Tag Archives: Freddy Alva

PAINT & ANGER

urbanstylesbook

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.