “Now, barbers are starting to realize their worth and see that it’s not just about the cut. You’re providing an experience.”

And he isn’t alone.

According to the Bureau of Labor Statistics, haircut prices rose 6.8% in November 2022 from the same time a year before, which is the largest annual increase since the fact-finding agency started tracking the category. Men — who are used to paying with a single bill for their cuts — are noticing.

In the past, local barbers engaged in price wars with neighboring shops to have an edge on clientele. If one shop offered cuts for $20, another would offer them for $15. But the pandemic crippled small-business owners, said Damon Dorsey, 61, president of the American Barber Association. Barbers and other service workers were among the hardest hit.

To stay afloat, many chose to raise their rates.

Southwest Philly barber Nicky Prosseda, 40, said the seismic blow of the pandemic also inspired barbers to sharpen their business practices.

From the mid-20th century to recent years, Prosseda said, barbers enjoyed the benefits of cash-in-hand transactions and tax-free loopholes. But as the industry evolved, the slow rise in haircut prices didn’t match the hikes in beauty product prices, booth rentals, and Venmo and CashApp fees. And for many, it made barbering unlivable as a primary income source.

Prosseda, who charges $75 a cut, is the director of Philly’s Modern Male Barber Academy. “I truly believe that there’s this kind of pain for the sins of our forefather barbers and the past owners,” he said. “They didn’t teach us the best things in the industry, so you pass it down.”

Based on data collected in May 2021, the Bureau of Labor Statistics estimated that most barber salaries range between $22,430 and $53,260. Prosseda said that may be barbers’ reported income, but a lot have been making $50,000 to $100,000 for years. And with even more resources at their disposal, he estimates they will start to rack in upward of $150,000 per year going forward.

Along with better business practices, Dorsey said, barbers are now able to leverage their social media presence to draw in more clients willing to pay top dollar. Apps like Booksy and StyleSeat help barbers manage customer information and schedule haircuts. Barbers like Carruth have used them to expand their brands beyond their corner or neighborhood.

By building his social media brand, Carruth was able to open his own barber studio in Kensington. After turning his social media followers into loyal clients, he saved enough money to get a business license and land the small commercial space in August 2021.

“I know a lot of barbers that are great at cutting hair, but they suck at running a business,” Carruth said. “And with that, you can’t charge what you want because you’re just going purely off skill.”

While most of his clients understand his raised prices, West Philly barber Jalen Thompson, 23, said he’s had customers leave to look for lower rates. Thompson, who charges $45 to $75 for haircuts and more than $120 for house calls, is comfortable with that risk.

“We stopped being hustlers and turned into CEOs,” he said. “I became a barber because I love cutting hair, but I also knew how much money there was to be made in this industry. ... There’s an opportunity to retire early and really enjoy life and take on other business ventures.” Prosseda agrees that it’s allowed him and others to live a better, more balanced life.

“A barber’s career is not one of mental easiness or physical, so you have to raise the prices for the barber to have a work-life balance where you can put your kid on the bus, and go be the coach to your son’s football team, or whatever it is. You have to raise the prices in order for that to happen.”

The fruits of the industry, Carruth said, are enjoyed by barbers who learn how to adapt. Along with cutting different hair textures and embracing products like semi-permanent dye, man weaves, and other enhancements, it’s important to provide other services like hair washes, snacks, TV, and WiFi.

“There’s a lot of older barbers that are stuck in their ways that refuse to change, and unfortunately, they’re more than likely gonna get left behind,” he said.

Overbrook resident Ian Watson, who’s been a client of Carruth’s for nearly a year, said customers are willing to pay for the right experience.

“Depending on the quality of the cuts and the level of professionalism, people will pay to avoid the stereotypical barber,” Watson said. “I say it’s worth it.”

– The Philadelphia Inquirer

Philly filmmaker Walé Oyéjidé captures the beauty of Blackness in his debut feature

No matter the medium, filmmaker Walé Oyéjidé captures the beauty of Blackness in his artistic pursuits, and embraces his Nigerian heritage and wears it for the world to see.

Oyéjidé weaves the threads of his lineage with style as a clothing designer. And as a musician and photographer, he expresses it in song and image. Now, he shines a light on the Black experience and its lyrical allure with his debut feature, Bravo, Burkina!, set to premiere, in-person and online, at the Sundance Film Festival on Tuesday.

