I can’t really say I grew up watching Soul Train. I was born in ’88, and by the early ’90s, Don Cornelius was about ready to step down, and Yo! MTV Raps had stepped into Soul Train’s role as the major television showcase for the most exciting, forward-thinking black music out there. But as a cultural touchstone, its influence is still pretty undeniable. When Max and I plan out these parties, I think there’s usually an image in our heads of all the folks coming down, two-by-two in a Soul Train line, groovin’ out to some Marvin or Curtis. We’ll take it there soon.

With Don Cornelius’ apparent suicide a few days back, it seems like just now, people are fully coming to understand just how impactful the show was for its time. Without the frenzy of nostalgic stories and think-pieces that have surface in the last week, it might be easy for our generation to forget the magnitude of a nationally syndicated show dedicated to soul, funk and the most cutting-edge popular music coming out of black America, being broadcast into living rooms across the country in 1971. Not to mention, everything about the show, and particularly Don Cornelius was just so damn cool. The voice, the fro, the effortless smoothness — not that it was all that hard to make Dick Clark look like a square, but he did. Looking back on some of the performances, in all their lip-synched glory, there were just too many classic moments. And, luckily for the YouTube generation, many of them are here at our fingertips. We thought we’d share a few.

The Jackson 5 performing “I Want You Back” (1972)

David Bowie performing “Fame” (1975)

Soul Train dancers dancing to The Commodores’ “Brick House” (1977)

Marvin Gaye interviewed, and performing “Let’s Get it On” (1974)

An eighteen year-old LL Cool J, performing “I Can’t Live Without My Radio” (1985)

Soul Train dancers dancing to Kool & the Gang’s “Jungle Boogie” (1973)

Sly & the Family Stone performing “Thank You” (1974)

The Jackson 5 performing “Dancing Machine”, also commonly considered introduction of The Robot (1976)

James Brown, in an early episode, performing “Sex Machine”, live, sans lip-sync (1971)

For the sake of discussion, Kendrick Lamar’s Section.80 happens to make for a solid point of comparison to Schoolboy Q’s Habits and Contradictions. Aside from the obvious–the two are frequent collaborators and members of Kendrick’s Black Hippy crew– Habits bears plenty of similarities to 80. For starters, they each have a phenomenal ear for beats, both nostalgic and forward-thinking. Both artists too, are keen observers of the world around them. Both thrive off inner conflict, and turn those conflicted moments into meditations that feel both tangibly personal, and also somehow representative on a generational level.

But where Kendrick’s social conscience tends to kick into overdrive, Q is prone to let the darker aspects of his personality predominate. The tone of Habits is dark and brooding, and the production elegantly gritty and engrossing. The subject matter too, matches the convincingly sinister tone it’s delivered in. To say that Habits then, feels something like Section.80‘s darker cousin, is really to say, more accurately, that Q succeeds here in carving out his own, very distinct creative space.

Download: Schoolboy Q feat. Kendrick Lamar – “Blessed”

Obviously, the differences between the tone and feel of Habits and that of Kendrick’s music have a lot to do with who Schoolboy Q actually is. His past as a former Hoover Crip, and as a purveyor of a laundry list of different hard drugs are a primary focus throughout. So while Kendrick’s cautionary tales and hood parables– say, the “Brenda’s Got a Baby”-style ballad “Keisha’s Song”, or the fly-on-the-wall generational critique of “A.D.H.D.”– take on a detached, external-narrator vibe, Q’s stories feel lived in and immediate. The contradictions are real and troubling because you’re taking them in firsthand.

Q’s demons are fully on display, and they ring true precisely because they’re so hard to moralize about in Kendrick’s terms. His relationship with those demons isn’t simple: sometimes he’s jaded and reflective, and others he’s relishing drunk driving or grabbing the chopper. If the gunplay and OxyContin talk is gratuitous, the pictures are painted so vividly, with such ferocious detail that they’re impossible to simply shrug off. When the woozy dirge “Oxy Music” leads off with Q drawling, “Blood on the walls, death in the air/ Birds on the ground, pistols everywhere”, the delivery is narcotic enough to set the scene for an entire song. Like any real demons, Q’s are hard to shake precisely because sometimes they just sound so fucking good.

