tag:blogger.com,1999:blog-66795448745226856922024-03-13T03:40:13.298-07:00The Count presentsTHE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.comBlogger36125tag:blogger.com,1999:blog-6679544874522685692.post-89370228719119267292017-05-06T13:17:00.002-07:002017-05-06T13:17:38.256-07:00Mode 2 interview by Count Von Kay One for Ubikwist magazine (NYC) 2016<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-dTPaIOn9R8M/WQ4ueyOkz1I/AAAAAAAABrA/ZrAcw7FvHsErXNwVlQ6mrrohKuqoGGr_ACLcB/s1600/mode%2B72dpi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="172" src="https://2.bp.blogspot.com/-dTPaIOn9R8M/WQ4ueyOkz1I/AAAAAAAABrA/ZrAcw7FvHsErXNwVlQ6mrrohKuqoGGr_ACLcB/s320/mode%2B72dpi.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
Here is the full interview of Mode 2 that I did for NYC magazine "UBIKWIST". For those that want to publish it, be kind enough to give the right credit and never forget where you got it from. The feeling is mutual! Peace<br />
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Verdana, sans-serif;"> </span><span style="font-family: "Arial Black", sans-serif; font-size: 14pt;">Mode 2 interview by Kay One </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Avenir Black"; font-size: 12pt;"> For
more than three decades Mode 2 has inspired many people from inside the
graffiti-writing scene, as well as artists, dancers and musicians across over
the world, garnering recognition for being one of the most talented and
original of his generation. Immortalized in 1987 on the cover of Henry
Chalfant's book "Spraycan Art", he has that avant-garde style that
many of his contemporaries tried to copy, but could not come close to
emulating. Mode 2 is as comfortable and skilled with the tradition of
“letter-writing” inherent to the aerosol culture, as he is with the new
dimension and dynamism that he brought to the scene with his characters.<br />
As conscious about the society he
lives in as he is with his work, and his many battles on behalf of the culture
he's bathed in, it's always a pleasure to exchange with a man whose opinions
are as pronounced as the breadth of his thinking. Watch out for his long
answers though. As for him, everything seems to be linked somehow.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US" style="font-family: "Verdana","sans-serif";"> <b>Often
imitated but never equaled, can you tell us about the artists that have
influenced and inspired you?</b><o:p></o:p></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"> Having to make a roll call of those who have influenced,
inspired, uplifted, or empowered me, would be a pretty tall order. I never had
any art education, and am pretty much self-taught, so my influences vary
wildly; just images that caught my attention at specific moments in my life,
and stay lodged in my subconscious somewhere. You can be inspired from them,
but make sure that when you think you're doing something wonderful and new; it
may actually be a distortion of something you saw years earlier, that you're
actually reproducing.<br />
<br />
Apart from the Gustav
Klimt-inspired painting from the </span></i><span lang="EN-US"><a href="http://www.lazinc.com/story/782,mode2-klimt-illustrated"><i><span style="color: black; font-family: "Verdana","sans-serif";">Klimt Illustrated</span></i></a></span><span lang="EN-US" style="font-family: Verdana, sans-serif;"> <i>event of summer 2012, I rarely feel that I should have to sample and
reproduce my influences from the more classical or historical artists that I am
into; from Hieronymus Bosch or Dürer, through Leonardo, Velazquez, Hokusai,
Schiele, Mucha, and so on. There are a whole bunch of writers, bombers (yes, we
redefined that word decades ago), and style-masters who have shaped our
perception of life around us; by showing us how we can use the alphabet, and
add twist, shape, destroy and rebuild it to any rhythm that we wished, within a
certain indefinite spectrum of what could be deemed as being funky, having
flavor, having soul, rhythm, dynamics and harmony; or discord, whatever the
mood or the situation.</i></span><i><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;"><br />
<br />
</span></i><i><span lang="EN-US" style="font-family: Verdana, sans-serif;"> Also, with regards to the illegality of the discipline, in
its purest form, there is another dimension that was added; and that being
complemented by the relationship that the writer built up with the city, its
architecture, it's transport network, and a whole community of other writers,
competing for style, and how much you were seen all over the city. I do not
follow on-line what is happening in or
what has become of that initial community these days, as there's just so
much going on. I prefer to look at the tags, throw-ups, and the odd
panel-pieces, or top to bottoms, that I still see rolling from time to time. <br />
<br />
When I started in 1984 though,
after having already got into drawing letters in late '83, we had hardly any
documentation on what was going on in New York City; but the names we
discovered over the next couple of years had a massive influence on all of us,
as there had been nothing of its kind before. Dondi (out of the Buffalo Gals
video), Doze, Futura, Phase 2, T Kid, Case 2, Dez, Zephyr, Rammellzee, were
just the tip of the iceberg, and everybody, who started around that time, had
their own variation on the line-up of artists who we got to know; even if there
was a whole load of other names who never appeared in the media until years
later, when there was more interest to learn about who inspired who, or who
invented what and so on...<br />
<br />
Please also bear in mind that, by
the late seventies and early eighties, writing had collided with the music
scene, while you also had the dancers and the MCs doing their thing. What had
happened to the alphabet was also happening to these other disciplines; so here
was a totally new mix that blew away anything else we were into, up to that
point. And yet, when you look a little further, this blueprint actually
provided a platform through which you could bring your own background through;
so you somehow still managed to tap into that, in order to stand out, be
original; and maybe bring something new.</span></i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<br /></div>
<div class="Quotations" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US" style="font-family: "Verdana","sans-serif";"> <b>I
met a few "experts" who were really clueless about the foundations
and origins of Graffiti, that insisted to tell us a story they don't even
acknowledge themselves. What do you think about all those people coming out of
nowhere the last few years that are trying to become the new "ambassadors",
appropriating the Graffiti culture?</b> <o:p></o:p></span></div>
<div class="MsoBodyText">
<span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
</span><i><span lang="EN-US" style="font-family: "Verdana Italic";">It is
the</span></i><span lang="EN-US" style="font-family: Verdana, sans-serif;"> <i>unintended consequence of
them all being prominent or "up" at a certain time that attracted a
new audience which, until then, had never really managed to connect with the
lettering that was all around them, and had been for years. Figurative visuals
were much easier to relate to, or to express an opinion about; especially if
the imagery sampled known iconic photos, films, logos or graphic styles that we
were already accustomed to.<br />
We are living in very complex
times; with, on one side, mainstream media saturating us with information to a
point where it becomes very difficult to make sense of anything, and, on the
other, there is a whole new generation of actors in the media, or on the
curating, collecting scene, who only latched onto this culture somewhere around
2003, and are either reinventing our collective history, or else dismissing it
altogether, as if nothing of any cultural importance or relevance existed on
the buildings, on the streets or on the trains before the time that they
"discovered" what the likes of Banksy, Blu, Shepard Fairey, Os
Gemeos, Invader, Zeus, Swoon or Kaws were doing.<br />
<br />
I have nothing against any of
these artists. I know some of them, and I am very much impressed by the work-rate,
the ideas, and the skill that they actually have; but the new-found enthusiasm
for what was happening in the streets was asking questions about what, why and
who the media had to respond to, pretty much across all platforms. The newer
generation of "experts" tend to have filled this gap, turning what
knowledge they had of the culture, and their</i></span><i><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;"> </span></i><i><span lang="EN-US" style="font-family: Verdana, sans-serif;">personal list of favorite artists into some kind of top ten of
who's hot and who's not. What had happened up until then was only going to
confuse matters, so it was not covered as much, since many assumed that Subway
Art, and other subsequent publications, regardless of merit, had already filled
that gap. Whether they actually knew about “Getting Up” by Craig Castleman, or
“Writing From The Underground” by Phase 2 is anybody's guess; but simply
"borrowing" information from existing niche websites such as</span></i><i><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;"> </span></i><i><span lang="EN-US" style="font-family: Verdana, sans-serif;">Wooster Collective, or Brooklyn Street Art, and rearranging this
information to suit their personal agenda has been the norm.<br />
</span></i><i><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;"><br />
</span></i><i><span lang="EN-US" style="font-family: Verdana, sans-serif;"> Much has changed in the last ten years or so, with other
enthusiasts coming in and actually taking a more in-depth view, but those first
years of a free-for-all on who is entitled to write what has contributed to a
Tower of Babel effect, where it has become that much harder to sort out actual
facts and history, as opposed to his or her story. A lot of the active writers
of today don't even bother with any of this, as they just run their own YouTube
publicity themselves, but I have watched "us" get pigeon-holed,
labeled, and categorized as much by lazy opportunistic publications from within
the culture, as ignorant and biased journalism from outside since the early
days of the culture in London or Paris. The pattern has not changed that much,
it's just the sheer amount of disinformation out there that is harder to sort
through...</span></i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
<div class="Quotations" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US" style="font-family: "Verdana","sans-serif";"> <b>How
do Graffiti artists react to this? Do they agree with them or despise them?</b><o:p></o:p></span></div>
<div class="MsoBodyText">
<span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
<i>Like I said, many of the newer generations actually do not really care
about much of this, as they believe that this is a given state of affairs, and
that they must simply run their own media platforms as well, in order to be
seen. Besides that, they are still active out there, whereas many older writers
are generally not as active as they were in their youth, though some die-hards
are still being prolific. 1UP Crew in Berlin created their own DVD as well as a
book. They know that, even if they have tags and quick pieces all over the
city, as well as abroad; not a lot of these productions will actually survive
very long, especially the trains, so a lot of the action is filmed. Unlike the
previous generations, writers today grew up with all this technology around
them, and it is just part of their set-up.<o:p></o:p></i></span></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
It is generally harder for older
writers and artists to operate in this way, as they started in what was
basically an analogue era, whereby you actually met people, went to look for
trains that were rumored to be running, and the skills, technique and style
were passed down from master to apprentice, within given crews. The impetus was
on how much your crew was up and how original, innovative and stylish you were.
