271
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272
Media / hi! phantom slick
« on: June 09, 2004, 01:41:00 AM »
HEY PHANTOM SLICK!
JST THOT ID LET U KNOW THAT YALL R THE SHITS. MAN U BROUGHT THE HOUSE DOWN @ WHO ZOO, BT I DIDNT HEAR NOBODY COMPLAIN SO I GUESS ITS COOL LYK THAT.
WHN R U GUYZ GONNA ROCK PRETORIA COZ U KNOW WE GONNA B MAD PRETTY AND YALL R HANSOME SO WELL HAVE FUN & THN SUM.
NWAY YO LYRICS ARE BANGING. HANG IN THERE AND U WILL ALWAYS B THE KING OF MA CASTLE.
P.S. DIG YO SMILE....... :-D
JST THOT ID LET U KNOW THAT YALL R THE SHITS. MAN U BROUGHT THE HOUSE DOWN @ WHO ZOO, BT I DIDNT HEAR NOBODY COMPLAIN SO I GUESS ITS COOL LYK THAT.
WHN R U GUYZ GONNA ROCK PRETORIA COZ U KNOW WE GONNA B MAD PRETTY AND YALL R HANSOME SO WELL HAVE FUN & THN SUM.
NWAY YO LYRICS ARE BANGING. HANG IN THERE AND U WILL ALWAYS B THE KING OF MA CASTLE.
P.S. DIG YO SMILE....... :-D
273
Media / molybdenum
« on: June 08, 2004, 02:39:00 AM »
moly woly.
try this. go to hotmail.com and click on sign up for a new account. create the new adress, then go back to AG.com and make yourself a new AG account callin yourself miss moly or somethin. then you can start asking people to sell your body for money to buy yourself a new phone. THERE´s your fool proof solution right there.
ootz is lousy smelly ***** who jerks off for inspiration and tie rotten watermelons to his a** and lets the mould and juice drip into his a** crack. days later, a watermelon plant grows in his stomach and thats why the girls love him for his fruity breath. hahaha they need to know the real story.
spacevein is a monkey.
sinbad sifalos
try this. go to hotmail.com and click on sign up for a new account. create the new adress, then go back to AG.com and make yourself a new AG account callin yourself miss moly or somethin. then you can start asking people to sell your body for money to buy yourself a new phone. THERE´s your fool proof solution right there.
ootz is lousy smelly ***** who jerks off for inspiration and tie rotten watermelons to his a** and lets the mould and juice drip into his a** crack. days later, a watermelon plant grows in his stomach and thats why the girls love him for his fruity breath. hahaha they need to know the real story.
spacevein is a monkey.
sinbad sifalos
274
Producers - Discussion / drum machine, Midi keyboard
« on: June 07, 2004, 08:35:00 PM »
Yo! I am new in the forum , I jus wanna help, does any one know where I can get at least second hand drum machine as well as Midi keyboard? my budget is R500 for midi and I dont real know the price for the drum machine.
hola at me 072 60 84 381
peace, love and happiness
hola at me 072 60 84 381
peace, love and happiness
275
Media / Milk HELP!!!!
« on: June 07, 2004, 05:12:00 PM »
Wzup milk. Actually wzup to everybody. It´s Molbdenum... yes Miss Moly. The chick with the prono voice...
Milk I forgot my pa**word and I forgot my mail pa**word and I lost my phone so I kinda like cant get into my account. Please help
To my babies!! How are you. As yall can see I lost my phone which is why I havent been able to call any of you. As soon as I´m in my account please send me private messages (if those still exist) with your numbers and all so I can get back into contact with yall.
Is nebody there part there is on now.
Moly :-P
Milk I forgot my pa**word and I forgot my mail pa**word and I lost my phone so I kinda like cant get into my account. Please help
To my babies!! How are you. As yall can see I lost my phone which is why I havent been able to call any of you. As soon as I´m in my account please send me private messages (if those still exist) with your numbers and all so I can get back into contact with yall.
Is nebody there part there is on now.
Moly :-P
276
Chief Rocka - Open Mic / Is This All u Got
« on: June 06, 2004, 05:44:00 AM »
LISTEN.
damn you cats sound like simpletons
i´ll back hand u in ur dimpled chin
any of ur words bounce off me cuz they frivolous
u aint lyricists, u punks wit keyboards thinkin u could deliver this
what! it takes u hours to write an ode
i scratch ballads and spit em on the mic while u type at home
ill kick ur case and smash ur monitor
giv em a virus like you and cholera
why am i on this stupid forum
ima leave so you fools can hav a life, cuz for me its borin´!
