In the era of the preview and early look, it was extra surprising to hear that a new edition of 12ozProphet is fully formed and primed for release. Coinciding with the relaunch of the website and forums (while the idea of a forum for streetwear is out — as the impending end of Hypebeast’s boards attests — in favour of the Reddit and private FB group chatter, graffiti still seems to work well in that format), plus a new store that debuts this week, we get Volume 2.5 in The Official Bootleg Series (contained again in “flavor-saver” packaging). Continue reading MORE BOUNCE TO THE OUNCE
Graffiti backdrops and rap have been coopted by the worst kind of hip-hop conservative — and let’s not get into the live painting festival side of things — but it’s something that’s still interesting when it reaches into other scenes. With a few exceptions, the more rap-centric side of New York hardcore does nothing for me, full of tattooed dudes that would absolutely batter me, stomach rockers and pitbull shots in the videos, plus those clumsy ’92 flows. But there’s a thin wallet chain line between good and terrible when it comes to rock and rap anyway The graffiti and NYHC connection however, is fascinating, from pieces on trains to those hand styles and hooded characters on tape covers. Lately, there have been some strong examinations of the hardcore scene’s aesthetics (this Anthony Pappalardo Youth Crew article on The Hundreds’ site from a couple of weeks back is superb). And last month’s premiere of The New York Hardcore Chronicles, which includes an entire section on hardcore and graffiti with folks like SkamDust, KR. ONE, was tied with a Doc Martens’ project where musician writers reworked the boot that claimed so many teeth on the scene. Building on this classic 2014 feature by veteran Freddy Alva (that SANE Burn piece = mind blown), there’s an entire book on the topic, Urban Styles: Graffiti in New York Hardcore, arriving via DiWulf Publishing at the end of October, that’s at the pre-order stage right now. Freddy spoke to graf/HC pioneers like Mackie, Chaka Malik and Sacha Jenkins (who I’ve long assumed was the reason hardcore featured in Ego Trip every issue). Just as Seen and friends preferred to paint to Sabbath, and a combination of Grand Funk Railroad and psychedelics probably helped evolved style as much as an 808 drum and THC ever did, while hip-hop was integral to altering hardcore attire from cut-offs and DM’s to Champion and Air Revolutions, the assumption that the soundtrack had to fall in line with the parameters of “four elements” to be considered real would be creating a deeply distracted version of history.
It goes without saying that a book compilation of the best of/every issue of On The Go is very needed. We’ll just have to keep wishing in the meantime though. Steven “ESPO” Powers and Ari Saal Forman’s graffiti/hip-hop/lifestyle magazine went from ‘zine to glossy between 1989 and 1997 — a Tower Records necessity alongside Ego Trip and Stress in its heyday — before vanishing from shelves and is always in need of a good retrospective. Like any good graffiti publication, they put out some videos too — 1993’s Eyeshocker Express is on YouTube via helio215 and — at time of writing — the follow-up, Repeat Offender has vanished from the internet again after a copy surfaced eight years ago. Some good music, excellent Philly footage and history from local legends like Cornbread makes Eyeshocker a great accompaniment to the magazine. Once upon a time, it would set you back $16.50, plus postage fees and an eight week wait, so it’s good to have it for free.
To some, Sigue Sigue Sputnik were one of those press-inflated flops of the 1980s, billed as the new thing — a glam sci-fi band with a loose dystopian dress code and apocalyptic Droog-like art direction, but incapable of maintaining the momentum of their Giorgio Moroder produced breakthrough. I think they were one of the great acts of that moment — a post Generation X creation who made a record that defines its era and maintained a mystique that had me fascinated. The sense of swindle and piss-taking that pervaded their work had some serious marketing dollars behind it. That promo extended to a 1986 MTV takeover called Sputnik Network Television that user result has upped onto YouTube. Presented by Tony James, who introduces Peter Gabriel videos, interviews shadowy record execs and Jennifer Gray, quizzes a spaniel and takes phone calls a young Futura 2000 is art guest, painting throughout in bike courier attire. Lenny gets a lot of screen time, mentioning his Fila boycott, but citing the brand as, “Sort of a street Gucci of 1986,” and expressing embarrassment at his Clash-produced solo single. A fantastic time capsule of its era that — as Lenny’s mention of his t-shirt line indicates — sows the seeds for plenty of interesting things that followed.
This Jodeci VH1 biopic might be the best news of the day — a Jodeci flick and a full Ric Flair documentary? An amazing time to be alive, contrary to those apocalyptic headlines. If that rising ocean and those missiles can hold off for a couple of years, that would be ideal. I’m also very excited about the impending issue #1 of TTTISM magazine from the Sang Bleu stable. Maxime Plescia-Büchi is a friend and role model — a man so prolific that he’s put together an entire supplementary publication to an existing rollout, a complete apparel range and even changed his name since I saw him last. And that isn’t even his day job. On an unrelated note, big up Hezakya Starr for upping this 1993 news piece on the sagging, baggy denim boom — big jeans will be back soon (note: bootcut and baggy are two different things), and this is a reminder as to haw voluminous things got back in the day. Switching to unrelated mode again, a couple of cool Larry Clark interviews have appeared online too, including one where Clark talks about an impending retirement from films to drive around Europe in a Bentley and another one for French news — I post a lot of Larry interviews on here, and most tell the same tales and ask the same questions, but he is a character who will forever prove fascinating to me.
It’s almost a never forgive action that I had no idea that ESPO and REAS’s one-minute Style Wars the Musical short (which, for a moment a while back, I thought was actually a trailer for a full off-Broadway musical) was online via its production company, ApK. This video (on a slightly faraway screen in the Street Market 2 recreation) was one of the highlights of a trip to the Art in the Streets show at MoCa LA back in 2011 — now I want to see a full version of Skeme and his mum’s big number. There have been a lot of magnificent tributes to this iconic documentary throughout the years, but this is one of the very best.
The only way to keep moving during the first murky weeks of January is to find things to look forward to. 2017 always sounded like a futuristic year to me — The Running Man was set then, 30 years ago when it seemed like an infinity away — but it’s surprisingly mundane thus far. That said, the events of 2016 seem to have put the building blocks in place for something appropriately dystopian. As ever, I’m glancing back and getting a little retrospective and the impending Ryan McGinley The Kids Were Alright, which arrives as a book and exhibition (by Rizzoli and at Denver’s Museum of Contemporary Art respectively) next month. 1998 to 2003 lower Manhattan life seems to be the central subject, with McGinley in an intimate role to capture the everyday antics of that world’s key figures. Expect equal parts optimism and nihilism. Continue reading RYAN