A$AP Rocky releases visuals to his new track titled “LSD”, presumably off his upcoming album A.L.L.A (At.Long.Last.A$AP). He has previously told us that this new album will have an entirely different sound, influenced by his experimentation with psychedelic drugs.

Directed by A$AP Rocky and Dexter Navy, the visuals do a very good job at reflecting an LSD trip with Rocky singing over guitars, definitely channeling a very different sound that we’re used to hearing. “At.Long.Last.A$AP” is out June 2.

After quite a long wait after the announcement last year, we’ve been blessed with the first trailer for the much awaited Entourage movie. Vince, Ari, E, Drama, and Turtle are officially back, with a guest appearance from Emily Ratajkowski and a lot of yelling from an angry Ari Gold. Look forward to seeing the movie in cinemas in Summer 2015.

With Supreme recently marked as the most relevant brand of the year, we thought it’d be appropriate to share a Q&A session between New York magazine By Such and Such and Supreme’s Creative Director Brendon Babenzien. Watch above as Brendon shares stories of his childhood, his first Supreme design, and other topics that should be of interest to any fan of the iconic skate brand.

Noisey releases the fourth episode of the five-part series on Harlem rapper A$AP Rocky. This episode, we get to see how he hangs out with some of his new celebrity friends, including fashion designer Jeremy Scott, Kathy Griffin and the doggfather himself, Snoop Dogg.

“SVDDXNLY” chronicles the ascension of one of raps brightest young stars, A$AP Rocky. From home videos and interviews with friends and family, to the very first seminal moments of his career caught on tape, Rocky takes viewers behind the scenes into his life as he takes A$AP from Harlem, to the world.

Enjoy the fourth instalment above and stay tuned on Twitter for the final episode.

Noisey presents part one of their five-part documentary. With contributions from his sister and mother, as well as prolific pop princess Rihanna, we get an idea of what Lord Flacko was like growing up, including stories and pictures from his childhood, and his initial meteoric rise on the scene performing his very first shows. Enjoy the first instalment above and stay tuned on Twitter for the remaining four episodes.

American fashion giant Calvin Klein has mastered the art of reinventing its iconic campaigns from years past for the new generation. They’re back at it again for the 2014 campaign, and it’s impossible not to notice the #mycalvins hashtag that takes center stage in the ads. Following the success of the widely popular social media campaign of the same hashtag, which encouraged influencers in the digital space (think Leandra Medine, Chiara Ferragni and Harley Viera-Newton) to post photos of themselves in Calvin Klein undies, the hashtag will now be a prominent part of the season’s print, digital, in-store and outdoor advertisements.

According to a release from the brand, #mycalvins has engaged over 6 million fans and has reached a whopping 200 million fans in 23 countries since its launch in February. Looks to us like the digital-focused strategy is working, look forward to seeing these ads debut in September.

Kanye West joined Steve Stoute, Founder and CEO of brand development and marketing firm Translation and Ben Horowitz, entrepreneur and Co-Founder of enterprise software company Opsware, for a seminar titled “Technology, Culture and Consumer Adoption: Learning to Read the Cultural Landscape” at Cannes Lion Festival. We finally get to see the full conversation, where they talk about consumer technology, influence, the Apple/Beats deal, the internet, Instagram and much more.

Tokyo-born Bape lead designer and C.E owner Sk8thing has served the brand since the very beginning while maintaining an incredibly private existence. He’s also remained incredibly busy, designing for BAPE, Pharrell’s Billionaire Boys Club and Ice Cream lines, Neighborhood, W-Taps, undercover, Bounty Hunter, and T-19. With his mysterious public persona and innate understanding of exclusivity, the Japanese designer seldom gives interviews and often appears with his face masked. ‘I thought it was more interesting to remain disguised,’ he explained to Lou Stoppard, noting the influence of the Phantom of the Opera in his use of secrecy and mystery. Topics of conversation ranged from building cult brands to the London riots of 2011 and the pros and cons of cultural consumption in the post-internet era.

