Nike recently announced it would be re-releasing a few classics from the Doernbecher Freestyle Series including this patriotic edition of the Air Max 95. This pair owes its colors to Mike Armstrong, who participated in the Doernbecher Freestyle Program back in 2007. The program was created in 2004 as a means to raise money for the Doernbecher Children’s Hospital through the sale of sneakers inspired by its patients. Armstrong, then 15, joined the program while recovering from heart surgery and his brother was serving in Iraq. With its deep blue mesh upper topped off with a red/white stripe pattern and stars on the sides sitting atop a mean black outsole, this looks like a pair fit for Captain America himself. The special Air Max 95 will release shortly after Independence Day on July 6 for $140 through nike.com, and Nike outlets in New York, Georgetown, Chicago, Roosevelt Field, Portland, San Francisco, Dallas, Los Angeles, Lenox and Las Vegas.
Mac Miller delivers with a new video today, directed by himself along with Rex Arrow, for ‘Watching Movies’. Watching Movies With The Sound Off will release on June 18th and is now available for pre-order on iTunes. Watch this visual above.
Directed by: Rex Arrow & Larry Fisherman
Song Produced by: Sap & Larry Fisherman
Artist and photographer Richard Mosse presents The Enclave. The film was shot on 16mm infrared film, which was originally conceived in collaboration the U.S. military for camouflage detection during the ’40s, and was discontinued by Kodak in 2009. It was with this concept of rendering the invisible visible in mind that Mosse chose to use the film to document the largely unseen and under-reported conflict that has been raging on in the Congo. In addition to covering rebel groups, he also documents the human impact in the form of the refugee camps established to shelter those fleeing the conflict. Certainly presenting a new perspective of conflict and war photography in general, Mosse didn’t just slap a novel film type into the camera and shoot the same scenes of that the world has unfortunately become all too accustomed to. By pairing the admittedly aesthetically intriguing medium with scenes documenting the pain felt by the region, Mosse hoped to trigger internal conflict with viewer and with it, both awareness and dialogue.