One month before we meet, FKA twigs, sitting in an east London café, threatened to quit interviews for good. "I can't do it," she told an alarmed Sunday Times writer, staking out the border between her public and private lives. "It makes me feel nutty."

The dispute, sparked by a question about her rumored engagement to actor Robert Pattinson, testifies to a mounting frenzy around Tahliah Barnett. A former backup dancer for Kylie Minogue and Ed Sheeran, the 27-year-old has harnessed underground subcultures past and present -- from '80s NYC vogueing to Tricky's trip-hop mysticism to the dreamier outskirts of UK grime -- to radically reinterpret pop. Despite her inventive tastes, she's found a broad fan base spanning Tumblr diehards and mainstream dabblers -- some drawn to her vulnerability, others to the boldness with which she performs it. In addition to three virtuosic EPs and a well-loved full-length, last year's LP1, twigs recently expanded her pop culture empire with two multidisciplinary projects: Soundtrack 7, an ambitious dance endeavor encompassing the rehearsal, performance and real-time documentation of a new piece every day, and Congregata, her celebration of vogue, krump and bone-breaking staged in London and New York.

Jidenna Theodore Mobisson is an unlikely pop star -- a 30-year-old Nigerian-American intellectual with a meticulous look drawing on everything from industrial-age suits to West African fractal designs to modern slimmer cuts. But he's become a sensation thanks to "Classic Man," his first single on Janelle Monaé's Wondaland Records. 

The song samples and expands on Iggy Azalea's "Fancy" as a form of reclaiming the original Bay Area hyphy sound -- or, as Jidenna puts it, "taking a piece from the past and modernizing it." What makes Jidenna so magnetic is the way he consciously embodies the presence of the past even beyond his own art, taking broader cues from the 19th century. We got on the phone with Jidenna to talk about recycling history, how to understand the repetition of activist movements, and the power of healing sex magic.

The theme of this issue is "Nowstalgia," and we're talking about how the past has come back into the present. That's something that seems important to you. How do you see the importance of remembering the past in making the present both musically and in fashion?

I think it's important to understand where you came from to understand where you're going. What I see across the board in the millenial generation is a recycling of the past. We have more access to the music, more access to fashion, to images, probably more than any other human beings in history. Because we're taking in so much, we start dressing like a bit of the '90s, a bit of the '60s, a bit of the '70s, and a bit of the '20s. 

With myself specifically, I'm particularly informed by the Jim Crow era. When I really started looking at the statistics of incarceration rates, and the effects of the war on drugs, it was a very racialized and class-driven history. I was appalled, in the same way a lot of people are. I wanted to dress in a fashion that resembled the old Jim Crow, so that it shed light on the new Jim Crow era we're currently in today. The New Jim Crow, of course, has been coined by Michelle Alexander's book, which I read when it came out. 

As far as fashion, that's one of the main inspirations for myself. It had less to do with politics, respectability, and class, so much as it did with being a symbol of the times. I think it's important to dress according to the fashion of the times, and the fashion of the event, and that's what I'm doing, in essence. 

As far as music, I'm inspired by a bunch of eras. Just like everybody in our generation, I think we create a gumbo pot of music. We're not just hip-hop, we're not just rock, we're not "just" anything, specifically. So, in that way I stand in solidarity with a lot of the millenial generation's pace of music. "Classic Man" is both contemporary and draws back to kind of the classic eras of sound. If you listen to the actual music, it's reminiscent of the Bay area's hyphy movement, which is over ten years old now. It also has a bounce that people felt in the '80s when they were dancing, but the vocals have a classic reverb sound that I think a lot of people don't use today on the radio. So it stood out on the radio, to have this kind of bigger, timeless reverberation on the vocals. 

I think, to kind of reel it back, the core of the art that I create is all about taking a piece of the past and modernizing it. If it's the 808s of today, the technology that created the really thick and booming sound, you combine that with the reverb on the vocals of yesterday. You take a suit, or the suspenders of today and you combine it with some of the trends that you see in fashion, like the West African fractal designs of the wax prints I wear as ties or pocket squares, or that I put on the lapel of my blazer, that's very new. That wasn't done in the '20s. Also the suits are way more tapered and tailed to the point where the ankles reveal the socks. These are modern designs, but definitely reminiscent of the past.

You talked about how all this culture and these different times kind of exist at once. Do you see any problems with that, in terms figuring out what the future looks like -- and what would it mean to make something new, keeping in mind this long, relatively permanent memory of everything that's happened before?