At the end of May, a Twitter account was created to promote the release of Kanye West’s New Testament. Unbeknownst to the world at the time, New Testament is a 34-minute documentary that has combined your favorite West quotes from over the years with footage of everything from Roman statues to incredible feats of athleticism. With music by Radiohead’s Jonny Greenwood, the soundbites contain audio from interviews with Zane Lowe, Jimmy Kimmel, Power 105′s The Breakfast Club, Sway Calloway and more.

Back in 2013, online interview magazine The Talks conducted an interview with the legendary Belgian fashion designer, Raf Simons, giving us a personal insight into his world, his early days as a design student and his thought processes. Simons comes across as a humble and astute creative personality, someone who, for his closeness to the fashion industry, exists almost as a parallel entity to it.Read the full interview below, taken straight from The Talks.

Mr. Simons, would you consider yourself someone that lives and breathes fashion?

How can I put this without being too critical? I don’t have so many things in the fashion world that interest me. It’s probably because I am so deeply into it. Often when you go very deep into something, you also discover what it’s about and you understand it better. With the art world I still have a lot of curiosity. There are a lot of things that I feel attracted to and I don’t necessarily understand them and that’s what fascinates me. In the fashion world I know a lot of the brands and the designers and you start to be more critical and you start to have a very specific point of view.

But isn’t fashion such a significant part of your life?

The fashion thing is something I do, and yes it is definitely also becoming a part of myself and my personality. It also doesn’t really feel like a job either: it’s a dream or a passion or something. I think there are things that I relate to more than fashion though, personal, private things. Like my environment, my family, my friends, you know.

I’ve read that the first fashion show you ever went to was Maison Martin Margiela. You said it was so beautiful that half the audience cried and it had a huge influence on you. Why?

Because that was the day that I understood that fashion could also be conceptual and intellectual, that it could be linked to a certain kind of social, psychological thing. That Martin Margiela show was in a really trashy area in Paris and it wasn’t in a building, it was in a playground from a black neighborhood. The parents had agreed to do the show for the Margiela company only if their children could come and see it. Everybody was expecting the children to just stay on the side and sit with the audience, but they didn’t.

What happened?

They started to play with the girls and it was a very, very different thing. Before my perception of fashion was a high-staged Americano, you know like sun tans, boys, healthy. Martin was turning it completely around; it was like they came out of a grave or something. They looked really different. I don’t have that background; my parents are very working-class and I come from a village where there is no culture.

How did you find your creativity in such a place?

One of the first things I picked up when I was very, very young out of a record store was work from Peter Saville, the early things he used to do for Factory Records. I come from a village of 6,000 people, so forget about Berlin, London, New York – what are you talking about? – I didn’t know anything. So I picked up things because of the imagery. We have to think back in time – no computers, no mobiles, no nothing – it was pure isolation in a way.

You never traveled when you were younger?

No traveling, never went on a holiday. My life was literally my street. And I picked up records because when you’re young, you’re into the bands. And what were the bands back in the day? The Cure, Anne Clarke, and all the new wave things. And then suddenly there were these things from New Order, Power, Corruption, and Lies with the flowers and the wreath. I was like, “What is that?”

Is that how you became interested in fashion?

No. I was in a college, you know, with priests teaching. We were not informed about what was possible. Until I was eighteen I did not know that you could study fashion design or art. I really didn’t know. I already had my nose in the art world, I was already looking at things, but I didn’t really get it that you could study that because my school was a very different environment. It was the kind of school where they want you to become a doctor or a lawyer and that’s not at all what my personality is.

How did you manage to get out of that?

I got this book from these people who would come to the class once or twice a year to show you what the possibilities to go and study are. In the back of the book there was a half page on architecture and a half page on industrial design. I looked at the address of the industrial design school and it wasn’t too far from my parents’ house – I could get there with a bus – so I thought I’d go and have a look. I walked through the door and I thought, “This is what I’m going to do.” I saw all these kids sitting there, with cigarettes, it looked like such a different world.