CYPHE, South Africa.
damn you cats sound like simpletons
i´ll back hand u in ur dimpled chin
any of ur words bounce off me cuz they frivolous
u aint lyricists, u punks wit keyboards thinkin u could deliver this
what! it takes u hours to write an ode
i scratch ballads and spit em on the mic while u type at home
ill kick ur case and smash ur monitor
giv em a virus like you and cholera
why am i on this stupid forum
ima leave so you fools can hav a life, cuz for me its borin´!
CYPHE, South Africa.
277
Media / Shane Nthato...magazine
« on: June 05, 2004, 04:43:00 PM »
EMAIL NTHATO
GANGSTERISM.send!
ASAP!!!
levitationmag@hotmail.com
GANGSTERISM.send!
ASAP!!!
levitationmag@hotmail.com
278
Producers - Discussion / Sytrus
« on: June 05, 2004, 04:40:00 AM »
Does anyone have the sytrus download?
279
Traders / pink monkey says
« on: June 05, 2004, 04:22:00 AM »
today i got married to a pink monkey. she bosses me around and i hate it. every day is like a game of simon says except that i get pussy at nite before i go to sleep in my banana leaf bed. i like to teach my kids proper use of bathroom invective. they learn words like c u n t, p o e s and P E N I S P A L. all these words i use to describe ill ego. dear ill ego...kill yourself!
pink monkey says:
GO DIE.
pink monkey says:
GO DIE.
280
General Discussion / talent search/record deal
« on: June 05, 2004, 03:09:00 AM »
WIT Records is a new indie label looking for rock or rap groups as well as solo pop artists. If you are serious and really feel you have what it takes go to witrecords.com for submission details. There is a cash prize for the top three submissions. Good luck
282
General Discussion / Fuk You...my friend
« on: June 04, 2004, 07:23:00 PM »
In the annals of graffiti folklore there are few greater names than that of Futura 2000. He was there at the beginning with a handful of others, using the subways and streets as their canvas. What started as the whim of a few has now escalated and spread to all the major cities in the world as well as starting to be taken seriously as an art form.
When I started writing back in ´70, there was no scene. There was something happening but it was all underground. We were our own audience and we spoke to each other through letters. It would take a decade for the art form to truly surface . . .
Futura has moved on from the streets and subways of his youth and is nowadays an acclaimed artist as well as a dabbler in virtually all types of multi-media. One of his newest projects is his brilliant new Internet web site which is both innovative and personal and gives a unique insight into the mind of a cult icon. I contacted Futura in late June through e-mail, at his HEADquarters in New York. He kindly consented to do an interview for Fly
Futura first got into graffiti, "as a means of getting attention. . . but remaining anonymous at the same time." He also saw it as "an alternative to drug and gang culture which were prevalent at the time. A non-violent crime. A lawless society. A modern Jesse James. When I started writing back in ´70, there was no scene. There was something happening but it was all underground. We were our own audience and we spoke to each other through letters. It would take a decade for the art form to truly surface."
Short of the telephone, there can be no other (means of communication). This medium enables the easy transfer of info and images at light speed. That´s moving about where I like to be . . .
Futura drew his inspirations from all around him and from his "only pure idol/mentor/guru... STAY HIGH 149" (check out his work in The Faith of Graffiti or under its European TITLE Watching My Name Go By). A truly unique style developed which combined his love of the abstract with his keen interest in technology. Futura however is modest about his work, claiming that his style developed "by sheer accident and re-animation. Most of my skills come from some genetic defect."
In the 80s, Futura began displaying his material at exhibitions, but not all of the conventional art world would accept graffiti as an art form, especially in the States: "When I started to show my work in exhibitions in ´80, some mavericks were calling it art but not many. Unfortunately, this still holds true some 16 years after. Thankfully, this movement has had ma**ive European support." Futura found a difference in attitude to graffiti when he went over to Europe ... "The real exposure of our culture world-wide came via European interest. It was their galleries who showed, collected and catalogued. It´s a disservice to us all that American attention and investment were never really there."
Due to a chance meeting with James Lavelle in Berlin in ´92, Futura´s work has found a new lease of life and a new direction in the 90´s. Lavelle, who is a keen collector of graffiti, talked with Futura about hooking up, which they subsequently did. The result of this merger was the use of some of Futura´s previous pieces being used for a large amount of Mo´ Wax art work. Futura explains; "I think that my style of work, the paintings, the characters, just lent themselves to the sounds. It wasn´t like . . . here´s the new U.N.K.L.E album and I´d just whip up a painting. It was more like, now that painting would be dope for a Krush album." The merger has effectively brought Futura´s work to a completely new generation of beatHEADz keen to soak up the Mo´ Wax culture. There are more collaborations planned. "I am now working on the new artwork for the upcoming U.N.K.L.E album. In addition, there is also a book in development, which Mo´ Wax will be producing." Not only this, but there is talk of Futura actually recording some tracks for Mo´ Wax, I ask him to confirm this rumour: "Yes, listen up for beats, sounds, sound effects, movie music and dialogue voice-overs, best described as noise."