It’s a talent that a precious few rappers have– the Biggie of Ready to Die or say, Pusha T — to be able to say some absolutely vicious, heartless shit one moment, and then turn around and humanize the character you’ve created in a genuine way. “Blessed”, complimented perfectly by a Kendrick guest spot, is an absolute standout in that regard. The vaguely hopeful message that we’re all blessed, that things could always be worse, is driven home powerfully by a breathtaking set of lines: “You see my nigga just lost his son while I’m here grippin’ on my daughter,” Q pauses, “I grip her harder”. Over the course of the next few couplets, he contemplates what kind of bullshit response he might come up with to console his friend, before telling him he’s ready to ride in his son’s honor. A moment later, he’s reconsidering, fearing a lapse back into his old ways.

More than anything, Habits & Contradictions is a trip into Q’s psychological world, and part of what makes that possible is the production, helmed by Digi+Phonics (A.D.H.D. and the bulk of Section.80). Dark, densely layered, soulful and often psychedelic, the musical backdrop is as important a character as Q himself in the story Habits manages to weave. Think Infamous-era Mobb Deep, or RZA in the glory days, but clearly indebted to more recent touchstones like Kid Cudi, A$AP, Clams Casino, or the darker, more downtempo moments from My Beautiful Dark Twisted Fantasy. At times, it even borders closer to trip-hop, with “Raymond, 1969″ even lifting an appropriately spacey Portishead sample. From the zonked-out Cudi-like stomp of “Sacreligious”, or the dreamy, molasses-slow boom-bap creep of “Oxy Music”, to the gorgeously plush soul of “Grooveline Pt. 1″ (courtesy of an uncharacteristically laid-back Lex Luger), production-wise, it’s one of the most cohesive hip-hop albums in years.

Download: Schoolboy Q feat. Dom Kennedy & Curren$y – “Grooveline, Pt. 1″

Aside from that sense of cohesiveness though, what makes Habits most impressive are the subtle variations, those brief deviations from the gloomy script that flesh out and complicate Q’s character. Those rare moments of completely detached contemplation (“Blessed”), or say, the playerish charm of “Grooveline” (complete with a show-stealing appearance by Dom Kennedy), keep the album from becoming claustrophobic, and give us a more detailed picture of the hero behind it. As the tile suggests, its those paradoxes, those apparent contradictions that make Schoolboy Q such a fascinating narrator. Like any great rapper with a checkered past– Pac, Biggie, Jay– Q is full of them, and he’s wise enough to realize that his music is most interesting when he puts them front and center. If the Kendrick comparisons are inevitable, it’s only partly because of the more obvious connections between the two artists. More importantly, it’s because, like Kendrick, Q manages to make the case for himself as one of hip-hop’s most engaging, idiosyncratic new voices.

It seems like only yesterday when Danny, Will and I were chilling on Hubbard Street, picking neighbors’ flowers trying to get the invite right for A Family Affair. It was March of 2010. Perhaps it’s the realization that we’re four days away from our tenth party that’s gotten me all sentimental. But regardless, I thought it was important once again to give thanks to you, the reader.

For me, one of the toughest things about blogging is the fact that rarely do we see how our work is being received. We just put it out there. I’m over here in Los Angeles, in my room, typing and clicking. And you are where you are, typing and clicking just the same. There’s a high probability that many of us have never met, yet I believe that we’re all connected in one way or another.

My homie Ben tells me that the most important thing about Wine & Bowties is that it brings people together. And in many ways I see that as my purpose in life as well, which is where the celebrations come in.

As I’ve said before, I like to think of our parties more as celebrations than merely parties. I consider them celebrations, because I see them as moments for our generation to come together and celebrate life. To associate, celebrate and realize our collective power. I hope for the most beautiful collaborations to blossom from our parties. And I want girls to fall in love with boys at our parties too.

Regardless of what we call them, at the end of the day these moments are fueled by you. Will and I are merely the facilitators, using the tools provided to us to get our dreams out and bring it all together. But if it wasn’t for you, the reader, the friend, the artist, the thinker, none of this would mean anything.

So with four days between now and our 10th celebration, my thanks goes out to you. Thank you for supporting us. Thank you for believing in us. Thank you for giving me a purpose. I’ll be honest, I’ve never tried so hard at anything in my life. And it’s frightening to say that, and even more so to know that everyone around me knows that too. But my goal is to show the world how far you can take something when passion fuels your purpose.