Styles were jealously guarded by crews, and any biting (copying) would provoke
conflict. This competitiveness within strict parameters is what powered the
evolution of this art form, and it's only when it started to export itself that
the rules softened somewhat; as we in the UK back then had no examples of work
to go from, and would learn by inspiring ourselves (if not blatantly biting)
our favorite NYC train-writer.<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
Print technology became more
accessible in the early nineties, so Europe was suddenly awash with fanzines
made by writers, or by others who were hanging on the scene. Not many of them
were particularly any good, as they simply relied on people sending them photos,
while they also jostled for position on who had access to NYC train archives;
all of this leading to a distortion of what was actually going on, while making
biting acceptable. If anybody actually broke new ground, and brought something
different to the mix, it was perceived as just being a new style or trend which
could be bitten by all and sundry. These publications did not reflect on what
their actions would have for consequences five, ten, or fifteen years down the
line. Only very few such as Underground Productions (now Dokument Förlag) from
Sweden, Bomber from the Netherlands, Fatcap from Norway, or Backjumps and
Overkill from Berlin actually ran meaningful interviews with relevant
questions. The rest was just fodder for the also-rans...<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
So you have to look at all these
different generations of writers, and what media was present during their time,
in order to understand the gap that now exists between all this accessible
information there is today, and the realities on the ground going all the way
back to the early seventies. Hopefully there will be more meaningful events,
trying to bridge this huge gap, as we're still talking about a relatively young
culture. That said, if the general consensus is based on dubious reference
books such as "Beyond The Street", where the interviews have been
doctored by one of the authors to make space for more photos, and some major
actors such as Adrian Nabi from Berlin are completely overlooked, we'll have a
mountain to climb, in order to get to hear more relevant voices.<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
With regards to the early
generations of New York City pioneers, many of them are in between their late
forties to sixties now. There is a real need to get these voices and opinions
heard and recorded, before they too disappear; as they were using pretty toxic
paint, with little protection, and burnt the candle at both ends. There are not
many events seeing their inclusion as something of importance, as there is a
general trend towards what is catchy and attractive for today, and little space
given to learning from the main source about where we all came from. </span></i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
<div class="Quotations" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="Quotations" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="Quotations" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US" style="font-family: "Verdana","sans-serif";"> <b>What
is the difference between Graffiti and what they call "street art"?</b><o:p></o:p></span></div>
<div class="MsoBodyText">
<span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
<i>I don't have a problem with "street art" as such, but I do
have one with how those who published a lot of stuff about it have a kind of
revisionist attitude as to what happened before; and how the relationship
between youngsters and the cities that surround them is only perceived as a
recent trend, as if we haven't had decades of tagging and piecing. The word "graffiti"
is already loaded, what with many NYC pioneers saying that it was a label that
was pinned on them either by journalists, or the likes of Hugo Martinez,
founder of UGA in 1972, in an effort to give the writers the facilities to put
some of their work on canvas, in order to preserve what was disappearing from
the trains.<o:p></o:p></i></span></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
For me, there is a continuous
thread that goes back to the earliest days of New York City's writer scene, so
anybody who is active today, and aware that they are inheritors of this culture,
would be deemed closer to what you may choose to call "graffiti", no
matter what they are actually producing on the street today. Things evolve, for
sure.<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
What irks me is those who jumped
onto this bandwagon, as it seems like a "cool" thing to do, because
they wanted to emulate Banksy or Shepard Fairey, and yet they are not really
bothered to research any further back into how it all got there, preferring
instead to just profit from the general free-for-all. Furthermore, the
universality of lettering and the alphabet, which gave all youngsters a chance
to express themselves, has been somewhat eclipsed by the figurative artists,
and those who have access to computers and the internet, in order to research
and download existing imagery; all of this a very long way from the time when
anybody could steal some form of writing or painting tool, and go out there and
exist. Besides the mural that he did for the launch and book-cover of “Art In
The Streets”, the writing skills and the whole “Twist” alter-ego Barry McGee
are not really picked up on and discussed, even when he has been up a lot in
his time, and has inspired other writers internationally; especially with a
cover he did for the fanzine “12oz Prophet”, back in the nineties. Similarly,
the tagging, throw-ups and pieces of Os Gemeos seem to only be appreciated from
those within the culture, and not recognized by the new fans they picked up
along the way.<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
What tends to go unnoticed is
also this whole notion of recorded movement, when we look at tags and throw-ups
in particular. We, as part of this community, do not feel any need to pause and
intellectualize over what we see; the rhythm and flow and movement of whoever
wrote something on the street is self-evident, and we can judge those writers
and artists on these criteria, the same way we assess somebody's first steps
onto the dance-floor, or else the first few bars of any given tune. There is
all of this in the writing culture, and its overlaps with Hip Hop (another
loaded term), with this general feel for what has the elements of soul, funk
and flavor that I had spoken about earlier.<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
Another factor that should not be
overlooked is how tags, throw-ups and pieces spread across the cities, along
the transport networks, on the streets themselves, then up the sides of
buildings and onto the rooftops, wherever somebody could physically gain access
with rudimentary tools if necessary. The advent of big murals done with the
help of cherry-pickers, authorization from city officials and so on have completely
changed the landscape, as well as the notions of how art is to be used around
us, with the choice of which artists to pick for which projects becoming as
critical factor. Whereas the art form would usually present itself in a
horizontal narrative that the public had direct access to, and could actually
walk by, we now have huge murals that impress by their size alone, as if that
is what's supposed to be the most important. Again, focus is shifting, and we
should take a careful look at what we may be losing, especially by the choices
of artists made with regards to big murals. One of the few who actually excels
in this, being able to paint big, yet keep proximity and relevance with the
general public would be Blu, whose social commentary is always refreshing and
challenging, in my eyes...</span></i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
<div class="Quotations" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="Quotations" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US" style="font-family: "Verdana","sans-serif";"> <b>You
have always been a person that cares about the environment, what are your views
on global warming?</b><o:p></o:p></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"> I have two young daughters, and I worry about what kind of
world we are leaving to their generation, and those who will come after them. I
am no climate protester, going out there on the streets at any given
opportunity in order to vent my anger at the short-sightedness of our
governments on how we are going to tackle these major issues; but I try in my
everyday life to do what I can with regards to how much we buy and throw away
as a family, how economical we are with utilities such as water and
electricity.<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
I separate all the domestic waste
into all the relevant color-coded bins, but then I worry about what actually
happens when the different trucks have taken that all away; how much of it is
actually recycled, or ends up in landfill, or is shipped abroad to be processed
somewhere else... or maybe even dumped at sea; who knows?<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
I wish that we could do away with
as much plastic as possible, and resort to cellulose-based packaging, and I
wish that all batteries had a deposit on them, higher or lower depending on how
toxic they are; so that I don't have to pick them up off the pavement or from
the gutter, when I walk around the city.<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
I wish that I didn't have a heavy
feeling on my heart every time my foot presses on the pedal of the general
waste bin at home, as I guess that most of that lot goes to landfill, or else
will supposedly be burnt in order to cater to our ever-growing energy needs,
what with every new appliance that we are buying for our homes, because we
apparently need them, while the e-waste mountains, along with white goods
mountains keep on growing. I guess that capitalism brought the logic of profit
to the fore, and many brands will keep on building things that all have their
built-in obsolescence, as we must keep updating and renewing apparently; the
last item we were sold as being the very best yet being, in fact, not as good
as the new version.<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
It's strange that, even when you
go to the organic stores, you look at the provenance of some of the produce,
and wonder about the carbon footprint they have left on their long road from
the producer to the shelf in front of you. Then again, you wonder about the
amount of meat you eat, because they promised us in the eighties that we could
have beef every day of the week if we wanted, and that it was cheap, forgetting
to mention what all the hidden costs are, on our health and our environment. I
am a meat eater, but I have no problem eating every other part of an animal, in
the way we used to do more often, back in the days; but apparently tripe,
kidneys, tongue, tail and feet are too disgusting to consider for many of us.<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
I don't drive a car, don't have a
driver's license, but I have to fly when my destination is either too far away,
or I will only be spending a limited amount of time there. I usually prefer to
take the train across Europe, as I don't like the feeling of being teleported
from home, to where I should be working. I much prefer the transition of some
hours sitting on a train, watching the landscape and the architecture of the
different cities roll by; slowly leaving home behind me, and maybe using the
time to do some sketching or some reading.<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
The new trade deals being talked
about, such as the TTP or TTIP, will further erode what rights we have to
defend ourselves against those financial interests who only seek profit as the
sole end goal, so maybe we should be expecting worse to come. What's scary
though is the irrevocability of these deals, making these one way affairs with
no way back; other than those who have lobbied so hard for these trade laws to
seek the kind of compensation that would bleed our economies dry.<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
I try to keep myself informed on
issues dealing with the production of energy, whether it is the phasing out of
coal, the costly prolongation of nuclear power, the instability caused by the
drop in the price of oil, the fallacy of bio-fuels (and the havoc their
cultivation wreaks on the environment), or the lack of will to really invest in
renewable forms of energy; whether it is the optimization of what is already
existing, or the financing of further research and development in avenues that
may not have been explored yet. It's a shame that our education system is
subject to the advances made in technology, and that, at a higher level, the
directions taken by many courses are becoming more like a preparation and
conditioning of tomorrow's workers, as opposed to tomorrow's thinkers, with
sponsorship from certain corporations waiting in the wings, if not already an
active factor of the curriculum.<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
Again, I could go on until the
cows come home, but yes, we do have serious issues that must be dealt with now,
that should have been dealt with before, but there's such a tremendous lack of
political will on one side, and the willful distraction and manipulation of the
public by those media outlets owned by the same entities controlling
environmental policy...</span></i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
<div class="Quotations" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US" style="font-family: "Verdana","sans-serif";"> <b>I
also know you as somebody concerned by international human rights. It seems
like a lot of right wing parties are cropping up, how come?</b><o:p></o:p></span></div>
<div class="MsoBodyText">
<span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
<i>There are a multitude of factors that drive a section of any given
population to the right, then the extreme right, with economic hardship, social
exclusion, and a sense that migrants or other scapegoats of the moment may be
either the cause of it, or are benefiting from integration policy which are
seen to be favorable to them. As our society becomes more and more
individualistic, and the notion that you have to look after your own first
becomes prevalent, those who rely on the sources of information they've always
been loyal to will only continue to become more and more entrenched in their
beliefs. The divide and rule system works just as well in the developed First
World countries, as it has done in the colonies, polarizing opinion, and making
any nuance in the debate pretty much invisible. People tend to gobble up news
every day, on the fly, in bite-size chunks, and they rarely find the time, energy,
or the brain-space to read more challenging articles on the causes of the
conflicts of today, and the multiple historical or geopolitical factors that
may be exacerbating any given crisis. I would guess that it is the intention of
certain large media corporations to keep it this way, as an educated population
would mean them having to spend more resources on better journalists or
propaganda-specialists.<br />
<br />
Our capitalist consumer-driven
society depends on the exploitation of other people, whether they are workers
in the garment industry supplying the likes of Primark and so on, or the
exploitation of mineral wealth (such as in zones of conflict such as the
Democratic Republic of Congo. In order for these systems to function, the right
people need to get paid off, along with the politicians or militia groups
facilitating the trade. This, of course, is not something that is written on
your receipt, while you pay for your cell phone, computer, clothing and so on;
but a part of the money we spend goes to supporting and perpetuating injustice
in many places in the world. This is a well-known fact, to the point that most
people would just shrug their shoulders, and say that it's just the way it is,
and we can do nothing about it. I guess that, somewhere along the line, our
sense of empathy checked out and left. People feel like they're working hard
enough, and that what is in the shops is expensive enough, so any possibility
for cheaper products and services is seen as a good thing.<br />
<br />
I was reading an interesting
article the other day about the amount of military coups that the French
government, to pick just one of the European colonial powers of old, had staged
in the African territories they used to hold, since the advent of independence;
starting from Sylvanus Olympio in Togo in 1963 onwards. Lumumba had already
been assassinated two years earlier after having won independence from Belgium.
The article stated that, among the 67 coups that have occurred in 26 countries
of the African continent these last fifty years, 16 of these countries are
former French colonies; and the coups have basically taken place when any given
leader wishes to step out of line with what was expected of them from the
French government. On top of this, around 14 of these countries are obliged to
place 85% of their financial reserves under the control of la Banque de France,
a system that is still in place, even if the European Union ruled against it;
as France has never learned to wean itself off of its ex-colonies.<br />
<br />
This system can only function
when you have the right puppets in place, living in relative opulence while
their subjects suffer poverty, injustice, and a lack of any perspective for a
better life. Why many here in Europe refuse to understand the correlation
between these forms of neo-colonialism, and the amount of economic migrants and
refugees leaving or fleeing their countries of origin and dying to reach
"our shores" is beyond me. The equation is, however, quite simple, if
we were to express it in tabloid-speak. If Europe hadn't enriched itself off of
these colonies, whether through history as physical colonial powers, or today
by supporting despotic heads of state, while controlling the prices of these
countries' resources on the world market; these countries may actually develop
the capacity to lift themselves out of poverty, prosper, and contribute to the
world economy; as opposed to being perceived as a burden, free-loaders,
parasites and so on. There is amazing entrepreneurship happening across the
African continent, with the advent of new technologies alone, and how they have
enabled innovation in countries that had no terrestrial communication
infrastructures. That field is not a be-all and end-all, but it shows how
different cultures can make technology that is underused in our developed
"West" work for them in moving their countries forwards in leaps and
bounds. Sure, there are a whole load of other issues to deal with, such as
land-grabs by the likes of Monsanto and the patenting of agriculture; but the more
people can access information, the more innovative they will be in developing
solutions for themselves. The less they can be lied to as well, in the blatant
form that has been the case since decolonization.<br />
<br />
There's all this talk of Europe
not having the means to provide for all these people, and any talk of
reparation is immediately dismissed, as this is apparently a baseless argument,
we are told. The fact is that Europe pretty much “spunked” up all the riches it
had stolen from its colonies during the madness of the First World War; each
country being too high off of their wealth (part pillaged from the colonies,
and part through the exploitation of their own populations, especially the
poor, during the industrial revolution), and itching to have another go at each
other since the previous bloodletting of around 1870. Citizens of the colonies
fought for European powers during two world wars, then came to help in the
rebuilding after World War Two; and yet they will always be perceived as
somewhat less equal to Europeans, and somehow out of place.<br />
<br />
What makes all of this like some
kind of tragic-comedy though, is the fact that all sides are still living out
the divide-and-rule system imposed upon them, while the decision-makers in our
society profit from it all as best they can. The poor have always been
exploited in Europe throughout its long history, but by making out the subjects
from the colonies to be less than human, downtrodden of Europe they could
comfort themselves in the thought of, "At least we're not as bad as those
savages", while they themselves toiled in the shipyards, the factories,
the fields, the coal-mines, and so on. This still works today, if you care to
read the "Comments" sections after on-line newspaper articles on
issues such as immigration. It's all a diversion to make a sizeable proportion
of any nation who feels as if they're getting a rough deal, to see the
foreigner as being either a cause of his or her ills, or at exacerbating it by
being a burden on what resources that were already having to be shared. They
fail to see or refuse to accept the evidence regarding who are really
benefiting from this situation, as they still have some form of blind trust in
the myths that they have been fed in school, the scapegoating in the newspapers
that they choose to read, or the politicians that they have decided to follow.<br />
<br />
You have racism coming from all
sides though, with some people using the fact that they have been discriminated
against as a reason to retaliate in whichever way they can. It doesn't solve
anything, but for some twisted reason it makes sense to them, and they fail to
see just how close they actually are to the people they may have accused of
racism themselves. As social beings we tend to be attracted to people like
ourselves, where we feel as if there is more community, where we are better
understood, and where we are safer; but there are also economic factors which
mean that certain people from a particular cultural background will end up
living in proximity to one another, where housing may be more affordable, where
there are already some shops and services catering to their specific needs, or
where access to the workplace is most practical. That said, any kind of
community, whether rich or poor, irrespective of cultural background, is
something that I am not really comfortable with, when I don't see bridges
reaching out to those who are not part of this community. It becomes some form
of ghetto when not only what is positive from any given culture comes to the
fore. The thought occurred to me, years ago, that when we move to one country
from another, we must choose carefully the elements of our culture that we take
along with our luggage. There are positives and negatives in all cultures, so
maybe we shouldn't take the ballast of negative along with us, when we move to
somewhere new, and are supposed to make a fresh start. There is a great need
for frank and open cross-community debate, regarding these issues, but there
are few government-sponsored initiatives that are put into place to allow this
to happen.<br />
<br />
I remember hearing so much about
"Politique d'Intégration", when I used to live in Paris, big words
being thrown around by Mitterand's government, in their second term at the end
of the eighties; but there are nowhere near enough resources to put into this.
You find yourself doing projects with youth clubs on housing estates, such as
La Grande Borne in Grigny, but then you notice that the youth club itself is
not equipped to actually integrate most of the local youth coming from a
migrant background. As much heart and dedication that those running these
structures may have, they are simply overwhelmed by the different obligations
that they have to answer to. These front line workers are more involved in
damage-limitation than anything constructive in the long term, because their
function in an ever-changing social, cultural and economic environment is not
seen as a high priority issue by the authorities. The austerity measures put
into place by many governments across Europe have led to more cuts in these
essential services, so the divide between different communities is not being
dealt with, and each side becomes entrenched in their notions of safety in
numbers.<br />
<br />
Again, we could go on for ages
about other aspects and aggravating factors leading to some people siding with
more extreme views and so on, from all sides, but I just wanted to touch on
some of these, in order to widen the debate...</i><o:p></o:p></span></div>
<div class="Quotations" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US" style="font-family: "Verdana","sans-serif";"> <b>Mode,
why don't you get a smart phone after all this time?</b><o:p></o:p></span></div>
<div class="MsoBodyText">
<span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
<i>I don't drive, and I don't ride bikes, so I use public transport to get
around. These days, I find it quite shocking to see how many faces are riveted
to their small screens, for whatever reason they may have, credible or not.