I´m working on two projects there in the next three months so I can´t wait to return. Besides, ever hear the term, ´well paid´?
One of Futura´s newest pa**ions is for the Internet and its endless possibilities. "Short of the telephone, there can be no other (means of communication). This medium enables the easy transfer of info and images at light speed. That´s moving about where I like to be." I asked him what he thought the best and worst aspects of the net were: "The best is yet to come. With all the technological pushes and newest plug-ins, what can´t be done? Easily the worst aspect of the web is its over commercialisation. I hate to see people selling themselves thru´ this medium, but it is America, and we love to consume." When asked about his site, Futura enthuses: "It´s there, it lives, it speaks better of me than I can. I´m pa**ionate about it, it´s called love. Initially I just wanted to add my (two cents) but now, the power is rushing through me. I have been sparked by the idea that I can broadcast to the world, my words, my thoughts, my images."
Through new sites such as Art Crimes and now Futura´s, graffiti is starting to take a hold on the Internet, I ask Futura if maybe this represents a new era for graffiti? "Certainly, but let´s not lose sight of the things that got us here, like the work itself. Documentation is one thing - running from the police is another." On the subject of the police, I noticed on his site that he is dedicating a few words to the NYPD and other law enforcement agencies, I ask him what his view is on their clampdown of graffiti artists. "These men and women are working in a dangerous profession, and to clarify the point, I give props to the NYPD, NYFD, and EMS because I have lived in the Metropolis all my life and I appreciate the value of these individuals. It´s got nothing to do with the graffiti squad, which spends days busting juveniles. BTW, they get no respect, I´m talking real life here, not nickel and dime crimes."
With the new stringent measures that have been enforced in New York on graffiti and the artists, how does Futura see the art form progressing in its birth place? "Locally, the modern-day writers are making moves, but without the subway." What does a typical day hold in store for Futura 2000?
"Typically domestic. As a fly on the wall, you might see me doing these things; shaving, eating, smoking, computing, skateboarding, bitching, trying to be original."
Soon after we concluded the interview, Futura was off to Japan (Tokyo) and France (Lille) for a couple of weeks, I ask him what the scene is like in Japan. "Mental. Bladerunneresque. I have a huge following there at the moment, so it´s my country of choice. I´m working on two projects there in the next three months so I can´t wait to return. Besides, ever hear the term, ´well paid´? My trip to France includes some sort of museum show near Lille. I hope to be running an Internet lab, so I´ll write daily pages from there."
Lastly, if Futura were speaking to a complete novice to graffiti art, where would he say were the best places to start his/her education? "The first stop should be a historical summary, re: subway art, spraycan art, Wildstyle and Style Wars. This would give any newee some reference or starting point." You could do worse than to check Futura´s web site. Major props to a true innovator.
When I started writing back in ´70, there was no scene. There was something happening but it was all underground. We were our own audience and we spoke to each other through letters. It would take a decade for the art form to truly surface . . .
Futura has moved on from the streets and subways of his youth and is nowadays an acclaimed artist as well as a dabbler in virtually all types of multi-media. One of his newest projects is his brilliant new Internet web site which is both innovative and personal and gives a unique insight into the mind of a cult icon. I contacted Futura in late June through e-mail, at his HEADquarters in New York. He kindly consented to do an interview for Fly
Futura first got into graffiti, "as a means of getting attention. . . but remaining anonymous at the same time." He also saw it as "an alternative to drug and gang culture which were prevalent at the time. A non-violent crime. A lawless society. A modern Jesse James. When I started writing back in ´70, there was no scene. There was something happening but it was all underground. We were our own audience and we spoke to each other through letters. It would take a decade for the art form to truly surface."
Short of the telephone, there can be no other (means of communication). This medium enables the easy transfer of info and images at light speed. That´s moving about where I like to be . . .
Futura drew his inspirations from all around him and from his "only pure idol/mentor/guru... STAY HIGH 149" (check out his work in The Faith of Graffiti or under its European TITLE Watching My Name Go By). A truly unique style developed which combined his love of the abstract with his keen interest in technology. Futura however is modest about his work, claiming that his style developed "by sheer accident and re-animation. Most of my skills come from some genetic defect."