Written and directed by Oyéjidé, the film is a story of a Burkinabè boy who flees his village to start anew in a small Italian city, later traveling back in time to regain what he lost from his voyage. Beyond a tale of migration, the project explores love, loss, and discovery, themes Oyéjidé said resonate with people from all walks of life.

“It’s an immigrant story. It’s an outsider story. It’s a love story. It’s got time travel. It’s got a bunch of darts thrown at the board, and I think there’s a lot for people to connect with,” Oyéjidé, a Landsdowne resident, said. “It’s also unabashedly a beautiful African story. As much as you love Martin Scorsese’s fantastic Italian films, there’s room for this, too.”

A still from Bravo, Burkina! by Walé Oyéjidé, an official selection of the NEXT section at the 2023 Sundance Film Festival. Courtesy of Sundance Institute.Jake Saner

A part of his own story brought to the big screen

Like the film’s main character, Aimé, Oyéjidé was born in West Africa and became an immigrant of the world, growing up largely in Nigeria and the Middle East. As a teen, he and his family moved to Atlanta before settling in Philly, where Oyéjidé graduated from Temple University’s Beasley School of Law in 2010.

It’s a story that’s present in all of his work.

“My upbringing as an immigrant to America has informed all of my artwork and the way I see the world,” Oyéjidé said. “I’m always appreciative of the privilege and benefit of moving to this great country. But I’m also aware of the sacrifices many make so they can come here and the many loved ones they leave behind.”

From Philly lawyer to film director

While practicing as a defense litigator, Oyéjidé began exploring his love of menswear, eventually starting his own West African-inspired fashion brand, Ikiré Jones, with long-time collaborator Sam Hubler in 2012. Their eye for couture led to their first foray into the movie industry when Marvel Entertainment tapped the duo to make costumes for 2018′s Black Panther.

“Black Panther was, before this, probably the biggest thing that people would be aware of our work for, and we’re grateful for all the attention and all the opportunities we got,” he said. “It gave me proximity and a chance to do more things.”

That included filmmaking.

“For those of us from immigrant backgrounds, there tends to be a strong emphasis on walking familiar and well-trodden paths — like being a physician or lawyer. Becoming a director wasn’t something I imagined in my youth. But in retrospect, my previous careers as an attorney, a musician, and a designer have all dovetailed here,” he said. “The films have become my arguments. The audience has become my jury.”

Filmmaking as an inevitable path

For the 12-day shoot, Oyéjidé and a small crew flew to Ouagadougou, Burkina Faso, and Bologna, Italy, operating a run-and-gun production with limited resources and an airtight schedule.

“He’s brilliant,” said Hubler, who helmed the audio of the film. “He went in with a pretty set script this time, but he’s also very good at kind of working with what is presented to him — the situation on what’s available on the day and working the story around certain circumstances.”

While the film is a “global effort,” the filmmaker insisted that the production wouldn’t have happened without “the help of Philadelphia’s film community” that supported the film through its production journey.

Giulia Alagna, who worked as a producer on Bravo, Burkina!, said the way Oyéjidé is able to take on other creative mediums is a lost art and reminiscent of iconic artists of the past.

“I always tell him, ‘You’re a real Renaissance man and you’re not even from Italy,’” she said. “Whether it’s poetry, photography, or directing a film, nothing seems unsurmountable to him ... and he conquers them all.”

Oyéjidé believes that it’s important for Black storytellers to showcase the vastness of the Black experience — within U.S. borders and beyond.

“I think the challenge now becomes, if you are choosing to make art that comes from this cultural perspective, we all need to challenge ourselves to just fly higher, be braver, and go to places that we haven’t seen,” he said.

“Bravo, Burkina!” will premiere at the Sundance Film Festival on Jan. 24 and can be streamed online. For information on upcoming screenings, visit bravoburkina.com.

– The Philadelphia Inquirer

Visual Artist Joshua Vides Discusses Creative Collaboration with GilletteLabs

Joshua Vides is a creative marvel in true form. 