Meanwhile, the world is going by them, along with contact with other human
beings, beautiful little moments of interaction, or the sun or rain casting
their surroundings in a different light; just life going by really. I find it
incredible that we can sometimes be so fixed on something virtual that is
happening elsewhere, through a relatively tiny screen; while missing out on
what's happening right here and now.<o:p></o:p></i></span></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
Smart-phones have not been around
that long, but have already had a profound change on how we communicate with
each other as human beings, how much of our own brain and senses we actually
use (instead of relying on Google for quick answers or for maps), and how much
of our lives we have chosen to "hub" into them. Some people may see
this as progress, but I feel that one part of us is becoming more passive, as
we rely too much on technology to do things for us. The other worrying factor
is that people are getting into the habit of taking their cues from these small
screens, as if they would begin to allow them to dictate their day. Given that
there are all these back-door surveillance issues that we are now trying to get
used to, instead of seeing them as the breach of our privacy that they are, I
wonder how these ubiquitous gadgets will evolve over the next few years.</span></i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
On a more environmental issue, we
also have to ask ourselves how much do we actually need, if we are not using
them as a work-tool; the way many people I know use them. I remember hearing
this line about us only using so much of our brain-capacity, so multiply that
by how little most people know of the capacity of their smart-phones, then the
irresistible need to have to upgrade, when a new one comes out; and what
consequences this is having on the e-waste that we generate. Coming back to
something I said earlier, some of the materials needed for these phones happen
to come from conflict-zones; so our urge to want to keep up is also feeding the
injustices around that.<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
Until this day, I still carry a
Nokia C5, and I look on-line to see where I can get another one, just in case.
I tend to store text messages which are work-related, so, with the amount of
information that we are having to deal with these days, old classic mobile
phones get filled up quite quickly; even after you've put a 16Gb micro-SD card
into them to store music for the painting studio. Nokia built some pretty solid
phones, and have that Symbian OS interface that I found very intuitive,
user-friendly. I am familiar with the keypad, to a point where I barely have to
look at it, while writing out text messages, and it is just less intrusive in
my life. When I'm at the studio painting, I especially don't want the
distraction of incoming e-mails; and should there be a real need to get in
touch, people can always call.</span></i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
<div class="Quotations" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoBodyText">
<b><span lang="EN-US" style="font-family: "Verdana","sans-serif";"> Since
1984, you have been known as the one that immortalized and archived a lot of
periods, as I've always known you with a camera, or even two when you could
afford it. Do you plan on doing something with your archives? </span></b><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
<div class="MsoBodyText">
<span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
<i>I instinctively started to take photos of the Covent Garden scene from
the summer of 1984 onwards, getting myself a Canon Sureshot in the summer of
'85, and documenting the incredible culture that was bubbling around me. I have
always thought that what we were living was something that had completely
broken away from what had existed before; and because we were just living this
amongst ourselves, and too busy expressing ourselves, there was not much time
to step back and get things into any kind of perspective. Moreover, there would
not be any documentation of how we were actually living this culture.<o:p></o:p></i></span></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
There were very few people out
there taking any photos back then, less still within our small community;
stretching from Covent Garden to Leicester Square at night, Kingsway and
Trafalgar Square for daytime busking to the subway at Charing Cross station,
where dancers practiced, facing the opaque glass front of the Tappit Hen. Spats
on Saturday lunchtimes on Oxford Street, along with London Graphic Center and
Flip Hollywood on Long Acre, to McDonalds on The Strand, then all the small
record stores around Soho were all the locations that marked out our
playground.<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
Doing the set-decoration with
Scribla for the Lenny Henry Show, in the spring of '85, had provided me with my
first big payout. It's this money that financed my solo-trips to Paris, and the
film and developing for the photos I took. So that got me started with
documenting life around me in general, from the incredible to the mundane,
wherever I went across Europe. I don't really check out photography that much,
though black and white war-photography was something that interested me many
years ago; especially the work of Don McCullin and later James Nachtwey; but
many don't have much time for war photography these days, or any meaningful and
poignant images showing the injustices of the world. We have learnt to simply
switch over...<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
I am not a photographer, far from
it, and never had the patience to actually learn about photography. I remember
first seeing somebody who had similar motivations as I, though she was an
actual photographer called Hiromix; simply documenting life around her, with
loads of self-portraits and so on... though I take less self-portraits and
don't usually publish them much. I just keep a photo-diary of life around me,
and document the culture that I have been part of all these years, as well as
all these parties that we went to, trying to immortalize some of the most
enjoyable moments of our lives. People looked at the camera completely
differently back then, as they did not even know when or if they would ever
even see the photos. For those who knew me, and had seen me on the scene, there
was just an element of trust there, and that's all that was needed; so I just
carried on. I used to be more spontaneous back then, and would not even ask for
people's permission, if they were strangers; but people also did not feel so
precious about their own self-image back then. Nowadays I take a lot less
shots, as we are saturated with everybody else's photos of one particular
situation or event. Judging by my archive, I guess that I may have taken around
40,000 shots between January of 1995, and when I got my first digital camera in
April or May of 2004. I don't know how many shots I took before then, but I was
also burgled on Christmas in 1988, by somebody I considered a friend, while I
was at my parents' place in London. Much of my Covent Garden and Paris scene
archives disappeared in that burglary, and the garages that this guy used to
have as storage space must have long been emptied by now.<o:p></o:p></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
My plan has always been to make
books about how we lived, before the advent of digital photography, so the
spread of my documentation would probably have to be separated into specific
genres. What I would like to first get out there is a collection of photos
about how we socialized, in parties, in the clubs, or outdoors hanging out.
Theoretically, that would prevent some people attacking me for breach of
privacy, as I have also made a few enemies in my time, most of them being
ex-friends with whom I fell out at some point.</span></i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
<div class="Quotations" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US" style="font-family: "Verdana","sans-serif";"> <b>How
do you see things developing in the next couple of years?</b><o:p></o:p></span></div>
<div class="MsoBodyText">
<span lang="EN-US" style="font-family: Verdana, sans-serif;"><br />
<i>It's difficult to predict what the world will bring up for new
challenges, within the next couple of years. Will somebody fix Fukushima, or
that huge methane-leak in California? Will governments realize that fracking
will have more devastating environmental consequences on our already strained
Earth? Will the growing number of conflicts around the world start to subside?
Will the asymmetric warfare under the form of terrorism spread any further?
Will Bernie Sanders actually get elected as the next president of the United
States? Will Jeremy Corbyn manage to work out credible and viable policies as
an alternative to where Cameron's lot have taken Britain. Will the TPP and TTIP
take over our lives? There are simply loads of issues out there which can
derail any plans that we may ourselves have made, with regards to work, career,
or the pursue of our passion.<br />
<br />
On a more personal and cultural
level, I would like to carry on my research into the parallels and overlaps between
music, dancing, and painting, the main three forms of expression that "Hip
Hop" had fused together; seeking to push my particular field towards a
form of abstraction that would exude the other two. This is, of course, not the
only area that I am interested in, but what I said above about the movement
recorded in tags and throw-ups, the rhythm of a dancer on the floor, and how we
react to the first few bars of any instrumental that we hear has always
fascinated me.<br />
<br />
As a further extension of this, I
wish to carry on exploring these compositions of bodies dancing, each in their
own way, crowded together in a given space, and yet in some form of harmony;
where even with our eyes closed, we are aware of the space occupied by each
other, and do not bump against each other or tread on each others' feet. Where
some people have given up going to places of worship, and are even now
deserting the clubs, we as human beings have always had manifestations of
communion together, transcending the everyday and the material, in some search
of a form of spirituality. Taking mind-bending drugs and getting off my face is
not really my idea of a way to get there, but rather to bathe together in music
that will uplift us, inspire us, heal us, and empower us. Venues are not getting
their licenses renewed, or are being pressured out of neighborhoods, as the
gentrification sweeps on, and what meeting points we have to exchange are
steadily disappearing. For many, music became just an accessory to their
evenings out, and was not considered as being the main reason why you choose to
go to such and such a place, a bit like how you would choose a restaurant. I
think the two are good ways of looking at what people deem as being important
in their existence. Of course everybody is free to listen to what they want to,
but then again, since technology gave many more people access to the capacity
of producing music, we have also been flooded by so much mediocrity, that it's
hard to find the quality. I thankfully have a network of very diverse friends,
whose information leads me to what works for me personally.<br />
<br />
I prefer to go out with all of my
problems in my head, hungry for the musical food that will help me regenerate,
and energize me for the next challenges ahead; as life has become a struggle in
itself. The same way I would look for advice on places to eat, where the
kitchen respects the plants and the animals that will eventually end up on our
plates, and elevates them to something equally as nourishing for the senses. I
look for the Dj's who will provide me with the musical therapy that will take
away the aches and pain, and inspire me to keep on going, while also providing
the space where I can meet and share with people I may have never met before. I
don't go out with a long list of expectations and a feeling of what the evening
"owes" me as entertainment. I go out to contribute and to give,
because we should be thankful that we can hear good music, music we may not
have at home, and have a space in which we can express ourselves to this music,
louder than we could ever hear it at home...</i></span><span lang="EN-US" style="font-family: "Verdana","sans-serif";"><o:p></o:p></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US" style="font-family: Verdana, sans-serif;"> <b>What does "escape" means to you?</b><o:p></o:p></span></div>
<div class="MsoBodyText">
<span lang="EN-US" style="font-family: Verdana, sans-serif;"> <i>Escape, to me, means that I have been able to finish some jobs I had
committed myself to, fixed all the administrative headaches of the moment, made
a plan for how to deal with the rest, make sure I have a little safety net of
funds in the bank, have the next few months of work also planned out; then go
off somewhere with the family, where it's warm enough to be by the sea, and put
all the other bullshit to the side for two weeks or so, and just enjoy some
time together...<br />
<br />
</i> <i>Our children do not need any luxuries of any kind, and are happy as
long as there's a comfortable bed, bathroom and shower, and no creepy-crawlies.