But that was industrial design, how did you end up in fashion?

Within the first months at that school I realized everything that was possible – going to an art school, going to a fashion school – and it was in that period that the Belgian designers started to shape up and I was very attracted to that. There was a Belgian fashion designer named Walter Van Beirendonck and I saw that the way he was handling fashion was not just by making clothes, he was also doing presentations and masks and furniture. I was so modest to think that I wouldn’t be welcomed in fashion because I was in design school, but I thought maybe I should just write a letter to see if he had an interest in letting me work for them and that worked out. He’s actually the one who took me to Paris to that Martin Margiela show we were talking about earlier.

It’s interesting because it feels like this combination of different but related art fields was always very present in your career and in your interests.

Yeah.

How do you deal with your star status in the fashion industry?

It’s not that much in my interest. It’s actually something that I’ve found quite complicated for a while. I’ve always kind of tried to split it up, but that is becoming more and more difficult because I’m attracted to do things that have this constant dialogue with an audience and it seems to keep growing. Which is a good feeling because that means that people want to have that dialogue with me or the things I do. So it is kind of fascinating, but the idea of fame just for fame’s sake is something that I actually hate.

How important is the Internet in that dialogue with your audience?

That’s the question that is in my head a lot lately. I don’t really know about the long run. It’s clearly quite important right now – it’s so much a tool from this moment and from this generation – but what were the tools when I was young? The tools were television and magazines or a normal telephone in the house and now twenty years later those are all gone. So I’m just trying to imagine if this computer thing and the Internet thing might be gone in twenty years. It’s an important tool in this moment, but I’m still somebody who believes that a real-life experience makes a difference. I know a lot of young kids whose world is literally their sixteen square meter room and their computer. With all respect, and yes I embrace the young generation’s approach, but you miss a lot that way.

An actual encounter with an art piece or a fashion show is significantly different than seeing it on a screen.

Exactly. The dimensions, the light, everything is different. Looking at and experiencing a movie in a theater or a performance on stage and being there and feeling the vibe and also feeling the other people’s vibes – it’s a very different thing. It’s one hundred percent the opposite of what we embrace so much as the new communication. But it’s important because it’s what the young kids embrace very, very much. Still, I think if it was only that, it could mean that it will disappear really fast. At the end of the day we are animals; it’s very animalistic in a way. We like to have contact.

Talking about the new generation, you used to teach fashion in Vienna. Do you think it’s possible to teach someone to do what you do?

That’s a good question. I think it partly can’t be taught, because I think teaching is not just learning to make a pattern or learning to sew a skirt or whatever. Teaching is also having a dialogue with somebody in order to teach the person to create a thought process. I do find a lot of people who have an interesting, individual, unique, meaningful thought process, but then comes the moment that the thought process, which is very abstract, has to be translated or brought to an actual thing, to a materialization. That’s where a lot of them have difficulties.

What is your thought process like? Let’s imagine you’re stuck with an idea and you don’t know where to go with your designs for a new collection…

Then I stop fashion, that’s not possible. That’s the day that I die!

But I’m sure you get stuck every now and then.

No, for me it’s the opposite. I have to find ways to stop the thought process because the thought process is constant; it’s constantly everywhere. And that’s not to make me sound pretentious, because it sometimes makes me unhappy. It can keep you awake or you have it in the middle of a meeting.

Does that affect the people around you?

It sometimes makes people nervous. I’m doing things and at the same time thinking about something else and they are responsible for working things out from the thing that I said before and I’m already saying something else. They would say, “Calm down! First this.” It’s a flow. I’m not somebody who has to sit at a desk and think over what I have to do. I know for myself that the day I’m stuck for an idea is the day that it has to stop; that’s the day that I know it’s not going to work anymore. So for me it’s the opposite: I have to find ways to stop my creative thought process.

What are some of those ways?

I go to the art world and I look at all the people’s work and I’m so fascinated with the work because it takes me away from my fashion thing. That’s also probably why I keep doing several things all the time – because the thought process never stops.