In the 80s, Futura began displaying his material at exhibitions, but not all of the conventional art world would accept graffiti as an art form, especially in the States: "When I started to show my work in exhibitions in ´80, some mavericks were calling it art but not many. Unfortunately, this still holds true some 16 years after. Thankfully, this movement has had ma**ive European support." Futura found a difference in attitude to graffiti when he went over to Europe ... "The real exposure of our culture world-wide came via European interest. It was their galleries who showed, collected and catalogued. It´s a disservice to us all that American attention and investment were never really there."
Due to a chance meeting with James Lavelle in Berlin in ´92, Futura´s work has found a new lease of life and a new direction in the 90´s. Lavelle, who is a keen collector of graffiti, talked with Futura about hooking up, which they subsequently did. The result of this merger was the use of some of Futura´s previous pieces being used for a large amount of Mo´ Wax art work. Futura explains; "I think that my style of work, the paintings, the characters, just lent themselves to the sounds. It wasn´t like . . . here´s the new U.N.K.L.E album and I´d just whip up a painting. It was more like, now that painting would be dope for a Krush album." The merger has effectively brought Futura´s work to a completely new generation of beatHEADz keen to soak up the Mo´ Wax culture. There are more collaborations planned. "I am now working on the new artwork for the upcoming U.N.K.L.E album. In addition, there is also a book in development, which Mo´ Wax will be producing." Not only this, but there is talk of Futura actually recording some tracks for Mo´ Wax, I ask him to confirm this rumour: "Yes, listen up for beats, sounds, sound effects, movie music and dialogue voice-overs, best described as noise."
I´m working on two projects there in the next three months so I can´t wait to return. Besides, ever hear the term, ´well paid´?
One of Futura´s newest pa**ions is for the Internet and its endless possibilities. "Short of the telephone, there can be no other (means of communication). This medium enables the easy transfer of info and images at light speed. That´s moving about where I like to be." I asked him what he thought the best and worst aspects of the net were: "The best is yet to come. With all the technological pushes and newest plug-ins, what can´t be done? Easily the worst aspect of the web is its over commercialisation. I hate to see people selling themselves thru´ this medium, but it is America, and we love to consume." When asked about his site, Futura enthuses: "It´s there, it lives, it speaks better of me than I can. I´m pa**ionate about it, it´s called love. Initially I just wanted to add my (two cents) but now, the power is rushing through me. I have been sparked by the idea that I can broadcast to the world, my words, my thoughts, my images."
Through new sites such as Art Crimes and now Futura´s, graffiti is starting to take a hold on the Internet, I ask Futura if maybe this represents a new era for graffiti? "Certainly, but let´s not lose sight of the things that got us here, like the work itself. Documentation is one thing - running from the police is another." On the subject of the police, I noticed on his site that he is dedicating a few words to the NYPD and other law enforcement agencies, I ask him what his view is on their clampdown of graffiti artists. "These men and women are working in a dangerous profession, and to clarify the point, I give props to the NYPD, NYFD, and EMS because I have lived in the Metropolis all my life and I appreciate the value of these individuals. It´s got nothing to do with the graffiti squad, which spends days busting juveniles. BTW, they get no respect, I´m talking real life here, not nickel and dime crimes."
With the new stringent measures that have been enforced in New York on graffiti and the artists, how does Futura see the art form progressing in its birth place? "Locally, the modern-day writers are making moves, but without the subway." What does a typical day hold in store for Futura 2000?
"Typically domestic. As a fly on the wall, you might see me doing these things; shaving, eating, smoking, computing, skateboarding, bitching, trying to be original."
Soon after we concluded the interview, Futura was off to Japan (Tokyo) and France (Lille) for a couple of weeks, I ask him what the scene is like in Japan. "Mental. Bladerunneresque. I have a huge following there at the moment, so it´s my country of choice. I´m working on two projects there in the next three months so I can´t wait to return. Besides, ever hear the term, ´well paid´? My trip to France includes some sort of museum show near Lille. I hope to be running an Internet lab, so I´ll write daily pages from there."
Lastly, if Futura were speaking to a complete novice to graffiti art, where would he say were the best places to start his/her education? "The first stop should be a historical summary, re: subway art, spraycan art, Wildstyle and Style Wars. This would give any newee some reference or starting point." You could do worse than to check Futura´s web site. Major props to a true innovator.