My wife and I do all we can for their future, which also means our collective
future, and for our children to eventually be able to look back on a happy
childhood. The brief moments that we can all get away together are the only
tangible notions of escape that we can actually make happen. Other than that, I
don't really see myself escaping all the things I have to do, domestically,
socially, or existentially; apart from jumping in front of a train or
something. Like I said, the children's happiness is our happiness; so that
alone is worth living for, before we go off to battle this that and the other
in this rather unjust world. That is life today...<o:p></o:p></i></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<br /></div>
<br />
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;">www.mode2.org</span></i><span lang="EN-US"><o:p></o:p></span></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br /></span></i></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br /></span></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-SgKaSnZCvXQ/WQ4lqtOqL5I/AAAAAAAABqw/Hz-XncxCYE8iD6ctGzrl1p5mmG49CEE_ACLcB/s1600/Ubikwist2-Mari-Esther-1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-SgKaSnZCvXQ/WQ4lqtOqL5I/AAAAAAAABqw/Hz-XncxCYE8iD6ctGzrl1p5mmG49CEE_ACLcB/s320/Ubikwist2-Mari-Esther-1.png" width="264" /></a></div>
<div class="MsoBodyText">
<i><span lang="EN-US" style="font-family: Verdana, sans-serif;"><br /></span></i></div>
<div class="MsoBodyText">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"><i>https://www.instagram.com/therealkayone/?hl=fr</i></span></span></div>
<div class="MsoBodyText">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"><i><br /></i></span></span></div>
</div>
THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-68726424360072814812016-10-15T12:12:00.000-07:002016-10-15T12:44:40.696-07:00Destroy All Toys by Bando (2014)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-bJVD8cQyYn4/WAJ-PCAaSBI/AAAAAAAABak/ZZ0tB3vST2478cv_KzVbd1aKnH7FpchuwCLcB/s1600/BANDO-Destroy-All-Toys-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://1.bp.blogspot.com/-bJVD8cQyYn4/WAJ-PCAaSBI/AAAAAAAABak/ZZ0tB3vST2478cv_KzVbd1aKnH7FpchuwCLcB/s400/BANDO-Destroy-All-Toys-1.jpg" width="400" /></a></div>
<br />
<span class="Apple-style-span" style="background-color: black;"><br /></span>
<div style="text-align: center;">
<span class="Apple-style-span" style="background-color: black; color: cyan; font-family: "georgia" , "times new roman" , "times" , serif; font-size: 14px; line-height: 21px;">title: Destroy All Toys </span></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="background-color: black; color: cyan; font-family: "georgia" , "times new roman" , "times" , serif; font-size: 14px; line-height: 21px;">artist: Bando </span></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="background-color: black; color: cyan; font-family: "georgia" , "times new roman" , "times" , serif; font-size: 14px; line-height: 21px;">year: 2014</span></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="background-color: black; color: cyan; font-family: "georgia" , "times new roman" , "times" , serif; font-size: 14px; line-height: 21px;">medium: acrylic and spray paint on canvas </span></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="background-color: black; color: cyan; font-family: "georgia" , "times new roman" , "times" , serif; font-size: 14px; line-height: 21px;">size: ± 120 x 65 cm</span></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="background-color: black; color: cyan; font-family: "georgia" , "times new roman" , "times" , serif; font-size: 14px; line-height: 21px;">taken from http://www.unrulygallery.com/</span></div>
</div>
THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-28727866437003593862016-10-15T10:45:00.000-07:002016-10-15T12:35:59.299-07:00GRAFFITI USB KEY: KAY ONE X CODESIGN-IT!<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-MLlkyyUukaw/WAJq2fnOOxI/AAAAAAAABaQ/2Sa04x80VEs3Zcw-aVAwXH-3ZVkdbAIuwCLcB/s1600/FullSizeRender.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="391" src="https://2.bp.blogspot.com/-MLlkyyUukaw/WAJq2fnOOxI/AAAAAAAABaQ/2Sa04x80VEs3Zcw-aVAwXH-3ZVkdbAIuwCLcB/s400/FullSizeRender.jpg" width="400" /></a></div>
<br /></div>
THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.comtag:blogger.com,1999:blog-6679544874522685692.post-90395505380720357222014-04-02T10:01:00.000-07:002014-04-02T12:33:59.020-07:00KAY ONE's new website: http://misterkayone.com/KAY ONE's new website...straight Graffiti (no street art!!!)<br />
http://misterkayone.com/<br />
<a href="http://1.bp.blogspot.com/-l9pHHzl_WfI/UV8DARGK0oI/AAAAAAAAAVQ/vRkFKf7yWHw/s1600/Station-La-fourche-1985-copie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="http://1.bp.blogspot.com/-l9pHHzl_WfI/UV8DARGK0oI/AAAAAAAAAVQ/vRkFKf7yWHw/s400/Station-La-fourche-1985-copie.jpg" height="270" width="400" /></a>THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-42685599501829595082013-07-26T12:19:00.000-07:002013-07-26T16:53:40.640-07:00Dj Clyde & Kay One- Hypnocalypse Now This is a track that we recorded at Dj Clyde's house in the late 90's, the Hypnotyk Djs days! One love Dj Asko!!!... I love that joint! Rock on!!!<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-zj789VcELCQ/UfLLfiu7wVI/AAAAAAAAAbs/RiLFaFRJr1M/s1600/hypnocalypse+now+copie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-zj789VcELCQ/UfLLfiu7wVI/AAAAAAAAAbs/RiLFaFRJr1M/s320/hypnocalypse+now+copie.jpg" width="318" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://soundcloud.com/kayism/dj-klyde-kay-one-hypnocalypse-now">https://soundcloud.com/kayism/dj-klyde-kay-one-hypnocalypse-now</a></div>
<br />THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-90320512487275341352013-04-25T15:11:00.002-07:002013-04-25T15:13:49.402-07:00Bad Ced & Kay One- Get Busy -1999<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-DZN8sbyLzw0/UXmpbEpigTI/AAAAAAAAAYo/XgQqtjwpNi8/s1600/Bad+Ced+&+Kay+One-+Get+Busy+-1999.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-DZN8sbyLzw0/UXmpbEpigTI/AAAAAAAAAYo/XgQqtjwpNi8/s320/Bad+Ced+&+Kay+One-+Get+Busy+-1999.jpeg" width="320" /></a></div>
<span style="background-color: black; color: white; font-family: Interstate, 'Lucida Grande', Arial, sans-serif; font-size: 16px; line-height: 22px;">BAD CED (Dax riders) featuring KAY ONE (TKC records- Destroy All Toys) on the label SUBSCIENCE in 1999.</span><br />
<span style="background-color: black; color: white; font-family: Interstate, 'Lucida Grande', Arial, sans-serif; font-size: 16px; line-height: 22px;">b side wins again !!!</span><br />
<a href="https://soundcloud.com/kayism/bad-ced-kay-one-get-busy-1999">https://soundcloud.com/kayism/bad-ced-kay-one-get-busy-1999</a>THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-84693588419771390642013-04-09T11:57:00.000-07:002013-04-16T04:23:39.359-07:00WRITER'S BENCH<div class="separator" style="clear: both; text-align: center;">
It is essential that people that pretend that they love "street wear" check the real website of the original WRITER'S BENCH (Bronx made) that got nothing to do with any other sections or links under the same name except their blog. Help us stoppin the fake by supporting the real!!! Enjoy!!!</div>
WRITER'S BENCH (Bronx made): <a href="http://writersbench.com/">http://writersbench.com/</a><br />
WRITER'S BENCH Blog: <a href="http://writersbench.com/thebench/">http://writersbench.com/thebench/</a><br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: left;">
<a href="http://2.bp.blogspot.com/-lYdI_ES0G5c/UWRjJFgPCvI/AAAAAAAAAWA/Uc24RBTbHOE/s1600/44199_132025020179493_5454585_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-lYdI_ES0G5c/UWRjJFgPCvI/AAAAAAAAAWA/Uc24RBTbHOE/s1600/44199_132025020179493_5454585_n.jpg" /></a></div>
<div class="separator" style="clear: both; text-align: left;">
REAL RECOGNIZE REAL</div>
<div class="separator" style="clear: both; text-align: left;">
<a href="http://1.bp.blogspot.com/_h6uFB80smGU/THkdKSwwQsI/AAAAAAAAALk/Mfhzm6w7Fds/s1600/WB.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" ox="true" src="http://1.bp.blogspot.com/_h6uFB80smGU/THkdKSwwQsI/AAAAAAAAALk/Mfhzm6w7Fds/s320/WB.jpg" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-62879272181116754792013-04-09T10:28:00.001-07:002013-04-09T10:28:46.865-07:00Interview: OBSEN<div class="separator" style="clear: both; text-align: center;">
Voici une interview de Obsen faite il y a quelques années pour la version française de The Source à découvrir ou redécouvrir, enjoy!!!</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-7r6yTCXxF0o/UWRNz9qJhOI/AAAAAAAAAVg/uLhP367Zhew/s1600/Obsen+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-7r6yTCXxF0o/UWRNz9qJhOI/AAAAAAAAAVg/uLhP367Zhew/s320/Obsen+1.jpg" width="256" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-YNRGOnKZV2g/UWRN4Xo72lI/AAAAAAAAAVo/9CHzsdFXN0k/s1600/Obsen+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-YNRGOnKZV2g/UWRN4Xo72lI/AAAAAAAAAVo/9CHzsdFXN0k/s320/Obsen+2.jpg" width="256" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-NCLPIzWEwBw/UWRN7Z823OI/AAAAAAAAAVw/YAEdGHeWWvY/s1600/Obsen+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-NCLPIzWEwBw/UWRN7Z823OI/AAAAAAAAAVw/YAEdGHeWWvY/s320/Obsen+3.jpg" width="256" /></a></div>
<br /><br />THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-44562807427037296092013-04-02T11:27:00.002-07:002013-04-02T11:31:22.149-07:00KLASS TDS new website: WWW.KLASSMATIC.COMCheck out KLASS TDS new website.This is a Klassic, don't miss it!!!<br />
Some Klassic New York style just the way The Death Squad does it, rock on!!!<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-JaxHVpyLOQ0/UVsh_D5M48I/AAAAAAAAAU8/l0f3al-OHQI/s1600/037_2011_inch-klass.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="103" src="http://1.bp.blogspot.com/-JaxHVpyLOQ0/UVsh_D5M48I/AAAAAAAAAU8/l0f3al-OHQI/s320/037_2011_inch-klass.jpg" width="320" /></a></div>
<br />
<br />
<br />
<br />
<br />
<br />
http://www.klassmatic.com/<br />
<br />THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-38259657365749136602013-01-07T00:00:00.000-08:002017-04-12T12:34:10.192-07:00KAY ONE interviews MODE 2 (for Frank 151) english + french version<div dir="ltr" style="text-align: left;" trbidi="on">
<div id="container_body" jquery1291599945254="207">
<div class="container_left_full container_left" id="container_left">
<div id="main">
<div class="content_full" id="content">
<div class="node node-article" id="node-3920">
<div class="article-nav">
<div class="parent">
</div>
<div class="clear">
</div>
</div>
<div class="content">
<div class="node-paged" id="page1">
<div class="article-photo float-left">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<h2 class="article-title">
Kay One interviews Mode 2</h2>
<div class="article-words">
</div>
<div class="article-callout">
<div>
Mode 2 would like to dedicate this article to the memory of James “DJ” Leacy 10/05/1971-10/14/2004 R.I.P.<br />
<br /></div>
</div>
<strong>Kay One:</strong> When and how did you start writing? <br />
<strong>Mode 2:</strong> I first picked up a can of spray paint during the early summer of ‘84, having been trying my hand at drawing letters on paper a bit earlier than that. I remember even doing wild-style-esque letters with enamel paint on a couple of grey and navy-blue Nike windbreakers for this crew called “Street Rockers” in Covent Garden. The scene was on such a buzz during that early summer, even before Subway Art, Breakin’ (Breakdance in the UK), and Beat Street. We had Tim Westwood on LWR every wednesday night, Spats on Saturday from midday until three, then of course Covent Garden itself, Leicester Square at night, and the underground walkways around Charing Cross station, especially the bit by a restaurant called The Tappit Hen, as it had the dark glass in the reflection of which guys were practicing their dance-steps.<br />
Scribla was a dancer then with a guy later known as Mc Duke, and my brother and I had seen their crew dancing since the previous autumn. I only discovered he was a writer when he caught onto my drawings and told me how he had got busted for doing a piece under the Coliseum, and was on a year’s probation. He’s the one that got me to use spray paint.<br />
<strong>Kay One:</strong> You moved to Paris in the mid eighties, how did you link with your crew?<br />
<strong>Mode 2:</strong> I moved to Paris at the end of March ‘87 to work at a computer graphics company partly. I had been coming to Paris since two years before though, to meet, then paint, with Bando and Step h in May ‘85, then back with Pride in June, then with all The Chrome Angelz in July of that same year. Bando had been a rival that Scribla and I met in Covent Garden in April ‘85, and we were so impressed by each others’ work, that we got down with his crew while he did the same with ours. That’s how the London-Paris connection got set up. We did most of our painting together until ‘87, when Bando and Steph had a falling out, Pride and Scribla had gone back to Art College, and I was out in Paris painting mostly with Steph. I didn’t last long in computer graphics, as the technology was so primitive then, while we were going out tagging or doing tracksides and pieces.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<strong>Kay One:</strong> Tell us about this European connection around CTK with writers from Sweden (Disey, Ziggy) and the Netherlands (Shoe, Angel, Delta, Gasp).<br />
<strong>Mode 2:</strong> I first met up with Scribla in summer ‘84, and then we hooked up with Zaki, Eskimo, and Zerox (Kev One) in the autumn of that year. They were known as “The Trailblazers”. I remember seeing Pride, this big, intimidating dude, painting at this jam on the South Bank, 3D from Bristol was also painting that day. Danny Francis, the dancer was painting a “Glidemaster” memorial piece with Scribla and me, as he had just passed away around that time after a motorbike crash. We really wanted Pride to be down with us though, as he was the most talented writer from London that we knew. When he finally joined, we founded The Chrome Angelz, our goal being to unite the writers with the most skills in one crew.<br />
<br />
When we met Bando, we became down with his crew Bomb Squad 2, which he subsequently change to Crime Time Kingz, as he incorporated TCA, and cleared out some other dudes who were in Bomb Squad 2. He was a bit ruthless that way, but that was the thing then, who had the crew with the most skilled writers. The illegal side was almost secondary to the talent. The competition in Paris then came from the Bad Boys Crew, with Jayone, Saho (Ash), and Skki, as well as another crew called the Buccaneers. Not taking anything away from those in London who were beginning to hit steel hard, and were just up a lot, Haze 115 (Karst) springing to mind. Style wise we were a bit bored, as we fed off of each other in TCA, and progressed really quickly, each developing his own style that got subsequently bit by other crews.<br />
That same summer of ‘85 we saw the pieces from Shoe, Jan, and Jaz along the Paris riverbank and, sure enough, when we hung out to see if they would come to look at their pieces in the daytime, we hooked up; total chance meetings, but we really sought each other out back in the days, looking for competition to burn. Shoe had been given photos and pointers from Dondi, and was consequently really advanced, and he and Bando clicked. Bando started on regular trips to Amsterdam from the end of ‘85 or beginning of ‘86, and there was a strong CTK connection set up there.<br />
Delta came to Paris in the late spring of ‘86 with Jezis, and Angel was more or less holding it down for the characters while I was in London, back at school, but trying to keep busy. Steph came over and did the graffiti with me on the Smiley Culture tour that October. <br />