I think that there are definitely changes with our generation as far as how we move forward and create something that's new. But the idea of recycling is not a new concept whatsoever.

I'm in Chicago now looking at skyscrapers all over the city, and I'm thinking of what was used to make some of these skyscrapers. There's one next to me made of bricks, there's another one that's made of some sort of glass, or fiberglass, and they're from different time periods. But the architects use the same rectangular model that's been used for the entire 20th century. But one chose to use brick, which have been used for thousands of years. Another one used glass which is relatively new, not older than a hundred years. So they recycled. And these skyscrapers look alike. So what do you do to create something new?

Once you recycle enough, you find some element that a lot of the time technology brings, and that's when you find something new. If you look at music, music stays the same in an era and genre until technology pushes it forward. If you look at rock and roll, it was the amplifier and the electric guitar that Jimi Hendrix -- to name one of the legends -- was really able to really master. He was able to master the idea of feedback on an amplifier, such that he created a new sound that had never been heard in rock and roll. He pushed that forward. The Beatles pushed that forward.

Over human history, we recycle, we recycle, we find things fascinating, and then our interactions with technology produces something we've never seen before. I think our generation's duty is to -- as things like Google Glass and whatever competitors, smartphones, as technology that you wear -- that, rather than looking at a screen all the time, allows you to actually interact with other people -- as that technology develops, we'll have forms of fashion that we've never seen before. 

I saw a runway show with people wearing solar panels. Although it's ridiculous now, I bet you in ten years it won't be so ridiculous if those panels are charging your phone -- and that's a very primitive vision. I think it will go further than that, as we continue to become cyborgs, which I think is inevitable. We'll be changing what we wear, how we dress, how we walk. We may be on Segways, who knows. But I do think technology is the catalyst for really creating something new.

That's not to say that it all comes from robots or machines. It's the ingenuity of humanity. And a lot of times it's not the even ones with the access that create something new, it's the ones who have to create based off necessity. Hip hop was created from people who did not have access to studios, so they went into their parents' basements, dug out old vinyls, and resampled them in a way that hadn't been heard before, and used a vocal rhythm that was not common in the time. They created a whole generation and an economy that we call hip-hop culture today.

To sum up, I think it's a combination of natural human ingenuity, the creativity that stems from necessity, and then the interaction of humans, and the new technology that we create. That's what will create something brand new, both in music and in fashion.

Do you think that the emphasis on functionality or utility has any dampening effect on the expressiveness or aesthetic value of either fashion or music?

We need to use any new device as a tool. We use the tool, we don't let it use us. That's a core value that I think we as a society and world have to reconcile with right now. Because our technology is moving faster than some of our social values are. 

That's the concern you see in a lot of elders and even people in our generation, who are like, "Man, Facebook is ruining everything! And our phones --" I see what people are saying, but it's really like, are we going put in place some sort of value system? Religion, politics, and all the things that are supposed to kind of keep our moral compass going in the right direction -- right now, we question all of them, and we question everything.

We question it because we see entertainers, we see guys like Donald Trump running for president and artists saying they're gonna run. It makes us question politics and religion, at least in the millenial generation, there's a large amount of us saying, "No, we're not religious -- maybe we're spiritual, but we don't believe in any one religion." We're a very kind of individualistic generation. But I think at the end of the day, humans are social beings, and we will need to start forming value systems that don't shy away from technological developments, but embrace them. We need to marry them with humanity as opposed to trying to either divorce them from humanity or letting them run our social interactions with each other.

Do you think that's something history can help with? There's this tendency to think about the Civil Rights Movement in talking about the way current activist movements exist. What role do you see history playing in forming those new value systems?

I think that history is a spiral; it's not linear, or a circle. It's ever evolving and moving forward. What's tough about this is how much access we have -- the internet is almost like a wormhole for us. It changed everything. There have been times where everything changed, like the industrial revolution. But we've moved further than the Civil Rights Movement, for sure. It's great to see some of the social changes going on, like if you look at the Supreme Court's decision on [same sex] marriage and the Black Lives Matter movements. That's great. Those are huge, huge, huge accomplishments that we've seen in our times, and the civil rights movements have been a huge inspiration.

But in terms of the present matter that we're talking about, we have to look a little further back. That's why I study the 1800s so heavily -- not just for fashion, but also in looking for a time when the world was confused about morality, and confused about how to use technology.