283
General Discussion / Fuk the Church
« on: June 04, 2004, 07:18:00 PM »Jesus is an evil, anti-Semitic coward. Just look at how fake he is. He claims to be the son of "God", and that he stands for good will towards men, but what he doesn´t want you to know is that he is God´s diabolical prodigal son. He spends all of his spare time killing Jews and punching babies. He tricked us all into believing that he was the "messiah", and that him being crucified was merely a sacrifice to absolve mankind for all of their sins. When in reality he was crucified by the Jews as a result of years of showboating and being a straight up dick.
Jesus first developed his severe hatred of Jews when he submitted a dreidel with a swastika painted on one of the four sides. The idea was rejected by the Jewish community because they thought the symbol was "stupid" and this hurt Jesus´s feelings. The swastika was later used by Jesus as Hitler and is now known as a symbol of hatred toward Jews.
Jesus wreaked havoc with the Jews for a long time, and after he masturbated on the Star of David the Jews could take it no more and had to finally put him down. As a result of this, Jesus started an extensive campaign of anti-Semitic propaganda that led to Jews being the most hated, discrimminated against group of people on the planet. After Jesus was crucifed, he laid low for a while. He was patient and bided his time until he decided that he must come back to Earth to piss in the face of Jews. And so nobody would be suspicious, he re-incarnated himself as Adolf Hitler, an unlikely villain, and proceeded to kill over 6 million Jews out of revenge and spite. That bastard.
You might argue that it was the Romans that killed Jesus and not the Jews. Well, that´s not how Jesus tell´s the story.
You might also wonder why Germany? Think about it. Germany just got their a**es kicked in World War I. Who better to f*** over? They were the easy target for takeover. I mean come on, it´s Germany, nobody cares about Germany. Not then, not now. Germany was also a good place for a central control center, so he could take over other countries and hide more concentration camps.
It´s also believed that Jesus hated Japanese people because he was bad at writing haikus. This hasn´t been proven, but I wouldn´t doubt it.
Now, most of you probably have never stopped to consider whether or not Jesus and Hitler are one and the same. You probably blindly follow the absurd belief that Jesus was our ´Lord and Savior´ and was in no way connected to Hitler, who was an Anti-Semitic imperialistic murdering f***head. But I would like you to take a look at the facts before you go on believing this rubbish:
-Ever wonder what the H stands for in Jesus H. Christ? That´s right. Jesus Hitler Christ.
-In the Bible, Jesus clearly states "Ye who is not racist towards the Hebrew people shall go down".
-Jesus and Hitler have never been spotted in the same place.
-Both Jesus and Hitler were carpenters early in their career.
-Both Jesus and Hitler were masters of propaganda.
-Both Jesus and Hitler enjoy pineapple on their pizza.
-Both Jesus and Hitler sported the same douchey moustache.
-Both Jesus and Hitler were picked on in high school and allegedly got no play.
-Mein Kampf is the sequel to the Bible.
-Both Jesus and Hitler are hypocritical closet homosexuals. Both expressed extreme hatred towards gays, yet have both been caught on tape giving Batman a blowjob.
-Both Jesus and Hitler are fans of the Canadian "sport" curling.
These facts have never been challanged. People just see the evidence and ignore it because Jesus, aka Hitler, is such a master of propeganda. Now to dispel some common misconceptions about Jesus/Hitler.
Myth: Jesus is a loving and forgiving lord.
Fact: Jesus is an anti-Semitic douchebag.
Myth: Jesus was a miracle child, born to a virgin.
Fact: Jesus´s mom was a slut and Maury Povich wasn´t around to round up the herds of Nomads that she let plow her so she claimed she was a virgin. That bitch.
Myth: Jesus turned water into wine out of good will.
Fact: Jesus was a raging alcoholic and used any excuse to get wasted.
Myth: Niether Jesus nor Hitler ever employed groups of goblins as a**asins.
Fact: Jesus and Hitler BOTH employed groups of goblins as a**asins.
Myth: Prayers have always ended with the standard amen.
Fact: Prayers were originally concluded with a Heil Jesus! Over time and through translations it was shortened to the now known ´amen´.
284
General Discussion / Fuk the MC
« on: June 04, 2004, 07:17:00 PM »
had actually planned to make the column funny this time, but certain events have led my mind into the turmoil of existential angst. You see, some people have been taking cheap shots at me lately, leading me to do some soul searching. I guess the following explanation is the result.