<br />
When there was UK Fresh ‘86, loads of Hip Hop heads came to London from all over Europe, and important connections were made there, especially with Scandinavia. I went to Copenhagen in August ‘86, and spent a day or two in Stockholm, where I ran into the most unlikely duo; a half Swedish, half Japanese guy going by the name of Disey, and with him this blond Swede called Ziggy, both with hair down to their waists, the Stockholm style of back then.<br />
When I went back to Stockholm at the end of November ‘86, I had to hook up with them, and they really had skills too, Disey having incredible outline control. They were burning then, but we together were also partying too, like crazy, getting up to all types of mischief.<br />
Bando was making regular trips to Amsterdam and New York; CTK becoming THE crew with all the connections. We’ve been thinking on how to write a book about the flow and spread of style from one guy and one place to another during that era, as so much was laid down in such a short space of time.<br />
<br />
<strong>Kay One:</strong> How would you describe the style of your crew and why has it been so ripped off by a lot of writers, especially in France?<strong><br />
Mode 2:</strong> I was the youngest between Zaki, Scribla, into CTK, Danny, Pride, and myself. Even though someone like Danny was more of a dancer, he could draw, and most of our inspiration came from people like him, from the Mighty Zulu Rockers, from DJs like Cosmic Jamm, and the other guys hanging around Covent Garden. We had all developed styles and personalities as individuals, and shared everything style wise, as we knew that the other crew members would turn that into something of their own and new. We had not so much documentation and only really had each other, but we were really motivated by this brotherhood in style. This gave us each a unique direction that other crews had a hard time competing with, as they had perhaps each only one “stylemaster” and pace-setter in their midst, names like Juice or State of Art. So people would come and shop for style at TCA, picking whose style fit best with their own taste and personality; that’s why we went to Paris.<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
Our arrival in Paris brought new directions to the game, as we shared ideas and letters with Bando, and I pushed my characters further still, since I was basically employed as “the character dude”. Still, there were quite a few of the simple letter pieces of Bando’s that had my original pencil outlines on paper; but he was the man as far as how many drawings you could pump out per day. Anything he put his mind too, he’d take it all the way, and further still. The impact of Spraycan Art is what really set it off, even though many had been trying to get close to Bando’s style, save for the crews that I was talking about earlier. Guys like Darco FBI were also heavily influenced I think, and the Stalingrad Hall of Fame became THE place to paint in Europe, and Bando’s distinctive letter-science was exported eastwards and southwards. So much seemed derived from what he was setting down as being “European” style.<br />
<br />
As for me, I got more into letters as I painted less with Bando, but was aware of what went on with the younger crews, and the tag styles evolving in Paris then. By the end of the ‘80s I was doing styles developed by thickening tags which a lot of other writers picked up on. Even if I was inspired by others, I would make it my own interpretation, and would rather lead than follow.<br />
<strong><br />
Kay One:</strong> A lot of writers got inspired by the way you work to the point that we get confused sometimes, do you think that they don’t know the rules of biting, compared to way back? <br />
<br />
<strong>Mode 2:</strong> There was a time when you would show up to Covent Garden on a Saturday, show your blackbook, and get so dissed and laughed at if you had stuff that looked like someone else’s, that you would have to go back and find your own. Biting was such a humiliating thing to do then, and nobody wanted to get pulled up on that. Since the fanzines in the early 90s, and the websites and jams and all that, people started to get into biting to such a degree that no one seems to care that so much looks the same, and that we don’t have the richness and diversity of the mid ‘80s.<br />
<br />
If you’re not in that crew, you can’t use that style, that’s it, period. That’s what made things evolve so incredibly on the New York scene, where people were always fighting to be more original and come with something new. Things would get sorted out physically or violently back then anyway, if heads started to break the rules.People were getting hurt for more trivial stuff anyway, so imagine if you were biting style from a bigger crew than yours!<br />
I see the same thing in graphics, in the b-boying, and on wax also; people are incessantly using other people’s stuff, and not even acknowledging where they bit something from; check out how Delta’s style got ripped by people like Daim for instance! Find your OWN shit, dude; but once you feel like you’ve moved on, don’t act like it never happened, as there are a lot of people alive who do not forget, OR forgive for that matter.<br />
<br />
<strong>Kay One:</strong> Tell us about the good old days in Paris around ‘87, with the hall of fame in Stalingrad, the other crews like BBC and then the second generation of writers coming around the late 80’s, early 90’s, no regrets?<strong><br />
Mode 2: </strong>My main regret was the coming of Boxer because he had a truck that allowed us to go and rob paint further and further out, as the Paris stores got hotter. Stalingrad was THE place, as I said before, and I STILL get on with the BBC guys, even though we were bitter rivals before. You just have respect for guys who have constantly evolved and adapted, and remain somehow at the forefront.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
Many guys came along in our wake, biting any of those first pioneers a bit like with TCA back in London before. I know that, after doing workshops with younger writers towards the end of 1990, many people did pick up on what I was showing them then. I don’t think there had been up to that point, open talk and advice being given to younger writers on how to grasp style quickly until then.<br />
Looking back on it, they were pretty lucky to get one of those who had to learn the long way to teach them all these shortcuts. I think that our long way is what has also contributed to the longevity of many of those from my generation.<br />
<br />
<div class="node-paged" id="page3" jquery1291599945254="217" style="display: block;">
<strong>Kay One:</strong> You got involved in a lot of jams all over the world like B-Boy summit and many others, what keeps you so motivated?<strong><br />
Mode 2:</strong> I went to the B-Boy Summit in ‘96 and ‘97, but I’m still heavily involved with Battle of the Year, being part of the committee that makes decisions on which way it should be going, as well as doing the posters continuously since 2000. I have great faith in Thomas, the guy who started it all out, as well as Storm and Crazy, who devised our Excel-based judging system. Though not a b-boy myself, the best of them have always inspired me, as I see a parallel in our struggle to be original and stay ahead of the game, while keeping that sense of duty to the history and those that came before us. I feel that b-boying should find its own way to stand alone, and not be relying on rap videos for the best dancers to earn anything near decent, when you consider just how much they put into their art.<br />
<br />
The idea of trying to pass on the blueprint of Hip Hop in as open and freeform a way as possible, while remaining linked to its roots, is what keeps me motivated for certain jams. The chance of being able to make a novice discover this whole universe, away from all that is preformatted for economic or other reasons, feels almost like a duty. It just landed on us in the early 80’s, and was so open to interpretation. There were no magazines, music videos, DVDs, websites, or graffiti stores; you just made it all up in as close a way to what little idea you had of New York then. This allowed for such a diversity that seems to be sadly lacking today. <br />
I did the jams throughout the 90’s, as it was a chance to travel, meet new people, but also get to see friends such as Sharp or Delta (Amsterdam) in different circumstances every time. We would talk about hip hop and life in general, and share our views on the goings on of the day.<br />
When I realized that most of those organizing jams were more into it for themselves, or having their heart really into it, but being grossly incompetent or misled by what they thought Hip Hop was; I decided to chill on the whole thing. What used to be new and exciting and fresh became repetitive; the whole sense of merit for performing on a jam was gone with the advent of these massive jams where everyone was painting. It all just seemed chaotic and pointless. We’re supposed to pick out a handful of our best ambassadors and let them perform, in all disciplines; not just make it this free for all where there’s no sense of hierarchy with regards to actual skills.<br />
This is why I’m super-picky about the whole thing now, rather than falling into a routine where you show up to what seems either like an old people’s home with dudes repeating the same old tired moves, or else these jams where the motivations behind them are as naive as the look on the young crowd’s faces.<br />
<strong></strong><br />
<strong>Kay One:</strong> There is a big gap between Hip Hop culture and the rap industry. Is the culture going back to the underground?<br />
<strong>Mode 2: </strong>I personally don’t think that underground can truly exist anymore. Everybody and their mum and dogs got a website now, so things get blown up way before they’re ready. With the years of the rap industry’s involvement, as well as the fall-out from all these “Pop Stars”-type TV talent shows, so many of the weaker minded just cannot resist telling their neighbor or taking some kind of shortcut that would just give the game away.We have to find today’s definition of the position of opposition that we had towards society and accepted culture back in the early 80’s. That does not mean wearing all the clothes and attitudes of then. We were constantly evolving then, so why do some heads hold onto the cosmetic side of all that like some kind of security blanket?<br />
I think that those who wish for something more wholesome will go and seek it for themselves, rather than relying on the different forms of media to bring it to them on a platter...<br />
When it comes down to it, Hip Hop is the ethos by which you can rap about how fucked up your neighborhood is, but rise above that in your lyrics and propose some path to a solution or at least a debate. (C)rap just feeds off of what is fucked up, covering shit with icing and serving it to you like dirty drugs; just creaming anything and everything you can out of what’s around you, at their expense and to your profit. I’m not saying that everything should be serious. Indeed, it requires great skill to drop wisdom about the serious shit, but with humor. If you’re not bringing me some kind of enlightenment, upliftment, or inspiration, no matter who you are and what’s your trade; you’re not hip hop, period.<br />
<br />
<strong>Kay One:</strong> After the “RATP” in Paris approaching Futura to hijack posters from “Le Printemps” almost 20 years ago, a lot of people from the industry used graffiti art like they always believed in it, how did it come out?<br />
<strong>Mode 2:</strong> The industry only uses (graffiti) writing when it will bring them some plus to whatever product that they have to push. They realize the impact potential of the art form as far as certain products go, and all they need to do is find the chimp or the chump to do it. I personally only get involved with products that I use myself, and I have never helped used my art to push something I wouldn’t touch myself, such as cigarette companies, the petrol-chemical industry and so on.<br />
Our full potential has rarely ever been used by the clients; the rare occasions being the CK1 bottles by Delta, Espo, and Futura for instance. This is why it’s great to have the connections we have with companies who’ve collaborated with us on numerous projects over the years; the foremost of course being Sartoria, in Modena (Italy). What the clients don’t have the balls to do is where we actually start devising new projects, ideas, or directions with partners like Slam Jam.<br />
I have no faith in “the industry” and live by word of mouth or chance meetings as far as my work goes. Even buying two pages in LeBook, with exposure on their website, has brought me no work whatsoever.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<strong><br />
Kay One:</strong> After watching writers doing their own personalized jacket or very demanded limited edition t-shirts, streetwear clothing companies started to come from everywhere, have you been working for anybody or do you still do your own tees?<strong><br />
Mode 2: </strong>I used to do my own t-shirts (limited edition and destroying the screens as soon as the last shirt was finished!), taking them on the jams and selling them hand to hand, just so as to have money while I was in whichever country. I’m not very business-minded, so I didn’t go about setting up a clothing label, like so many have done so in the recent years, whether they be rappers, sportsmen, or drug-dealers trying to launder their profits.<br />
I remember how buyers (meaning hip hop heads at the jams coming up to me, or guys from the neighborhood) would haggle and try to price me down, the thing they would not think of doing at the supermarket; so why me? Fair trade had better start right here!<br />
<br />
<div class="node-paged" id="page4" jquery1291599945254="218" style="display: block;">
I’ve wanted to make myself a jacket with the painted back-panel, like we had back in the days, for at least five or six years. I even talked to Shoe about it, and we both said, yeah, we’d have one each for that coming summer; as if!<br />
<br />
I’m still thinking of getting something happening by myself, perhaps with two really close friends on board, but there’s so much to do right at this minute anyway. I’ve had this series of t-shirts called “I hate London”, emphasizing the love-hate relationship I have with this city, with it’s over-hypeness, it’s me-me-me attitude, and its inefficient yet expensive infrastructures such as public transport. This series has been ready since 2001, but the samples are sitting in boxes since the Santa’s Ghetto thing we did with Pictures On Walls, when I want to see someone on a train platform sporting it at one of those oh-so-common transport chaos moments we go through on the trains and the tube. We try to do what we can with all the designs at P.O.W., but we can’t afford to have everything out there, and the t-shirt situation’s been the same for everyone here.<br />
<br />
<strong>Kay One:</strong> How is the graffiti scene in Europe now, I see a lot of writers using those Delta 3-D’s in their letters or doing too many backgrounds but no letters, s’up with that? <br />
<strong>Mode 2: </strong>I guess things move on and people wish to push the envelope and explore new directions, experimenting with letter-free and character-free compositions in the same way that heads bit Jonone in Paris in ‘87, calling it freestyle, when we knew that dudes who couldn’t rock letters went to hide in there. Jon himself got this from Futura and murdered it on the NY transit system, but at least he has the humility and respect to state who his sources of inspiration have been.<br />