So in the 1800s you have both the battle for either preserving slavery or getting rid of it, and the industrial revolution, in the same century. It reminds me of these times where we have so much conflict in our society, especially in America, because of the whole melting pot thing we've got going on here. We're still trying to figure out how to make that melting pot a true fruit salad where people can preserve individuality and communities can be preserved, where you don't lose your own identity, but you still have a communal identity with your city, your state, your neighborhood.

I don't have a direct answer for this question because I haven't found a time that's very comparable to the internet, but what I can say is that the internet helps you travel through space. And pretty soon, if we start using evacuated tube technology that helps you travel to China within a couple hours, or travel to another country that's not on your continent in 45 minutes -- that, combined with the advances of the internet, will change the way people interact so much that the world will truly become a village. I do believe the world will become more localized. People will actually care about who their neighbors are more. There will be a natural cultural diffusion that happens, and that has happened before -- with railroads, ships, explorers going around the world.

Anytime you see those huge leaps in the use of technology, you first see some conflicts -- namely some war -- but I believe that, at the end of the day, humans actually care about each other, and we'll see cultural exchange happening. My hope is that with the internet and the world becoming more interconnected, or realizing it's become more interconnected, we will start to become a more harmonious earth. I believe that's happening, but we don't necessarily see it.

You talk about the 19th century having very similar problems to today. Is there someone you see from that period as having an approach to those problems that you try to emulate?

There was a man named Paschal Beverly Randolph. I wouldn't say that he had any solutions to the time, but he embraced the kind of hodgepodge nature of the 19th century. In fact, I got a lot of fashion from him, even if you look at his image. 

He self-described as a free mulatto man and an abolitionist in a time when slavery was still rampant. He traveled to Europe from New York -- I don't know how he got there -- and studied the occult faiths, because he didn't believe the fundamental Judeo-Christian religions were everything in the world. He wanted to further explore beyond the field of right and wrong. And then he came back with that and became one of the chief facilitators of the occult, nontraditional religions in America. 

Then he became a sex magician, which was basically couples therapy at a time when that wasn't popular. He would invite couples up, and and help them find orgasms between each other. Like, there was a story I read where he would have them make love and, at the point of climax, he would have them say whatever their desire was in life -- let's say it was money, or harmony within their family -- and they would say it at the point of climax. They called it sex magic, because his followers believed these things would happen, because sex was what you used to give birth. His claim was that it would "give birth" to the desires these people had.

He was also a novelist -- he lived a very full life in a time when men who looked like him, people of color, were not freely traveling everywhere in the world. He pushed the boundaries, and I love studying him, mainly because my goal right now is just to learn as much as I can. Any different subject that I can get my hands on, I want to soak in, because I really care about understanding the time that we're in, and I think he did too.

He didn't necessarily solve any one particular issue, but he did what millenials do, which is embrace the times. He recycled, he pushed and learned about the new trends of the time, and he wrote about it and he created. That, for me, is what we do in general; everybody in our generation is a photographer because of our phones, everybody is some sort of creative, everybody wants to be an entrepreneur. He reminded me of these times now. He was definitely one of the guys who stood out, and history doesn't write about him often.

"Healing sex magician" sounds like a really good description of the ideal artist.
Right? The ideal rock and roll star, superstar: healing sex magician. Yeah, man. He was cool.

The upcoming generation of teens is full of kids who are stars to each other, but inhabit practically a different social universe from adults. They're building their own social media followings on Instagram, Snapchat, Twitter, you name it -- but to what end? For the olds among us: who are these teens, and how can we be as cool as them? Get to know the most fascinating teens on the internet in our feature, Yasss Teen.

It feels like I've known about Lohanthony forever, since his videos and images were so widely circulated (especially on Tumblr, which was my first internet home). Since bursting onto the viral internet with his nine-second magnum opus, "CALLING ALL THE BASIC BITCHES," Lohanthony has had an excitable, ubiquitous presence. Last year, Rich Juzwiak called him the "Littlest Big Diva" in New York.

Since then, Lohanthony has branched out from YouTube videos. He's appeared with the stars of Oxygen's Prancing Elites, has a movie on the way, and just released his first compilation album, titled Landscapes. We spoke to Lohanthony about his career and what it's like to have Kate Moss and Marc Jacobs make a tribute video to you.

Can you tell me a little bit about the process that went into choosing the songs on this album?

For this compilation, I basically just took thirty songs that I'm currently obsessed with to the manager of the compilation, and just sat around waiting for the review. Is this song gonna make it, will it be cut. But thankfully, all my favorite tracks got on the compilation, so that's great. I have such a huge obsession with music because I have access to so much, thanks to Spotify and Tumblr and websites that stream music. I find so many new songs and artists every single day thanks to those music streaming websites. I had so many current favorite songs that I was looking to share already, so I just gathered a bunch of them and put them in a compilation.