I make a very public body of art using stickers, posters, and stencils. I put these works on the street in order to send some static interference out into the world’s sea of images and messages. The images I use include historical propaganda, black power, parodies of authority, and tweaks of popular culture icons. What’s the point? Well aside from satisfying my compulsive need to produce art, these posters are designed to start a dialogue about imagery absorption. Powerful and seductive images have historically been used for a variety of reasons, some noble, some sinister, some both, depending on subjective interpretation. My work uses people, symbols, and people as symbols to deconstruct how powerful visuals and emotionally potent phrases can be used to manipulate and indoctrinate. There is no specific political affiliation behind what I do, only the philosophy "question everything", which is why I can use Jesse Jackson and Joseph Stalin in the same body of work. I also use the word "Obey" in much of my art as a form of reverse psychology. Though most people wish they were independent, many obediently follow the path of least resistance and are uncomfortable with confronting the word "Obey". As disconcerting as the word "Obey" may be, when not attached to any further command, it poses no threat beyond forcing the viewer to face their feelings about obedience.
Though my art may make some people uncomfortable, I´ve always felt that provocation stimulating debate is much more desirable than ignoring sensitive issues to avoid hurting anyone’s feelings. People’s feelings do seem to get hurt very easily. Sometimes I´m attacked by people who tell me I have no business using this leader, or that activist, or this word, in my art. What surprises me most is that sometimes those who criticize my use of symbols aren’t the ones that lived through McCarthyism and have a programmed fear of communism or anything radical, but those who claim to be radical. Many of these so called "radicals" have adopted Politically Correct doctrine that says white people have no right to try to relate to, or comment on, other cultures. I think this is a dangerous mentality that discourages inter-culture relations and understanding. Sure, a white person can’t truly relate to what it is like not being white, but the sentiment to try is at least a positive step. Che Guevara and Bobby Seal both embraced the a**istance of those Gringos or Crackers that genuinely understood their causes and wanted to help. Distrust of those who have oppressed is natural but intentional isolation only fuels racial tension. Does the Latin community own Che? Does the Black community own Angela Davis? Does the White community own Eminem? Should Hip Hop and Graffiti be kept only in New York City? My point is that someone or something’s influence can often cross cultural boundaries and grow beyond the control of groups who would like to keep this person or thing as a symbol solely of their cause or culture. Figures are used symbolically for group’s agendas, simplifying them in a way which can never truly reflect the complexity of the individual. I use figures in my work who I feel are used and abused as symbols, but without telling the viewer how they should feel about them. I hope people that don’t know the backgrounds of these leaders, radicals, pop icons, or movements will take the initiative to learn about their history.
I apologize to anyone who feels my work desecrates something they hold sacred, but things aren´t always as black and white as some folks wish they were. Digest this: Che Guevara was from an upper cla** family of pure Spanish descent and considered himself white, yet he took on the mission to empower mixed and native Latin Americans. Che struggled to free Latin Americans from European and American oppressors with whom he admittedly shared a common lineage. Fortunately, P.C. rhetoric didn’t make Che feel he lacked the racial credibility to be outspoken about his causes. This anecdote leads to my advice to myself and others; Investigate and deconstruct everything because a person and the simplified symbol they have become aren´t always the same thing.
-Shepard Fairey
I make a very public body of art using stickers, posters, and stencils. I put these works on the street in order to send some static interference out into the world’s sea of images and messages. The images I use include historical propaganda, black power, parodies of authority, and tweaks of popular culture icons. What’s the point? Well aside from satisfying my compulsive need to produce art, these posters are designed to start a dialogue about imagery absorption. Powerful and seductive images have historically been used for a variety of reasons, some noble, some sinister, some both, depending on subjective interpretation. My work uses people, symbols, and people as symbols to deconstruct how powerful visuals and emotionally potent phrases can be used to manipulate and indoctrinate. There is no specific political affiliation behind what I do, only the philosophy "question everything", which is why I can use Jesse Jackson and Joseph Stalin in the same body of work. I also use the word "Obey" in much of my art as a form of reverse psychology. Though most people wish they were independent, many obediently follow the path of least resistance and are uncomfortable with confronting the word "Obey". As disconcerting as the word "Obey" may be, when not attached to any further command, it poses no threat beyond forcing the viewer to face their feelings about obedience.