<br />
What I don’t like is this unhealthy situation, that’s been around since fanzines like On The Run, Underground Productions, Fatcap, or Bomber Magazine in the mid-nineties, where heads are just biting style straight up, and not giving the credit where it is due. Delta from Amsterdam is of course THE individual that opened the door to direct application of 3-D into letters, on which other writers like Daim, and all those who follow that train (bandwagon?) of thought, built their careers and credibility; what’s UP with that?<br />
Back in the Covent Garden days, you’d get slated, dissed, cussed, generally humiliated by a bunch of heads laughing in your face over biting someone’s stuff! Back in New York, you’d be lucky not to suffer some bodily harm! The internet and the general distance to have to cover to kick someone’s arse makes it easier for all these biters! I remember Delta 2 from New York, who was painting with Sharp, wanting a plane ticket to Amsterdam to kick my mate Delta’s arse!<br />
I admire originality, before technique, as the latter comes so much quicker these days than when we first started out. I personally don’t look at people’s pieces that long, as your subconscious will record what’s in front of you, and the next time you’re drawing something or painting, your brain will tap into that “virtual memory” and make you do shit you’ve seen elsewhere. So sometimes it’s not blatant conscious biting; you just find yourself reproducing what you’ve seen before.<br />
<br />
<br />
<strong><br />
Kay One:</strong> What is your definition of a “king”?<br />
<strong>Mode 2: </strong>Somebody who’s original and has always strived to be, whose name is up wherever you go, even worldwide, someone who has style from a simple well-executed tag, as well as its placement, right up through throw-ups, simple pieces, wildstyle; whatever. Someone who, when branching out into the commercial world outside of the culture, can somehow keep this from tarnishing his writer identity by flipping some new game and adapting to “gallery-culture” with equal skill and cunning as the street or the yards. <br />
<br />
There are very few kings left in my eyes anyway, not to say that they all belong to the old school; it’s just that it’s hard to take what was part of a New York underground scene of thirty years ago, and balance that with all of today’s bullshit...<br />
<span style="color: white;"><br /></span>
<strong style="background-color: black; border: 0px; font-family: inherit; font-size: 14px; font-style: inherit; line-height: 1.625em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: white;">Entretient avec Mode2 dans le 19ème chapitre du magazine gratuit américain <a href="http://www.frank151.com/" style="border: 0px; clear: both; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: initial; vertical-align: baseline;" target="_blank" title="Frank151">Frank151</a>. Mode2 revient sur ses débuts et partage quelques photos d'archive, </span><a href="http://www.allcityblog.fr/">http://www.allcityblog.fr/</a><span style="color: white;"> s'est occupé de la traduction.</span></strong><br />
<strong style="background-color: black; border: 0px; font-family: inherit; font-size: 14px; font-style: inherit; line-height: 1.625em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: white;">Quand et comment as-tu commencé à peindre ?</span></strong><br />
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<span style="background-color: black; color: white;">Au début de l'été 1984, après m'être fait la main sur papier peu de temps auparavant. Je me souviens même avoir fait un lettrage wild style avec de la peinture émail sur quelques coupe-vents Nike bleu marine et grise pour ce crew appelé <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Street Rockers</em> à Covent Garden. C'était un tel buzz autour de ce mouvement au cours de cet été, avant même que Subway Art, Breakin ‘(Breakdance au Royaume-Uni), et Beat Street ne sortent au cinéma. Nous avions Tim Westwood sur LWR tous les mercredis soirs, Spats, le samedi de midi à 15h, et Covent Garden, Leicester Square la nuit, et les passages souterrains autour de la station Charing Cross. En particulier la vitrine d'un restaurant appelé <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Tappit Hen</em>, les gars perfectionnaient leur pas de danse en se regardant dans le reflet. Scribla était danseur ainsi qu'un gars nommé Mc Duke, mon frère et moi on les regardait danser depuis l'automne précédent. J'ai découvert que c'était un writer quand il est tombé sur mes dessins et m'a raconté comment il s'était fait serrer pour avoir fait un graff sous le Colisée, il était en probation pour un an. C'est lui qui m'a fait découvrir la peinture aérosol.</span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<strong style="background-color: black; border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: white;">Vous vous installez à Paris dans les années quatre-vingt, comment as-tu conservé un lien avec ton crew ?</span></strong><br />
<span style="background-color: black; color: white;">Je venais à Paris depuis environ 2 ans avant de rencontrer et de peindre avec Bando et Steph en Mai 1985, puis j'y suis allé en Juin avec Pride et avec tous les TCA en Juillet. Bando était un adversaire que Scribla et moi avions rencontré à Covent Garden en Avril 1985, nous étions si impressionné par nos travaux respectifs qu'il a intégré notre groupe et que j'ai intégré le sien.</span><br />
<span style="background-color: black; color: white;">C'est ainsi que la connection Paris-Londres s'est effectuée. Nous avons peint tous ensemble jusqu'en 1987. Bando et Steph se sont alors fâchés, Pride et Scribla sont retournés à l'Art College et moi je peignais la plupart du temps avec Steph. Je n'ai pas fait long feu dans l'infographie, la technologie était si primitive et j'étais tout le temps dehors en train de taguer, de faire des voies ou des murs.</span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
</div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<strong style="background-color: black; border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: white;">Parle-nous de cette connection européenne autour des CTK avec les writers suèdois (Disey, Ziggy) et hollandais (Shoe, Angel, Delta, Gasp).</span></strong><br />
<span style="background-color: black; color: white;">J'ai d'abord rencontré Scribla pendant l'été 84, puis nous avons trainé avec Zaki, Eskimo, et Zerox (Kev One) à l'automne de cette année. Ils étaient connus comme les pionniers. Je me souviens de Pride, ce grand gars intimidant, peignant à ce jam sur la rive sud, 3D de Bristol peignait aussi ce jour-là. Danny Francis, le danseur peignait un memorial pour Glidemaster avec Scribla et moi. Nous voulions vraiment que Pride soit là avec nous c'était le writer le plus talentueux de Londres que nous connaissions. Quand il nous a finalement rejoint, nous avons fondé <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Chrome</em> <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Angelz</em>, notre but étant de réunir les writers les plus talentueux dans un crew.</span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<span style="background-color: black;"><span id="more-15107" style="border: 0px; color: white; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></span></span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<span style="background-color: black; color: white;">Lorsque nous avons rencontré Bando, nous trainions avec son crew <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Bomb Squad 2</em>, qui est par la suite devenu <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Crime Time Kingz</em>, quand il a intégré les TCA, et dégagé quelques mecs qui étaient dans <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Bomb Squad 2.</em> Il était sans pitié mais c'était la manière de faire à ce moment là, c'était à celui qui avait à le crew le plus qualifié. Le côté illégal était presque secondaire, seul comptait le talent. La compétition à Paris vint des BBC, avec Jayone, Saho alias Ash, et Skki, ainsi que d'un autre crew nommé <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Buccaneers</em>. Sans rien enlever aux gars de Londres qui frappaient fort, Haze 115 (Karst) sortait du lot. Nous étions un peu saoulés de ce style, nourri par les TCA, et on progressait très rapidement, chacun développait son propre style qui était ensuite copié par d'autres crews. Ce même été 1985, nous avons vu les pièces de Shoe, Jan, et Jaz le long des quais des Seine à Paris et, bien sûr, nous trainions la-bas la journée pour les rencontrer, sans réellement compter sur le hasard, nous cherchions réellement à nous rencontrer pour lancer la compétition. Shoe avait reçu des photos des graffs de Dondi, et était par conséquent très en avance, Bando et lui se sont bien entendus. Bando a alors commencé à aller régulièrement à Amsterdam à partir de fin 1985 ou au début 1986, il y avait une forte connection CTK mise en place là-bas. Delta est venu à Paris à la fin du printemps 1986 avec Jezis, et Angel plus ou moins en charge des persos alors que j'étais à Londres, de retour à l'école. Steph est venu et on a peint ensemble sur la tournée <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Smiley Culture</em> en Octobre.</span><br />
<span style="background-color: black; color: white;">En 1986, à Londres des liens étroits se tissaient entre différents membres de cette communauté venant de toute l'Europe en particulier avec la Scandinavie. Je suis allé à Copenhague en Août 1986, et j'ai passé une journée ou deux à Stockholm, où je suis tombé sur le duo le plus improbable, Disey moitié suédois, moitié japonais avec un Suédois blond nommé Ziggy, tous les deux avec les cheveux longs jusqu'à la taille, le style de Stockholm de l'époque.</span><br />
<span style="background-color: black; color: white;">Lorsque je suis retourné à Stockholm à la fin de Novembre 1986, j'avais rendez-vous avec eux, ils étaient vraiment talentueux, Disey contrôlait sa bombe de manière incroyable. Ils peignaient des<em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">burners</em> et on passait beaucoup de temps à faire la fête et à faire n'importe quoi. Bando faisait régulièrement des voyages à Amsterdam et à New York, CTK était le crew avec toutes les connections. Nous avons réfléchi sur la façon d'écrire un livre sur la circulation et la propagation de style d'un gars et d'un endroit à un autre à cette époque, tant de choses ont été réalisées en un si court laps de temps.</span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<strong style="background-color: black; border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: white;">Comment décrirais-tu le style ton crew et pourquoi a t-il été copié par tant de writers et en particulier en France ?</span></strong><br />
<span style="background-color: black; color: white;">J'étais le plus jeune parmi Zaki, Scribla, les CTK, Danny, Pride. Même si quelqu'un comme Danny était plus un danseur, il pouvait dessiner, et la plupart de nos inspirations est venue de gens comme lui, de la <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Mighty Zulu Rockers</em>, de Dj comme Cosmic Jamm, et d'autres gars trainant autour de Covent Garden. Nous avons développé des styles et des personnalités en tant qu'individus. Le style était partagé, car nous savions que les autres membres du crew seraient capables de le transformer et de se le réapproprier. Nous n'avions pas beaucoup de documentation et, on se motivait et s'influençait les uns les autres, nous étions très motivés par cette fraternité dans le style. Cela a donné à chacun une direction unique que d'autres crews avaient du mal à concurrencer, ils avaient peut-être un seul <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">stylemaster</em> parmi eux. Donc, les gens venaient faire leurs courses chez les TCA, à la cueillette du style pour le remettre à sa propre sauce. C'est pourquoi nous sommes allés à Paris.</span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<span style="background-color: black; color: white;"><br /></span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
</div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<span style="background-color: black; color: white;">Notre arrivée à Paris a donné de nouvelles orientations au jeu, comme nous partagions les idées et les lettrages avec Bando, j'ai poussé mes personnages encore plus loin, depuis je suis devenu le gars qui fait des persos. Pourtant, il y avait un bon nombre de lettrages simples que Bando me reprenait. Tout ce que il avait en tête il le réalisait et bien plus encore. L'impact de Spraycan Art est vraiment ce qui a tout fait débuter, même si beaucoup ont essayé de se rapprocher de style Bando. Des gars comme Darco FBI ont également été fortement influencé je pense, et le Hall of Fame de Stalingrad est devenu le lieu pour peindre en Europe, et le type de lettres utilisé par Bando s'est répandu partout en Europe devenant le style européen. Quand à moi, comme je peignais moins avec Bando je me suis remis aux lettrages. J'étais au courant de ce qui se passait avec les crews les plus jeunes et l'évolution du tag à Paris. A la fin des années 80 je développais des lettres inspirées de l'épaississement des tags. Même si j'étais inspiré par d'autres, j'en faisais ma propre interprétation, il vaut toujours mieux être le leader que le suiveur.</span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<strong style="background-color: black; border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: white;">Un grand nombre de writers ont été influencé par ton travail, au point qu'on se demande s'ils connaissent les règles du « biting » (copie) ?</span></strong><br />
<span style="background-color: black; color: white;">Il fut un temps ou on venait montrer nos <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">blackbooks</em> à Covent Garden, ceux qui copiaient devaient revoir leur copie en rentrant chez eux pour trouver leur propre style. Être perçu comme un pompeur était vraiment humiliant. Depuis l'arrivée des magazines dans les années 90 et les jams, tout le monde copie tout le monde sans que ça pose aucun problème. Tout se ressemble et on a perdu la richesse des années 80. Si tu n'étais pas de ce crew, tu ne pouvais pas utiliser ce style. C'est ce qui a fait la richesse de New York, tout le monde cherchait à être original. Les choses se réglaient de manière violente à l'époque. De toutes façons à l'époque des gens se battaient pour des raisons bien plus futiles. J'ai vu les mêmes choses se produire dans le graphisme, le<em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> b-boying</em>, et dans l'industrie du disque. Les gens utilisent ce qui ne leur appartient pas, regarde comme le style de Delta a été pillé par un gars comme Daim. Trouve ton propre truc, mec, mais si tu te fais prendre à copier, ne le nie pas tant qu'il y a d'autres personnes encore vivantes pour s'en souvenir ou pour pardonner.</span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<strong style="background-color: black; border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: white;">Parle-nous du bon vieux temps à Stalingrad en 1987 avec les BBC et la seconde génération de writers de la fin des années 80, début des années 90. As-tu des regrets ?</span></strong><br />