To everyone that’s been a part of Wine & Bowties thank you. We’re throwing a party in four days at La Cita, and everyone’s invited. And to the dreamers, the ones who put faith into their dreams, the world is for you.

Shoutout to Youtube for making this all possible. I know I’m not the only one who’s Facebook blew up around 9pm last night when the dunk of the year (so far) went viral. The announcer on NBA.com said Kendrick Perkins life just changed and I wouldn’t disagree. I wonder if anyone said anything to him in the locker room? Did his teammates console him, or did they try not to make eye contact? Did his ears get hot when he saw the highlight again? Did his nose itch? Did his Mom watch the game?

Sometime around the middle of the year, after a year and change of what could only be described as sleeping on Jacques Greene, I stumbled upon “Another Girl”. Shortly after that, and after watching him get yelled at by Azealia Banks briefly, I dug into the gorgeous trio of EP’s, and the scattered, occasionally brilliant handful of singles and remixes he’s amassed over the last year and a half or so. Greene’s signature sound– elegant analog synth textures, spacey R&B vocal chops, and a typically danceable two-step groove– is about as cosmopolitan as it gets. At its most subtle, Greene’s music feels as exciting and fresh as Jamie xx or the James Blake of CMYK. The rest of the time, it’s fashionable, soulful, extremely well-executed house, which would already be reason enough to listen.

“Arrow” falls somewhere toward the former end of the spectrum, riding out a two-minute slow burn into a bass-heavy shuffle of a song, only to break back down a few more times in the process. At nine minutes, “Arrow” is the subdued, atmospheric conclusion to Jacques latest, Concealer EP, a self-released effort (on the producer’s new Vase imprint) that picks up where his more recent work left off, slowing down the pace a bit for another brief four-song collection. Like most of his work so far, it works for just about any situation. Certifiably settled mood music.

Download: Jacques Greene – “Arrow”

Photography By Max Gibson

It was the summer of 2010 when Brette first told me she wanted to start her own clothing brand. We were sitting in the car, a couple blocks off of Telegraph in Berkeley when she shared her vision. “It’s going to be a brand to empower women,” she told me. “We don’t have a name yet though.” In 2011 Stuk Designs was born. Dedicated to the cultivation of the whole woman, the brand features a variety of vibrant graphics that relate messages of positivity and self awareness. Recently I had the pleasure of spending the day with Brette in Downtown Los Angeles where we talked about her art, her message and her creative influences.

What is your earliest memory of being creative?

I don’t know, I’m sure it was before this point, but I would say middle school. That’s when I really started drawing and sketching faces and people started taking notice of them. People would say, “Oh you did that? Sketch me one, sketch me one.” But I don’t know, I don’t really have vivid memories before then, but after that point it was just something that I did. It was really just natural. It wasn’t anything that I really practiced, it sort of just came to me.

Well they say what comes naturally is what you should pursue.

Yeah, it takes me somewhere else. It takes me to another place. I just feel at peace and totally centered when I’m creating. I remember in school when I used to get projects from my art teacher and finish them in a day when they were meant to be week-long projects. So yeah I’d say middle school is when I first started, and it kind of just evolved from there.

How has Oakland influenced you as an artist?

I feel like Oakland is where I first learned about culture. I don’t know, it just shaped me, and made me everything I am today, and then L.A. just added a bit more style. I eat all different types of food, I watch different types of movies, all my friends are different ethnicities.

You think that’s because of your Oakland influences?

Yeah, [Oakland’s] like a melting pot of people. I never really thought about race or color until I came to L.A. you know. I never thought about any of that. But yeah, Oakland completely shaped who I am as an artist. And that’s what my art is. It transcends race and culture and brings it all together. That’s what I aim to do with my art, my company, with everything.

What is the meaning behind your company Stuk Designs?

Well it’s kind ironic because the word stuck, it’s supposed to get women stuck on positive things and out of bad situations that they might be stuck in. Relationships that they’re stuck in, or jobs that they’re stuck in and feel like they can’t achieve what they really want to. It’s supposed to stick them to higher truths.

Stuk Designs Lookbook 2011

What is S.T.U.K. an acronym for?

Strong, talented, united and knowledgeable. It wasn’t going to be an acronym at first, I didn’t want it to be but then my friend Tiffany was like, “I think we should,” and I thought, “Ok, we can do that, that works.”