Though my art may make some people uncomfortable, I´ve always felt that provocation stimulating debate is much more desirable than ignoring sensitive issues to avoid hurting anyone’s feelings. People’s feelings do seem to get hurt very easily. Sometimes I´m attacked by people who tell me I have no business using this leader, or that activist, or this word, in my art. What surprises me most is that sometimes those who criticize my use of symbols aren’t the ones that lived through McCarthyism and have a programmed fear of communism or anything radical, but those who claim to be radical. Many of these so called "radicals" have adopted Politically Correct doctrine that says white people have no right to try to relate to, or comment on, other cultures. I think this is a dangerous mentality that discourages inter-culture relations and understanding. Sure, a white person can’t truly relate to what it is like not being white, but the sentiment to try is at least a positive step. Che Guevara and Bobby Seal both embraced the a**istance of those Gringos or Crackers that genuinely understood their causes and wanted to help. Distrust of those who have oppressed is natural but intentional isolation only fuels racial tension. Does the Latin community own Che? Does the Black community own Angela Davis? Does the White community own Eminem? Should Hip Hop and Graffiti be kept only in New York City? My point is that someone or something’s influence can often cross cultural boundaries and grow beyond the control of groups who would like to keep this person or thing as a symbol solely of their cause or culture. Figures are used symbolically for group’s agendas, simplifying them in a way which can never truly reflect the complexity of the individual. I use figures in my work who I feel are used and abused as symbols, but without telling the viewer how they should feel about them. I hope people that don’t know the backgrounds of these leaders, radicals, pop icons, or movements will take the initiative to learn about their history.
I apologize to anyone who feels my work desecrates something they hold sacred, but things aren´t always as black and white as some folks wish they were. Digest this: Che Guevara was from an upper cla** family of pure Spanish descent and considered himself white, yet he took on the mission to empower mixed and native Latin Americans. Che struggled to free Latin Americans from European and American oppressors with whom he admittedly shared a common lineage. Fortunately, P.C. rhetoric didn’t make Che feel he lacked the racial credibility to be outspoken about his causes. This anecdote leads to my advice to myself and others; Investigate and deconstruct everything because a person and the simplified symbol they have become aren´t always the same thing.
-Shepard Fairey
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General Discussion / Fuk Hip-Hop
« on: June 04, 2004, 07:15:00 PM »
By Shepard Fairey
No matter how much I love art, or try to convince myself of its relevance in society, the fact remains that music is a lot cooler and way more able to reach the bourgeois (and not so) and rock the boulevard. When I am asked about my biggest influences, my interrogator is often surprised to hear "The Sex Pistols", "Black Flag", "Public Enemy", generally expecting me to list off visual artists. I guess I feel like the power of something comes from the feelings it conjures emotinally first and intellectually second. I´ve never been to an an art show and felt like the art had a hold over every person in the room, much less looked over my shoulder to see 50,000 lighters held up in a show of solidarity for Ozzy´s cause. Have you ever seen someone come out of an an art show pouring with sweat, a glazed look in their eyes, throwing their fist in the air like they just had a religious experience? Art shows don´t seem to elicit that level of enthusiasm. Actually, at a lot of art shows, people are more worried about checking out the crowd than checking out the art. I can´t really blame them when the art itself is less engaging than the written description on the wall next to it ...I´m yawning just thinking about it. The truth is, I always fell asleep during art history lectures in college, but I´ve never fallen asleep at a single concert. Am I the exception? I don´t think so. Art is just outgunned in the battle for the senses. Music has the ability to stimulate on so many levels and I´m not just talking about live music. Music provides a cultural eco-system in and of itself. There´s the actual music, the lyrics with their content and politics, the style and personalities of the bandmembers and the politics implicit in their lifestyles, and lastly, their art, album packaging and graphics. I´ve had some very moving encounters with art, especially on the street, but nothing can compare with the first time I heard the boots marching and first chord of the Sex Pistol´s "Holidays in the Sun", or the air raid sirens leading into "too black, too strong" on the intro to Public Enemy´s "It Takes A Nation of Millions To Hold Us Back". Those songs made my arm hairs stand up. Some music has affected me so powerfully that the mere sight of the album packaging induced a Pavlovian response (scientific analogy makes it sound less pathetic) of air guitar or drums!