<span style="background-color: black; color: white;">Je regrette principalement Boxer avec son camion qui nous emmenait de plus en plus loin en banlieue pour voler de la peinture. Stalingrad était le spot pour rencontrer les BBC qui étaient nos rivaux. J'ai du respect pour des gars qui ont su constamment évoluer et s'adapter, et qui sont en quelque sorte restés à l'avant-garde.</span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<span style="background-color: black; color: white;"><br /></span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
</div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<span style="background-color: black; color: white;">Beaucoup de gars étaient dans notre sillage, copiant les pionniers, un peu comme les TCA à Londres. Je savais, qu'après avoir fait des ateliers avec des jeunes en 1990, ils réutiliseraient ce que je leur avais montré. Je ne pensais pas donner des conseils concernant le style aussi rapidement. Avec le recul, ils ont eu de la chance de prendre des raccourcis et de ne pas avoir à faire un long apprentissage. Je pense que ce long apprentissage a été une garantie de durer dans le temps pour beaucoup de writers de ma génération.</span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<strong style="background-color: black; border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: white;">Tu as participé à un grand nombre de jams dans le monde entier, qu'est-ce qui t'a autant motivé ?</span></strong><br />
<span style="background-color: black; color: white;">Je suis allé au <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">B-Boy Summit</em> en 1996 et en 1997 mais je suis toujours fortement impliqué dans <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Battle of the Year</em>, faisant partie du comité qui prend des décisions concernant la voix à suivre tout en dessinant les affiches de cet évènement. J'ai confiance en Thomas qui est à l'initiative de ce projet autant qu'en Storm et Crazy qui ont conçu notre système d'évaluation. Bien que n'étant pas un <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">b-boy</em>, ils m'ont influencé, je vois une comparaison possible dans notre lutte à rester original tout en gardant un sens de l'histoire qui nous a précédée. Je pense que le <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">b-boying</em> doit trouver sa propre voix et ne pas compter sur les clips de rap pour gagner convenablement sa vie. Quand on voit avec quelle force ils s'investissent dans leur art…</span><br />
<span style="background-color: black; color: white;">L'idée d'essayer de dépasser l'emprise du hip hop tout en respectant mes racines m'a motivé pour les jams. La chance de faire découvrir à un novice toutes les facettes de cet univers sans entrer dans des considérations économiques est un devoir pour moi. Ça nous est tombé dessus dans les années 80, bien avant les magazines, les DVD, les clips, les sites internet ou les magasins de bombes. Il s'agissait de fabriquer quelque chose avec très peu d'informations. Une grande liberté d'interprétation était possible, ce qui semble manquer de nos jours. J'ai participé à des jams dans les années 90 qui m'ont donné l'occasion de voyager et de rencontrer des gens mais aussi de retrouver des amis comme Sharp et Delta (Amsterdam) dans des circonstances différentes. Nous parlions du hip hop et de la vie en général et partagions nos points de vue. Quand je me suis rendu compte que les les organisateurs des jams étaient incompétents et le faisaient plus pour eux-mêmes que pour le mouvement, j'ai pris mes distances. Ce qui était nouveau et rafraichissant devenait de plus en plus répétitif. Le sens du mérite à participer à un jam avait disparu. Tout me semblait chaotique et inutile. Nous étions censés rassembler l'élite dans chaque discipline et non pas laisser n'importe qui y participer sans aucun sens de la hiérarchie et de l'histoire. C'est pourquoi je suis devenu super pointilleux à propos de tout ça, je ne veux pas tomber dans une certaine routine rassemblant des vieux graffeurs bons pour la maison de retraite qui répètent les mêmes choses, ou participer à des jams dont la motivation des organisateurs est aussi naïve que l'expression des jeunes spectateurs.</span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<strong style="background-color: black; border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: white;">Il y a un grand fossé entre la culture hip hop et l'industrie du rap. Penses-tu que cette culture redevient underground ?</span></strong><br />
<span style="background-color: black; color: white;">Je ne pense pas que la notion d'underground existe encore. Tout le monde a un site internet. Après des années d'industrie rap et les retombées des émissions de télé-réalité comme Pop Stars, les esprits faibles se sentent obligés de raconter la vie de leur voisin ou font des raccourcis désastreux. Nous devons retrouver le sens de l'opposition qui caractérisait les années 80. Ça ne veut pas dire s'habiller comme à cette époque là. On évoluait constamment à cette époque, alors pourquoi certaines grosses têtes n'ont retenu que le côté cosmétique de ce mouvement pour s'en faire une ceinture de sécurité ? Je pense que ceux qui veulent quelque chose de plus sain vont le chercher eux-mêmes, plutôt que de s'appuyer sur les différentes formes de médias qui leur amènent tout sur un plateau…</span><br />
<span style="background-color: black; color: white;">Quand tout va mal, le hip hop est la voix de la révolte. Dépasse tout ça dans tes textes de rap et essaie de proposer une solution ou au moins un débat. Le rap se nourrit de tout ce qui est foutu, il te sert de la merde recouverte de glace en te faisant croire que c'est de la bonne came. Il suffit de mélanger et de faire mousser tout et n'importe quoi aux dépens des autres et à ton profit. Je ne dis pas que tout doit être sérieux. En effet, ça nécessite une certaine habileté de mettre sa sagesse de côté pour rire de tout ça. Si tu n'es pas prêt à apporter une certaine sorte d'illumination, d'élévation du débat ou d'inspiration, peu importe qui tu es et quel est ton business, tu ne seras pas hip hop.</span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<strong style="background-color: black; border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: white;">Il y a 20 ans la RATP contactait Futura 2000 pour détourner des affiches du Printemps, depuis les gens de l'industrie utilisent le graffiti selon leurs propres critères, qu'en est-il advenu ?</span></strong><br />
<span style="background-color: black; color: white;">L'industrie utilise le graffiti quand il peut apporter un plus au produit qu'elle désire vendre. Ils ont réalisé l'impact de cette forme d'art pour la promotion de certains produits, et tout ce dont ils avaient besoin était de trouver n'importe quel nul pour le faire. Je ne m'implique pas dans la promotion de produits que je ne cautionne pas comme l'industrie du tabac ou les industries pétrochimiques. Notre potentiel a rarement été utilisé par les clients. Rares sont ceux comme CK1 qui ont collaboré avec Delta, Espo, et Futura pour le design de bouteilles. C'est pourquoi il est bon d'avoir des liens que nous entretenons avec ces entreprises qui ont collaboré avec nous sur de nombreux projets au fil des années, le tout se déroulant bien sûr à Sartoria, à Modène (Italie). Mais les clients n'ont pas les couilles de soutenir de nouveaux projets, idées ou orientations avec des partenaires comme Slam Jam. Je n'ai aucune foi en l'industrie et je vais ou mon travail me conduit. M'acheter 2 pages dans<em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">LeBook</em> avec une visibilité sur leur site internet ne m'a apporté aucun boulot.</span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<span style="background-color: black; color: white;">Toxic, Billy, et Stash, Paris Octobre 1990 :</span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
</div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<strong style="background-color: black; border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: white;">Après avoir vu des writers personnaliser leur blouson ou produire une édition très limitée de t-shirts, les marques <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">streetwear</em> sortir de nulle part, travailles-tu pour quelqu'un ou continues-tu à produire tes t-shirts ?</span></strong><br />
<span style="background-color: black; color: white;">J'avais l'habitude de faire mes propres t-shirts (en édition limitée et en détruisant les écrans dès que le dernier t-shirt était fini), et de les vendre de la main à la main quelque soit l'endroit ou je me trouvais. Je ne suis pas dans ce business, je n'ai donc pas créé ma marque de vêtements, comme beaucoup l'ont fait ces dernières années, qu'il s'agisse des sportifs, des rappeurs ou des trafiquants de drogue qui essaient de blanchir leur argent. Je me souviens de mes clients (c'est à dire les gars hip hop au jam ou les gars du quartier) qui essayaient de marchander, chose qu'il ne ferait pas au supermarché, alors pourquoi le faisaient-ils avec moi ? Le commerce équitable devrait commencer ici !</span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<span style="background-color: black; color: white;">J'essaie toujours d'obtenir les choses par moi-même, peut-être avec 2 ou 3 amis proches. J'ai fait une série de t-shirts intitulé « <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">I hate London</em> » (<em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">je déteste Londres</em>), mettant l'accent sur la relation amour/haine que j'ai avec cette ville, avec la hype, l'attitude moi-moi-moi, l'inefficacité de ses transports publics. Cette série est prête depuis 2001, mais les prototypes sont au fond des cartons depuis le truc du père Noël du ghetto qu'on a fait avec Pictures on the Wall.On essaie de faire ce qu'on peut avec tous les design de P.O.W, mais on ne peut pas tout réaliser. La situation que je t'expliquais à propos des t-shirts est la même pour tout le monde.</span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<strong style="background-color: black; border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: white;">Comment se porte la scène graffiti en Europe ? Je vois beaucoup de writers utiliser la 3D de Delta dans leur lettrage ou faire des fonds sans lettrage, qu'en penses-tu ?</span></strong><br />
<span style="background-color: black; color: white;">Je pense que les choses évoluent, les gens essaient d'explorer de nouvelles directions, composent librement leur lettrage ou leurs persos de la même manière que Jonone en 87 à Paris en pratiquant le <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">freestyle</em>, alors qu'on savait que les gars qui ne savaient pas peindre de lettres se réfugiaient là-dedans. Jonone le tenait de Futura2000 et a tué les système métropolitain new-yorkais avec. Mais il avait l'humilité de respecter ses sources d'inspiration. Je n'aime pas cette situation malsaine qui règne depuis le début dans des fanzines comme <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">On The Run</em>, <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Underground Productions</em>, <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Fatcap</em> ou<em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Bomber Magazine</em>, ou les gars copient les styles et ne donnent aucun crédit à leur source d'inspiration. Delta d'Amsterdam est la personne qui a ouvert la voix à la 3D alors que d'autres comme Daim n'ont fait que prendre le train en marche et ont construit leur carrière là-dessus. Ca veut dire quoi ? A Covent Garden à l'époque, tu étais humilié, ridiculisé par les autres writers si tu t'avisais à pomper un style. A New York tu risquais de te faire défoncer pour ça ! Internet et la distance à parcourir pour botter le cul de quelqu'un rendent la tâche plus facile aux pompeurs. Je me souviens de Delta2 de New York qui voulait venir en avion s'en prendre à Delta d'Amsterdam. J'admire l'originalité, avant la technique qui vient bien plus rapidement qu'à l'époque. Je ne regarde pas beaucoup les pièces des autres parce que le subconscient peut enregistrer dans la mémoire virtuelle des choses qui vont te faire faire des conneries par la suite en dessinant. Parfois ce n'est pas du pompage réfléchi mais juste l'inconscient qui te fait reproduire quelque chose que tu as vu auparavant.</span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 1.625em; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<strong style="background-color: black; border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: white;">Quelle est ta définition du <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">king</em> ?</span></strong><br />
<span style="background-color: black; color: white;">Quelqu'un d'original qui a toujours cherché à l'être. Dont le nom est partout en ville et dans le monde. Quelqu'un qui a du style en tags, en flops, en pièces simples, en wildstyle. Quelqu'un qui malgré sa connection avec le monde marchand maintient son identité de writer en s'adaptant à la culture des galeries avec autant d'habileté que dans la rue ou dans un dépôt.</span><br />
<span style="background-color: black; color: white;">A mes yeux il y a très peu de <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">kings</em>, pour ne pas dire qu'ils appartiennent tous à la <em style="border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">oldschool</em>. C'est juste difficile de nos jours d'adhérer et de comprendre ce qu'était New York à l'époque comparé à la merde que c'est devenu…</span></div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com2tag:blogger.com,1999:blog-6679544874522685692.post-32968659591528469262012-12-30T14:25:00.000-08:002012-12-30T14:25:01.855-08:00ROCK STEADY CREW Interview by Kay OneThis is an interview of Mr Wiggles, Prince Ken Swift & D'Incredible from the legendary "Rock Steady Crew" I did in Paris back in the late 90s, when I met them at Theatre Mogador, where they had that "Ghettoriginal" show (sadly Fabel wasn't there this time), touring all over the world...back in London a few days later I gave the interview to my friends from that fanzine called "Apeman", enjoy!!!<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-Iy0l0Wbbs8s/UOC8pZTaGbI/AAAAAAAAAQA/eSE5ya6CK78/s1600/RSC+interview+1997+by+Kay+One+page+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-Iy0l0Wbbs8s/UOC8pZTaGbI/AAAAAAAAAQA/eSE5ya6CK78/s320/RSC+interview+1997+by+Kay+One+page+1.jpg" width="232" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-lxlhp3rOUuQ/UOC-EH4-wHI/AAAAAAAAAQQ/UNHsEmMQfWc/s1600/RSC+interview+1997+by+Kay+One+page+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-lxlhp3rOUuQ/UOC-EH4-wHI/AAAAAAAAAQQ/UNHsEmMQfWc/s320/RSC+interview+1997+by+Kay+One+page+2.jpg" width="232" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-hn1nek0JGrI/UOC-LaYQU_I/AAAAAAAAAQY/MUj8N6lTGhw/s1600/RSC+interview+1997+by+Kay+One+page+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-hn1nek0JGrI/UOC-LaYQU_I/AAAAAAAAAQY/MUj8N6lTGhw/s320/RSC+interview+1997+by+Kay+One+page+3.jpg" width="232" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-0hibWX2o4-I/UOC-SFzghLI/AAAAAAAAAQg/Rcxk9pm11RI/s1600/RSC+interview+1997+by+Kay+One+page+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-0hibWX2o4-I/UOC-SFzghLI/AAAAAAAAAQg/Rcxk9pm11RI/s320/RSC+interview+1997+by+Kay+One+page+4.jpg" width="232" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-44kTqtwyuGc/UOC-h8lirVI/AAAAAAAAAQo/GY0ffvzl90g/s1600/RSC+interview+1997+by+Kay+One+page+5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-44kTqtwyuGc/UOC-h8lirVI/AAAAAAAAAQo/GY0ffvzl90g/s320/RSC+interview+1997+by+Kay+One+page+5.jpg" width="232" /></a></div>