I was listening to it earlier, a lot of it is very pleasant fun electro-pop, and it kind of follows that motif. Is that just how your favorite music was when you were making that compilation, or was it a specific sound you were going for?

I guess all the songs kind of personally spoke to me. I love house/electronic music, and you can definitely tell listening to this compilation.

This is one of a few things that you've been doing lately in your career - performing with the Prancing Elites, and you announced that you had a movie role earlier this year in a video. Is this you moving more into working in the entertainment industry?

Oh yes, I am trying to make my way in the traditional entertainment industry as much as I can. Just letting everyone know that Anthony's taking over and Anthony's here. The movie is called Miss Stevens. Some information on that website is false, but what is true is that I star in it, and that Lily Rabe and Lili Reinhart and Timothée Chalamet star in it as well.

Can you tell me a little bit about how that came to be?

The writer of the movie reached out to me and was like, "I just know that you are perfect for this role. I have been looking for someone to play this role for so long. I came across you and your videos recently and thought, 'This is it. He is the one,'" and I have to agree with her. The role fits me so well, and I was just so grateful to have a writer be so supportive and so truly sure that the role was meant for me.

There's a lot of instances of really, really famous people like Marc Jacobs, are reaching out to you publicly over social media, and in his case doing your basic bitch leg video. How was seeing Marc Jacobs and Kate Moss liking your work so much and reaching out to you and doing their own version of it?

It's just all so surreal to me. Never did I ever think that uploading a video would get me in the eyes of all these influential and amazing people. I look up to so many people who have seen my videos and actually like them. I don't know how, but it's just absolutely crazy, and it only pushes me harder. I gotta give my love to anyone who supports me, no matter how big their status is in the world.

Does it feel like you're doing the same stuff that you were doing as a kid, and it's caught up with you?

Oh, yeah. Right now, it's just me doing what I love and I just have an audience of people who support me. That's the only difference. I'm so grateful for that.

How much time a week do you dedicate to your social media presence?

Social media like Twitter, Instagram, Tumblr, I do every day. Just whenever I pick up my phone, or my laptop or desktop or whatever. But my YouTube, since I upload twice a week, it's an entire day dedicated to both filming and editing, and maybe even an extra day if I need it. It takes a long time.

Do you feel pressure to keep making the videos even as you're working on separate, larger projects?

Oh, yeah. It's definitely a struggle keeping up with both my YouTube and being on set every day, but luckily I have viewers that understand that I am only human and can only do a certain amount of things at once.

When the basic bitch video came out, and that went as huge as it did, that was what pushed your social media presence into a larger stratosphere?

I guess so, that opened a lot of peoples' eyes to me. The moment I realized that something was actually happening [for me] was when I woke up and saw a tweet from Katy Perry, and I went to school and everyone had seen the tweet. It went from just uploading videos that no one saw, no one acknowledged, to my YouTube channel actually being something. It meant something to people, and it was a product. It was really weird at first, but I just have to say to myself, "Just keep doing your thing, just keep being you, no matter how much the numbers change. At the end of the day, people just want to see you." It was definitely weird. That same summer, I got noticed for the first time in public at my local mall in my hometown. I got asked for pictures, and to me, that was just super foreign and weird, but now it's something that I expect if I go to a public place. I expect to be confronted by my viewers, which I love so much.

Can you talk about how you deal with negative attention from people on the internet?

Underneath YouTube videos, obviously there's a comment section where people share their opinions, and some of it's good and some of it's bad. But when it is bad, I just remind myself that it is a good thing that I'm getting these hate comments, because if I was just to get all positive comments, it would just be from people who watch me and people who expect to see what they're seeing currently. 

If I have a hater, then that means that someone who does not watch my videos, is watching my videos, and that's actually good. It means I'm reaching a larger audience -- but when I do read it, it's just like, I don't really care. It doesn't really impact my life. I've gotten to the point where I have a huge, solid, strong wall when it comes to my confidence, so I just laugh at it. I actually have videos where I read my comments and laugh about it and react to them in a positive way. It's not a big deal.

Who are your favorite people to follow, and how do you find people that you follow?

I love GiGi Gorgeous on YouTube, I've been following her for so long, she's definitely one of my favorites.

Where do you see yourself and your career over the next few years?

I love acting so so so so so much, so hopefully in ten years you can catch me on set of a movie that I'm in a main role in, or something like that.