Why did you choose T-Shirts as the primary medium for your art?

I think T-shirts are often a good conversation piece. If you’re wearing a really cool T-shirt and somebody likes it, it kind of initiates a conversation. “Oh, where’d you get that?” “Oh, what does that mean?” It helps promote what the company is all about.

I see. Would you want to expand into other mediums in the future?

I do, I do. But I don’t want the mission to get lost. The main purpose is to teach. After I read A New Earth, I learned that after you become enlightened and you evolve, your responsibility is to teach others.

Pay it forward in a sense.

Yeah, so that’s what it’s really about. The main focus isn’t supposed to be about the fashion. But if the fashion can do its part to promote the message and help teach then that’s awesome.

Word. I got you.

So in your eyes who sort of epitomizes…

A Stuk Woman?

Yeah.

The Stuk Woman is not afraid to be herself in any situation. She’s not afraid to express herself. She likes culture, eats anything, and loves all types of films and music. She doesn’t hang out with one type of group or person and she’s just open to life and change and meeting new people and doing new things. She’s creative and passionate in whatever form that may be.

Where do you draw your inspiration from to create the messages for your shirts?

A lot of it comes from independent films. I love indie movies, I’m obsessed. So I’d say indie movies, and then music. A combination of those two equals what I create. And a little bit of travel too.

Are there any women today in popular culture that you use as a role model or for guidance?

I’d say Va$htie.

Va$shtie Kola? What about her do you like?

She made me have an epiphany one night. I have a lot of guy friends and I hang out with a lot of different groups, and she’s very much the same way. She’s kind of a tomboy, she hangs out with a lot of guys, but you never think anything of it. She’s never labeled a whore or has a bad rep. And I’m like, “How does she do that?” It just baffled me how she made that pass. But then I realized that the only thing that matters is what you do. And people will start respecting you just for being you if you genuinely work and you’re doing what you need to do.

Why do you think it’s important to be creative?

Imagine a world with no creativity? What would you do when you wake up in the morning? I definitely wouldn’t come do this. You’d wake up and you wouldn’t have that passion. Like look at today for instance, it’s fucking gorgeous. But I’m sure there are people out there today like, “Fuck I have so many bills to pay. I just got a parking ticket, and I have to work…” But you know, creativity kind of takes your mind away from all that stuff.

Who are some of your favorite artists?

That’s a good question and one that’s hard for me to answer. I don’t really have one artist that really just influenced me. But along the way of creating art I’ve watched documentaries or seen different artists, and been like, “Wow that’s cool. That inspires me to push myself further.” Basquiat would be the main one. Because I think he was so fearlessly himself.

What do you think is the value of being fearless?

It’s what separates a brilliant artist from an artist that’s like, “Hmm ok”… almost touching you but not really. It’s hard to put your art out there. It’s like putting your soul out there to be judged by people.

I feel like you have to make yourself incredibly vulnerable too.

Yeah you do, and invulnerable in a way because you have to express your vulnerability, but once it’s out there you can’t be like, “Oh well this person thought that… now I’m a terrible artist.”

What day is it today?

The 28th.

What are you going to be doing January 28th 2013?

I don’t know, but something completely different than this. I know that for sure.

By Willee Roberts

Last Wednesday marked the 10th anniversary of operations at the Guantanamo Bay Detention Camp. Bush-era fear tactics rationalized the creation of the military prison despite its defiance of Geneva Convention protocol against torture. In Obama’s early days in office, he attempted to follow through on his campaign promise to close the camp and return terror suspects to US soil. Gitmo remains open, with 171 prisoners still confined to living in its inhumane conditions. Obama is not soft on terrorism.

Beware America: Osama is dead, but terror lives on. This time, it does not wear turbans or live in a cave. It wears 99% buttons and lives in a tent. But these new terrorists want the same thing as the old, to dismantle the structures that allow capitalism and “western values” to colonize and oppress.

Obama is not soft on terrorism. On the eve of the new year, 2012, our president signed into law the National Defense Authorization Act for 2012 (NDAA), a piece of legislation which, among other things, grants the federal government the authority to indefinitely detain anyone suspected of terrorism.