Having lent his artistic powers to design products for brands like New Balance, BMW, Converse, Fendi, Puma and others, the California-based creative director is never short on innovation. For more than a decade, Vides has fused his passion for streetwear and graffiti and poured it into his craft. His production studio Reality to Idea has served as the perfect incubator for his footwear and apparel designs, sketch artwork and other creations to take shape. 

Before becoming a premiere name in streetwear and design, Vides worked for The Hundreds, SSUR, The Seventh Letter and ComplexCon as a designer, salesman and marketing manager in 2009. Around the same time, he founded the streetwear brand CLSC, a $500 project that later became a global entity with 400 retailers and a storefront on Fairfax Avenue in Los Angeles. 

Vides decided to step away from CLSC in April 2017 and used the brand’s success as momentum to pursue his dream of becoming an artist. Vides launched Reality to Idea in January 2018, and the design studio and production house has been a platform for him to explore his love for black and white monochromatic mediums and spread his wings artistically. Whether designing sneakers and apparel pieces, customizing iconic BMW silhouettes or putting on limited edition art exhibits, Vides has shown no signs of slowing up. And his recent collaboration with Gillette at this year’s ComplexCon is proof. 

The brand’s design and innovation hub, GilletteLabs, and Reality to Idea came together for an activation booth that offered an interactive look at the shaving experience. The Reality To Idea-designed booth highlighted GilletteLabs’ latest innovation, GilletteLabs with Exfoliating Bar, a razor that combines shaving and exfoliation technology. And as a continuation of the partnership and a testament to Vides’ versatility, he customized cleats for NFL Quarterbacks Josh Allen and Mac Jones for the My Cause My Cleats program. The two football stars wore the cleats during the New England Patriots and Buffalo Bills matchup on Dec. 1.

For Vides, the GilletteLabs collaboration, and others he’s stirred over the years, was a chance to embrace his own creative instincts and showcase the power art contains. “As a visual artist, I find collaborations to be an avenue of self-expression on different mediums and products,” Vides explained to Complex. “Showing off how anything can really become a canvas and art Itself.”

Complex recently caught up with Vides to talk about his artistic inspirations, the details of his creative process and how art can be a tool for philanthropy. 

(The interview has been lightly edited for clarity.) 

COMPLEX: How was it designing the GilletteLabs activation booth at ComplexCon?

Joshua Vides: ComplexCon is always something I enjoy being a part of. Reality To Idea was excited to partner with Gillette because it’s an iconic brand that most men have used since they first started shaving. They gave Reality To Idea the creative space to help bring their GilletteLabs brand to ComplexCon attendees in an innovative and authentic way. It was a great experience bringing the GilletteLabs booth to life, and everyone at ComplexCon had a great time with the photo booth and shaves with the Gillette Barbers.

How did the collaboration between your company Reality to Idea and GilletteLabs come together?

The collaboration really came together through the common mission that we share. At Reality to Idea, we are always looking for new ways to be at the forefront of culture and innovation. When GilletteLabs approached us to showcase their latest innovation of GilletteLabs with Exfoliating Bar, we knew it would be a cool partnership.

You’ve partnered with some of the biggest brands in the world – Fendi, MLB, New Balance and others – but what about this project piqued your interest?

I’ve been lucky to partner with so many celebrated brands. In the men’s grooming space, Gillette is often viewed as synonymous with the category, so when I was approached, I saw it as an opportunity to bring my skill set to another brand that has an incredible legacy and continues to create innovative products.

What was the inspiration behind the design of the activation?

We wanted the design of the booth to remind people of a barbershop, with a Reality to Idea spin. We used our signature black and white color scheme and added pops of bright green, which is an ode to the exfoliating bar on the GilletteLabs razor and packaging. Gillette wanted to do something completely different than last year’s ComplexCon booth, but (the brand) still wanted to emphasize the unique experience that the barbershop provides.

Could you detail what the creative process was like? Were there any challenges along the way?

I think there are always some unique challenges that present themselves when working with new products, especially when it comes to designing on such a large scale. It was important the GilletteLabs booth and the design of the smaller original pieces we made for the gallery all worked well together in the space.

You designed the cleats of NFL Quarterbacks Josh Allen and Mac Jones ahead of the  New England Patriots and Buffalo Bills game on Dec. 1. How was that experience?