I mean, come on, who hasn´t secretly but whole-heartedly identified with Beavis and Butthead imitating Sabbath´s "Iron Man"? Bob Ross can only dream of as many people watching his painting show as watch "Beavis and Butthead" or now more likely "The Osbournes". Let´s face it, music is a huge influence on popular culture and even Andy Warhol, the most successful of "Pop Artists", is less widely known than musical acts comparably much lower on the totem pole. Warhol can actually be credited with exploiting the potential to connect with a broader audience through Pop. His collaboration with the Velvet Underground led to the iconic banana album cover. That graphic would be just another part of the Warhol "let´s make a mundane object into high art" schtick (not that that´s a bad thing) if it weren´t a**ociated with such an influential and enduring band. The marriage of great art, great music, and great ideas is an incredibly powerful one. Hell, even two of those elements converging harmoniously yields something whose whole is more than the sum of its parts. I used Public Enemy to illustrate this spread because they are one of the rare acts, along with people like The Clash and The Sex Pistols, who brilliantly crafted every aspect of what they were doing and maximized the results. Great name, great beats, great rhymes, provocative politics, powerful graphics and presentation (can´t front on the S1W´s) and a defiant attitude that scared "The Man" made Public Enemy a force to be reckoned with. They probably raised more issues in the three years after their debut than the worlds visual artists will during their lifetimes. For a visual artist such as myself, this harsh reality provides the challenge to make my art as much of an engaging, stimulating, provocative, visceral experience as possible. To quote Chuck D, "I want to reach the bourgeois and rock the boulevard". I don´t want people to only experience my art in the safe, tame confines of the gallery, which is why I put my art up illegally in the streets. I´m a populist and I look at it this way: I may not play an instrument, but I´m gonna rock it hard as nails anyway.
No matter how much I love art, or try to convince myself of its relevance in society, the fact remains that music is a lot cooler and way more able to reach the bourgeois (and not so) and rock the boulevard. When I am asked about my biggest influences, my interrogator is often surprised to hear "The Sex Pistols", "Black Flag", "Public Enemy", generally expecting me to list off visual artists. I guess I feel like the power of something comes from the feelings it conjures emotinally first and intellectually second. I´ve never been to an an art show and felt like the art had a hold over every person in the room, much less looked over my shoulder to see 50,000 lighters held up in a show of solidarity for Ozzy´s cause. Have you ever seen someone come out of an an art show pouring with sweat, a glazed look in their eyes, throwing their fist in the air like they just had a religious experience? Art shows don´t seem to elicit that level of enthusiasm. Actually, at a lot of art shows, people are more worried about checking out the crowd than checking out the art. I can´t really blame them when the art itself is less engaging than the written description on the wall next to it ...I´m yawning just thinking about it. The truth is, I always fell asleep during art history lectures in college, but I´ve never fallen asleep at a single concert. Am I the exception? I don´t think so. Art is just outgunned in the battle for the senses. Music has the ability to stimulate on so many levels and I´m not just talking about live music. Music provides a cultural eco-system in and of itself. There´s the actual music, the lyrics with their content and politics, the style and personalities of the bandmembers and the politics implicit in their lifestyles, and lastly, their art, album packaging and graphics. I´ve had some very moving encounters with art, especially on the street, but nothing can compare with the first time I heard the boots marching and first chord of the Sex Pistol´s "Holidays in the Sun", or the air raid sirens leading into "too black, too strong" on the intro to Public Enemy´s "It Takes A Nation of Millions To Hold Us Back". Those songs made my arm hairs stand up. Some music has affected me so powerfully that the mere sight of the album packaging induced a Pavlovian response (scientific analogy makes it sound less pathetic) of air guitar or drums!
I mean, come on, who hasn´t secretly but whole-heartedly identified with Beavis and Butthead imitating Sabbath´s "Iron Man"? Bob Ross can only dream of as many people watching his painting show as watch "Beavis and Butthead" or now more likely "The Osbournes". Let´s face it, music is a huge influence on popular culture and even Andy Warhol, the most successful of "Pop Artists", is less widely known than musical acts comparably much lower on the totem pole. Warhol can actually be credited with exploiting the potential to connect with a broader audience through Pop. His collaboration with the Velvet Underground led to the iconic banana album cover. That graphic would be just another part of the Warhol "let´s make a mundane object into high art" schtick (not that that´s a bad thing) if it weren´t a**ociated with such an influential and enduring band. The marriage of great art, great music, and great ideas is an incredibly powerful one. Hell, even two of those elements converging harmoniously yields something whose whole is more than the sum of its parts. I used Public Enemy to illustrate this spread because they are one of the rare acts, along with people like The Clash and The Sex Pistols, who brilliantly crafted every aspect of what they were doing and maximized the results. Great name, great beats, great rhymes, provocative politics, powerful graphics and presentation (can´t front on the S1W´s) and a defiant attitude that scared "The Man" made Public Enemy a force to be reckoned with. They probably raised more issues in the three years after their debut than the worlds visual artists will during their lifetimes. For a visual artist such as myself, this harsh reality provides the challenge to make my art as much of an engaging, stimulating, provocative, visceral experience as possible. To quote Chuck D, "I want to reach the bourgeois and rock the boulevard". I don´t want people to only experience my art in the safe, tame confines of the gallery, which is why I put my art up illegally in the streets. I´m a populist and I look at it this way: I may not play an instrument, but I´m gonna rock it hard as nails anyway.