According to the Department of Homeland Security, some charectaristics that warrant the official report of suspected terrorism include: those who have stored more then seven days of food, who are missing fingers, or who are texting covertly in a public place. This means that if your neighbor calls the DHS for a butchering accident a few years ago, the military can now knock down your door in the middle of the night and take you away forever without due process or a fair trial. Damn.

Lindsey Graham, a South Carolina senator that authored the bill said, “Homegrown terrorism is a real threat. There are a lot of people being radicalized on the Internet. So if someone goes to Pakistan as an American citizen, gets radicalized in a madrassa and comes back here and starts attacking Americans, I want to make sure they’re held for intelligence-gathering purposes and they’re not read their Miranda rights but they’re held by the military, the CIA, and the FBI to find out, ‘Is another attack coming?’”

Senator Feinstein included an amendment insisting that, “Nothing in this section shall be construed to affect existing law or authorities relating to the detention of United States citizens, lawful resident aliens of the United States, or any other persons who are captured or arrested in the United States.” However, few days ago, the Enemy Expatration Act was introduced to the Senate to skirt Feinstein’s amendment. The new bill gives the government authority to strip American terror suspects of their citizenship, making them vulnerable to the standing provisions of the NDAA.

Our nation is at war, and you are the enemy. You, who questions their power. You who disobeys their authority. I’m headed to Mexico while I still have the chance.

Among other things, Willee has been a key leader in the Occupy Movement at UC Davis over the past few months. And, in addition to being able to absorb an obscene amount of pepper spray, Will’s eloquence, persistence and leadership have helped the movement gain the attention of a national audience, allowing for its participants to voice some of our generation’s most pressing concerns.

To learn more about the NDAA, check here and here.

There’s a common thread that ties together each of Gusmano Cesaretti‘s photography collections. Each collection displays his uncanny ability to capture a specific place and time, in a way that feels almost mythical, and yet also deeply personal. While each series, taken as a whole, paints a sort of romanticized portrait of the place in question, the idiosyncratic details of each picture tell a story of their own. The pair of collections currently being shown at Los Angeles’ Roberts & Tilton gallery– the first documenting 1970s East L.A., and the second depicting the harsh realities of Panamanian street life– put some of the most powerful examples of that particular talent on display.

Born in Italy, before relocating to L.A. in 1970, Cesaretti quickly found himself fascinated by East L.A. and Chicano culture upon arriving in the states. Over the course of the early 1970s, Cesaretti emerged with a candid portrait of the neighborhoods he had made home, beginning what would become a lifelong pursuit to capture the spirit, and tell the story of the city through his own lens. With his East L.A. collection, again, the details of each composition help to flesh out the story behind each image– an anonymous hand holding a gun, a glistening chain steering wheel in an immaculate lowrider– and then an image over, a shot of a young couple that could just as well be sitting at home on your folks’ mantelpiece.

While those vintage shots form the centerpiece of Roberts & Tilton’s exhibition, the second set of images is just as striking in their own way. Though they’re removed from the East L.A. collection in space and time–the images were shot in Colón, Panama a few years ago– they boast the same intensity and the same capacity for storytelling as Cesaretti’s early work. With many selections coming from his riveting Niños del Silencio set, the collection paints a similarly nuanced portrait of some of Colón’s toughest neighborhoods. Sometimes, you’re catching a glimpse of a dark, shadowy criminal underworld, where even ten year olds are packing. In others, bright colors and poignant scenes offer glimmers of hopefulness.

In a sense, the pair of collections act as bookends to Cesaretti’s career thus far. On one hand are the now iconic, ’70s black and whites. On the other are vividly colored documents of a modern reality. Both are gorgeous and absorbing, and both contain the kind of photos that feel like a hard-earned glimpse into something real and intimate, a moment or a scene that relates a larger reality. Very dope indeed.

In an era where one million youtube views can equate to instant stardom, it’s hard to define what’s truly fresh from what’s just popular. It’s a debate plenty of us have had many times over, and one that comes to light when considering the rise of A$AP Rocky. I think Dom understands. So when A$AP’s latest visual offering hit the net sometime last night, I thought twice about throwing it up. Has A$AP become trendy before he’s even dropped an album? Maybe so. Nonetheless, I’ve watched this video like six times.