I always enjoy working on shoe projects and collaborations. I have been painting on shoes since high school, so for me, it really feels like second nature. It was awesome to get connected with Josh Allen and Mac Jones, who are Gillette athletes, to work on their My Cause My Cleats cleat designs. I wanted to make sure they felt the design reflected the charities they are both representing – Mac Jones with Boys & Girls Club of America and Josh Allen with the Patricia Allen Fund. I was so happy to play a part.

The designed cleats are being auctioned off and the proceeds will go to charity as part of the My Cause My Cleats campaign. Talk about how important it is for you and other artists to be a part of these kinds of initiatives.

It’s important to me to find ways to give back through my work, and team up with partners who do the same. As an artist, I’m able to showcase the power of art to all different audiences, including through the cleat designs for Allen and Jones. I’m excited to see what the winning bid is for both sets of autographed cleats. Gillette and I will also be matching the donations from the online auction.

Bid on Mac Jones “My Cause My Cleats” Cleats here and Josh Allen’s “My Cause My Cleats” Cleats here.

— Complex

We asked Shaq about possible 'Steel' remake, and he didn't say no

Before taking the stage Oct. 23 at Circuit of the Americas after the Formula One U.S. Grand Prix, DJ Diesel, better known as the larger-than-life (and just large) Shaquille O'Neal, chatted with the American-Statesman and hinted at a possible remake of the widely panned but beloved superhero flick, "Steel."

Although the 1997 film is considered one of the worst superhero movies of the genre, and a point of laughter for Shaq, who wore the armor of DC Comics character John Henry Irons, the 7-foot-1-inch star said an updated version of the movie might be worth pursuing. Now, is he serious? We have no clue.

"I did that movie right before the special effects took off," Shaq said with a smile. "The (outfit) was like a costume. But if I ever get a chance to redo that movie I'm definitely ... Matter of fact, I'm going to redo 'Steel.' You heard it here first."

Here's a look at the rest of our conversation with the NBA Hall of Famer:

Shaq was pulling for Lewis Hamilton to take first place at Formula One.

Shaq talked about why he was back in Austin for a second year to perform as DJ Diesel after the Formula One race.

"It's great. There are a lot of people here, a lot of fanfare and I'm looking forward to seeing the race again. Hopefully, my guy (Lewis Hamilton) can pull it off, but it's just nice to see beer and sunny Austin, Texas and everybody having a good time. I love being here, it's a great atmosphere."

(Max Verstappen won after a "dynamic duel" with Hamilton.)

Shaq has a deep love for Austin.

Shaq's Big Chicken was at Formula One and has a year-round presence at Austin's Moody Center. He said he knew Austin was an ideal spot for the franchise because of the fond memories he has of visiting the Texas capital.

"Well, I'm from San Antonio. We used to come up to Sixth Street damn near every weekend. I've always loved Austin, and I've always loved Pflugerville. I told myself when I get done, I'll buy about 500 acres out in Pflugerville. But listen, Texas is a great state, Austin is a great city and the people here are (too). I've always done a lot of business here. I used to do business with Dell, so I used to come here a lot and I've always loved the people in Austin. My daughter once attended the University of Texas. ... So I wanted to put the Big Chickens in the cities where I had a presence."

Shaq picks Giannis to win MVP, Golden State to capture back-to-back championships.

With the 2022-2023 NBA season in full swing, Shaq made some early predictions for league MVP and said which team he thinks will hoist the Larry O'Brien NBA Championship Trophy at the end of the season. Spoiler: He didn't pick my Cleveland Cavaliers.

"I thought Joel Embiid was going to come out the MVP, but now he just made it harder with that 0-3 start," he said. "Giannis (Antetokounmpo) is looking really good. Forty-four points in 28 minutes. I'm headed toward Giannis. The guards always get looked at for MVP, but I'll go with Giannis this year. And the (Golden State Warriors) seem to still be the favorite."

So no hope for my Cleveland Cavaliers?

"Cleveland looks good," he said. "They got Donovan Mitchell who's playing well. Cleveland will be good for him. It's a city that's a hard-working city, and they'll let him know when he's out there messing around. I think that will bring the best out of him. The (Utah Jazz) was too 'Aw,' but every now and then you need to look in the stands and see your fans disappointed so you know to step your game up. "

– Austin 360