It always seems like we should show the illustrators and authors of children’s books more love. Personally, I credit folks like Dr. Seuss, Eric Carle, Bill Watterson, Maurice Sendak and Shel Silverstein for stretching out my imagination as far as it would go when I was a kid. I suppose what distinguishes the great from good in that category are the books you can flip through fifteen or twenty years later and still be blown away by their creativity or their power to convey complex ideas in deceptively simple ways.

Whether or not it’s intended as a children’s book, in the traditional sense of the word, Rop van Mierlo‘s wordless Wild Animals collection has that same sort of classic feel and elegant simplicity to it. Billed by van Mierlo as “a wild book for civilized people” and “a sophisticated book for wild people”, Wild Animals is a collection of gorgeous watercolors, done in a playful, gestural style that almost recalls Rorschach inkblots. Aside from that, the award-winning work is self-published, and now in its second printing. Read on for a closer look inside, or cop here.

I don’t listen to Norwegian black metal. Until about two hours ago, I couldn’t have told you anything about it, and after spending the better part of that time learning about it, I can’t say I’m rushing to find a download link. But Until the Light Takes Us is just a fascinating film, and for that hour and a half I was immersed in a subculture completely foreign to me. Released to mixed reviews in 2009, the film is the product of directors Aaron Aites and Audrey Ewell’s vision, a documentary compiled through years of interviews and archival footage with some of Norwegian black metal‘s most controversial figures.

That most critiques of Until the Light center around the overly sympathetic, romanticizing tone it takes toward its subjects only makes sense. The story of black metal is, after all, primarily documented as a result of controversy– a series of church burnings, a handful of murders, and some grisly suicides, to be more specific. Beyond that though, the film explores the troubling ideology behind those actions, and behind a cultural phenomenon that captured the world’s attention at its peak in the mid-’90s. For those curious enough, it’s an experience, to say the least. Read on for the full movie.

Oprah is one of those people that means a lot of different things to a lot of different people. I feel like for our generation, more than anything, she’s a symbol of success. From humble beginnings to the top of the world. As soon as I heard the hook to “Oprah Winfrey” at Raven’s listening party last week, I knew she and Hyphen had a banger on their hands. And as a Raven Sorvino single, it seems only logical.

Paper Girl, slated to drop this week, is the story of a woman driven by her own vision of success, and along with the motivational anthems comes top notch production from Language Artz’ own The Adjicktivz, Nobody Famous and The U, among others. Last week, Max and myself had the unique opportunity to experience Paper Girl before the official release, receiving some firsthand insight into the inspiration behind each track. From Oprah to Dilla to her own mother, Paper Girl is, like any quality debut, a collage of different influences and experiences, and a mission statement for Raven’s movement. Below peep the trailer for the album, executive-produced by The Formula, and available here Thursday.

It seems like the collective Internet is breathing a sigh of relief today. At least the part that concerns America anyway. Big ups to everybody involved in stopping SOPA and PIPA dead in their tracks, and talking some sense into at least a few of the politicians planning to lend their support. In the spirit of toppling those particular pieces of legislation, I figured we should celebrate by providing some free, downloadable new music we’ve been digging lately. Among other things, the new year has already brought us new, quality material from Santi, Raekwon, Sleigh Bells, Azealia Banks and a handful of others. And just for good measure, there’s also a few favorites from the end of the year. Highlights include the latest from Nicolas Jaar, the Clams Casino K.R.I.T. remix, and The Internet’s Natural Born Killers-inspired visual for “Fastlane”. Happy Friday.

SONGS

Download: Nicolas Jaar feat. Scout LaRue – “With Just One Glance”

Download: Azealia Banks & Machinedrum – “NEEDSUMLUV”

Download: Big K.R.I.T. feat. Devin the Dude – “Moon & Stars” (Clams Casino Remix)

Download: The Weeknd – “Montreal”

Download: Sleigh Bells – “Born to Lose”

Download: Shlohmo – “wen uuu”

Download: Sinkane – “Jeeper Creeper”

Download: The Internet – “She Dgaf”

Download: Raekwon – “Just a Toast”



VISUALS

Video: Santigold – “Big Mouth”

Video: Freddie Gibbs & Madlib – “Thuggin’”

Video: Sonnymoon – “Near Me”

Video: The Internet – “Fastlane”

Video: Jesse Boykins III – “Zoner”

Video: Matthew Dear – “In the Middle (I Met You There)”

Video: Schoolboy Q feat. A$AP Rocky – “Hands on the Wheel”