<br />THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-65552514388731082842012-06-06T15:26:00.000-07:002012-06-07T10:04:41.878-07:00KAY ONE'S solo exhibition "CASH BRIBES ONLY"<div class="separator" style="clear: both; color: black; text-align: center;">
<a href="http://3.bp.blogspot.com/-RwJkZVm_9Tk/T9B2e8nOxEI/AAAAAAAAAOY/VcKRxpIJiWA/s1600/FaceBK-visuel-KAYONE.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-RwJkZVm_9Tk/T9B2e8nOxEI/AAAAAAAAAOY/VcKRxpIJiWA/s320/FaceBK-visuel-KAYONE.jpg" width="226" /></a></div>
<div style="color: black;">
<br /></div>
<div style="color: white;">
<b><span style="font-family: ArialMT;">L'Envers vous convie à la première exposition solo de </span><b><span style="font-family: Arial-BoldMT;">KAY ONE "CASH BRIBES ONL</span><span style="font-family: ArialMT;">Y"</span><b><i><span style="font-family: Arial-BoldItalicMT;"> </span></i></b></b></b></div>
<div align="left" style="color: white;">
<b><b><b><i><span style="font-family: Arial-BoldItalicMT;">EXPOSITION : du 19 mai 2012 au 16 juin 2012</span></i></b></b></b></div>
<div style="color: white;">
<b><b><b><i><span style="font-family: Arial-BoldItalicMT;">
</span></i></b></b></b></div>
<div align="left" style="color: white;">
</div>
<div style="color: white;">
<b><b><b><i><span style="font-family: Arial-BoldItalicMT;">
</span></i></b></b></b></div>
<div align="left" style="color: white;">
<b><b><b><i><span style="font-family: Arial-BoldItalicMT;"><br /></span></i></b></b></b></div>
<div style="color: white;">
'exposition sera jalonnée, tous les</div>
<b style="color: white;"><b><b><i><span style="font-family: Arial-BoldItalicMT;"></span></i></b></b></b><br />
<div align="left">
</div>
<b style="color: white;"><b><b><i><span style="font-family: Arial-BoldItalicMT;">
<div align="left">
C’est en 1985, pendant les années d’or de ce mouvement, avec le fameux terrain vague de Stalingrad à Paris que</div>
<div align="left">
KAY ONE rencontre les artistes qui feront partie de sa “famille”, les TRP (The Renegade Painters) dont notamment</div>
<div align="left">
BANGA et SAN.</div>
<div align="left">
Il multiplie alors les collaborations avec de nombreux «Graffiti writers», entre autres MODE 2 et BANDO.</div>
<div align="left">
En 1986, il rencontre les TKC (The Kool Crackers) puis peint avec les NTM (Nique Ta Mère) qui lui présenteront les</div>
<div align="left">
93 MC (93 Mafia Crew) avant de fusionner avec ces derniers, faisant de 93 NTM l'un des groupes les plus remarqués de leur décennie.</div>
</span><span style="font-family: Arial-BoldItalicMT;">Début des festivités en présence de l'artiste : Samedi 19 mai à 18h<span style="font-size: x-small;"><span style="font-family: ArialMT;"></span></span></span></i><span style="font-family: ArialMT; font-size: x-small;"><span style="font-family: ArialMT; font-size: x-small;">
<div align="left">
Le samedi, interventions amicales de divers artistes.</div>
<div align="left">
du body-painting avec le SKINJACKING (Bordeaux)</div>
<div align="left">
de l' aérographie avec BANGA (Paris),</div>
<div align="left">
de la photographie avec ALAIN GARNIER (Paris)</div>
<div align="left">
et SABINE GRENET (Bordeaux),</div>
<div align="left">
de la musique,</div>
<div align="left">
des projections,</div>
<div align="left">
et, comme d' habitude à L' ENVERS, des fanzines et du tatouage...</div>
</span></span><b><span style="font-family: Arial-BoldMT; font-size: x-small;"><span style="font-family: Arial-BoldMT; font-size: x-small;"><span style="font-family: Arial-BoldMT; font-size: x-small;"><div align="left">
<br /></div>
<div align="left">
CASH BRIBES ONLY</div>
</span></span></span><span style="font-family: ArialMT; font-size: x-small;"><span style="font-family: ArialMT; font-size: x-small;"><span style="font-family: ArialMT; font-size: x-small;"><div align="left">
une exposition-vente de KAY ONE du 19 mai au 16 juin 2012</div>
<div align="left">
ouverture : samedi de 17h à 22h</div>
<div align="left">
mercredi de 14h à 18h</div>
<div align="left">
et sur rendez-vous</div>
</span></span></span><b><span style="font-family: Arial-BoldMT; font-size: x-small;"><span style="font-family: Arial-BoldMT; font-size: x-small;"><span style="font-family: Arial-BoldMT; font-size: x-small;"><div align="left">
L' ENVERS</div>
</span></span></span><span style="font-family: ArialMT; font-size: x-small;"><span style="font-family: ArialMT; font-size: x-small;"><span style="font-family: ArialMT; font-size: x-small;"><div align="left">
19 rue leyteire 33000 bordeaux</div>
<div align="left">
lenvers@rocketmail.com</div>
http://www.artilinki.com/fr/space/show/l-envers</span></span></span></b></b></b></b></b> <br />
<div style="color: black;">
</div>
<div style="color: black;">
</div>
<div align="left" style="color: black;">
<br /></div>
<div align="left" style="color: black;">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-bMxtnELPK2g/T9B21HMALhI/AAAAAAAAAOg/fxc9wR6uFmg/s1600/IMG_1150.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-bMxtnELPK2g/T9B21HMALhI/AAAAAAAAAOg/fxc9wR6uFmg/s320/IMG_1150.JPG" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-25VvIZydRpQ/T9B3xoflBnI/AAAAAAAAAOo/SN2iq3rji4E/s1600/IMG_2457.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://3.bp.blogspot.com/-25VvIZydRpQ/T9B3xoflBnI/AAAAAAAAAOo/SN2iq3rji4E/s320/IMG_2457.JPG" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-wqUGmlhkChQ/T9B4O8NJUSI/AAAAAAAAAO0/NLoVLanewyg/s1600/IMG_1195.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-wqUGmlhkChQ/T9B4O8NJUSI/AAAAAAAAAO0/NLoVLanewyg/s320/IMG_1195.JPG" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-hr2-h9v2w0c/T9B5lQM-E7I/AAAAAAAAAO8/vJmVOefjzdU/s1600/IMG_2347.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://4.bp.blogspot.com/-hr2-h9v2w0c/T9B5lQM-E7I/AAAAAAAAAO8/vJmVOefjzdU/s320/IMG_2347.JPG" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-FVAZb6DvHk0/T9Da9Teo7fI/AAAAAAAAAPI/-IYhquS752E/s1600/IMG_2400.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://4.bp.blogspot.com/-FVAZb6DvHk0/T9Da9Teo7fI/AAAAAAAAAPI/-IYhquS752E/s320/IMG_2400.JPG" width="320" /></a></div>
<br /></div>THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-84908373208165475122011-10-14T09:31:00.000-07:002011-10-14T11:05:49.042-07:00MODE 2 "WHO SOLD THE SOUL?"MODE 2 expose jusqu'au 12 Novembre 2011 chez Sergeant Paper Art Store, 38 rue Quincampoix 75004 PARIS.<br />
Ouvert du mardi au samedi de 12h à 20h.<br />
DON'T MISS IT!!!<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-ajsFrzsFp-w/TphjCpBPlqI/AAAAAAAAAMQ/Nh0dU7lT0Z0/s1600/sergeantmode2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218" src="http://1.bp.blogspot.com/-ajsFrzsFp-w/TphjCpBPlqI/AAAAAAAAAMQ/Nh0dU7lT0Z0/s320/sergeantmode2.jpg" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-t9ngzi5TwIs/TphjLoU1XbI/AAAAAAAAAMY/DVUWFKrmM7M/s1600/IMG_0638.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://4.bp.blogspot.com/-t9ngzi5TwIs/TphjLoU1XbI/AAAAAAAAAMY/DVUWFKrmM7M/s320/IMG_0638.JPG" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-CC6UMjyGu-o/TphjT0cRJJI/AAAAAAAAAMg/nXtmqdfr28o/s1600/IMG_0655.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-CC6UMjyGu-o/TphjT0cRJJI/AAAAAAAAAMg/nXtmqdfr28o/s320/IMG_0655.JPG" width="240" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-1_6rdG_HnjM/TphjbT6TnrI/AAAAAAAAAMo/hcGfGLOztBM/s1600/IMG_0654.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-1_6rdG_HnjM/TphjbT6TnrI/AAAAAAAAAMo/hcGfGLOztBM/s320/IMG_0654.JPG" width="240" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-MsbKjoz4ROc/TphjxPLtWPI/AAAAAAAAAMw/Exrw3cI-L58/s1600/IMG_0639.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-MsbKjoz4ROc/TphjxPLtWPI/AAAAAAAAAMw/Exrw3cI-L58/s320/IMG_0639.JPG" width="320" /></a></div>THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-68173903113268243832011-05-06T09:13:00.000-07:002011-05-06T09:13:29.096-07:00KAY ONE @ 8 Rive GaucheKAY ONE & WARRIOR en collaboration pour une petite exposition au 8 Rive Gauche, 8 rue Gregoire De Tours, 75006 Paris. Metro: Odeon<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-n82SKSvFguU/TcPfSMjDSQI/AAAAAAAAAME/pbqnscc_nFI/s1600/WARRIOR_EXPO_may_2011_copie+copie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="194" j8="true" src="http://4.bp.blogspot.com/-n82SKSvFguU/TcPfSMjDSQI/AAAAAAAAAME/pbqnscc_nFI/s320/WARRIOR_EXPO_may_2011_copie+copie.jpg" width="320" /></a></div>A partir du Vendredi 6 Mai 2011THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-80244845894894790012010-08-28T04:11:00.000-07:002010-08-28T07:24:04.236-07:00NYC 90's Shows<div class="separator" style="clear: both; text-align: center;"><br />
</div><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_h6uFB80smGU/THkbT4WDY1I/AAAAAAAAALc/7Uao43AaVK4/s1600/stretch_bob.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" ox="true" src="http://2.bp.blogspot.com/_h6uFB80smGU/THkbT4WDY1I/AAAAAAAAALc/7Uao43AaVK4/s320/stretch_bob.jpg" /></a></div><br />
<br />
Funkmaster Flex on Hot 97 New Years Eve 1993<br />
Download Link:<br />
<a href="http://www.divshare.com/download/2926532-131">http://www.divshare.com/download/2926532-131</a><br />
<br />
DJ Evil Dee on Hot 97 circa 1995<br />
Download Link:<br />
<a href="http://www.zshare.net/audio/6257091681676125/">http://www.zshare.net/audio/6257091681676125/</a><br />
<br />
DJ Premier on Hot 97 circa Thanksgiving 1995<br />
Download Link:<br />
<a href="http://www.zshare.net/audio/6257124931df285d/">http://www.zshare.net/audio/6257124931df285d/</a><br />
<br />
Kid Capri On Hot 97 (Memorial Day) circa 1996<br />
Download Link:<br />
<a href="http://www.zshare.net/audio/50363942786be098/">http://www.zshare.net/audio/50363942786be098/</a><br />
<br />
Stretch Armstrong and Bobbito (with DJ Premier as guest DJ) circa 1997 <br />
Download Link:<br />
<a href="http://www.divshare.com/download/6780407-240">http://www.divshare.com/download/6780407-240</a>THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-59144549922344463212010-08-19T07:06:00.000-07:002010-08-19T07:06:44.091-07:00Premier court métrage réalisé en 1993 entièrement sur tablette graphique everest. D'après la BD de PIOTR.. MARC EDITO by Pascal.<br />
<br />
<a href="http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=24290005">http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=24290005</a>THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-18554342976357686372010-04-01T01:26:00.000-07:002010-04-01T01:26:02.522-07:00Interview: JAY BBC (Respect the architect!)<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_h6uFB80smGU/S7RXU46c52I/AAAAAAAAAJI/OrLzrfkBlgY/s1600/138+copie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" nt="true" src="http://2.bp.blogspot.com/_h6uFB80smGU/S7RXU46c52I/AAAAAAAAAJI/OrLzrfkBlgY/s320/138+copie.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_h6uFB80smGU/S7RXksM8izI/AAAAAAAAAJQ/8D_UnP0bvCk/s1600/139+copie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" nt="true" src="http://1.bp.blogspot.com/_h6uFB80smGU/S7RXksM8izI/AAAAAAAAAJQ/8D_UnP0bvCk/s320/139+copie.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_h6uFB80smGU/S7RX9CdEhEI/AAAAAAAAAJY/4WO31QBZfuw/s1600/140+copie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" nt="true" src="http://3.bp.blogspot.com/_h6uFB80smGU/S7RX9CdEhEI/AAAAAAAAAJY/4WO31QBZfuw/s320/140+copie.jpg" /></a></div>THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-8056841105260904062010-02-25T14:17:00.000-08:002010-02-25T14:18:50.864-08:00Kaos in King St Official TrailerThis is the Official Trailer for Kaos in King St. Kaos in King Street is a claymation stop motion film created by Sydney youth Luke Cavalan AKA LC Beats. Depicting the impact of the recently enacted anti-graffiti laws, this new law states that any person caught in possesion of an aerosol spray can be jailed for their art... fight for rights!!!<br />
<br />
http://www.youtube.com/watch?v=QVSixNCsemETHE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-14884382597216182802010-01-23T06:36:00.000-08:002010-01-23T06:36:02.478-08:00KAY ONE @ Press Record + COOL TKC 08-04-03<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_h6uFB80smGU/S1sIkghWOfI/AAAAAAAAAIo/rf1XDXmk5yU/s1600-h/Asko+%26+Kay+One+live!.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" mt="true" src="http://2.bp.blogspot.com/_h6uFB80smGU/S1sIkghWOfI/AAAAAAAAAIo/rf1XDXmk5yU/s320/Asko+%26+Kay+One+live!.jpg" /></a><br />
</div><div class="separator" style="clear: both; text-align: center;">Kay One & Asko on the 1 & 2s with a special guest from TKC crew, COOLISM droppin the funkiest set !!!<br />
</div><div class="separator" style="clear: both; text-align: center;"><br />
</div>KAY ONE @ Press Record + COOL TKC 08-04-03<br />
Download link: <a href="http://www.zshare.net/audio/71584674e7e71694/">http://www.zshare.net/audio/71584674e7e71694/</a>THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-68664844209064115372010-01-23T04:26:00.000-08:002010-01-23T04:26:43.682-08:00Kay One live @ glaz' art- Paris- 16-12- 2005<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_h6uFB80smGU/S1rfmvuD84I/AAAAAAAAAIg/ZYB1QGQ8ceg/s1600-h/Kay+One+on+da+1+%26+2s.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" mt="true" src="http://2.bp.blogspot.com/_h6uFB80smGU/S1rfmvuD84I/AAAAAAAAAIg/ZYB1QGQ8ceg/s320/Kay+One+on+da+1+%26+2s.jpg" /></a><br />
</div><div class="separator" style="clear: both; text-align: center;">Kay One live on the 1 & 2 at Glaz' art in Paris (16- 12- 2005), spinning a 80's classics set... enjoy!!!<br />
</div><br />
<br />
<br />
<br />
Download link: <a href="http://www.zshare.net/audio/71581914fe2f4dc8/">http://www.zshare.net/audio/71581914fe2f4dc8/</a> <br />
THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-5724977997242700032010-01-23T03:34:00.000-08:002010-01-23T03:34:46.780-08:00KAY ONE & TKC CREW "The Realness" (90's classics)<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_h6uFB80smGU/S1rRG7jWVuI/AAAAAAAAAIY/oEiOmxfjnEw/s1600-h/TKC_records_realness_front_" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" mt="true" src="http://2.bp.blogspot.com/_h6uFB80smGU/S1rRG7jWVuI/AAAAAAAAAIY/oEiOmxfjnEw/s320/TKC_records_realness_front_" /></a><br />
</div><div class="separator" style="clear: both; text-align: center;">If you like 90's hip hop, you should get that 90 minutes mix by TKC CREW from Paris. Most of them were Graffiti writers or music producers in the 80's. A nice set with a lot of classics, get it now! <br />
</div><br />
<br />
<br />
KAY ONE & TKC CREW "The Realness" (90's classics)<br />
Download link: <a href="http://www.zshare.net/audio/71580078c73c16ee/">http://www.zshare.net/audio/71580078c73c16ee/</a>THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-6216270284597495662010-01-23T02:34:00.000-08:002010-01-23T04:33:51.945-08:00"PRESS RECORD" Dj Asko & Kay One live on radio Generation 88.2 (04-03-2003)<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_h6uFB80smGU/S1rHUt_PLbI/AAAAAAAAAIQ/bRA5Y4GBVmY/s1600-h/Press_record.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" mt="true" src="http://2.bp.blogspot.com/_h6uFB80smGU/S1rHUt_PLbI/AAAAAAAAAIQ/bRA5Y4GBVmY/s320/Press_record.jpg" /></a><br />
</div><div class="separator" style="clear: both; text-align: center;">"PRESS RECORD", the best old school show in town with Dj Asko & Kay One live on the 1 & 2 on radio Generation 88.2!!! One love to Dj Clyde. ("Press Record" tag by Cope2)<br />
</div><br />
"PRESS RECORD" Dj Asko & Kay One live on radio Generation 88.2 (04-03-2003)<br />
Download link: http://www.zshare.net/audio/7157801877c24708/THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-82147026124761637762010-01-23T01:50:00.000-08:002010-01-23T01:50:19.368-08:00Dj Clyde Ft. Kay One - Hypnocalypse now- 00:04:48<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_h6uFB80smGU/S1rGUiGfSuI/AAAAAAAAAII/BoKR0Mjwyc8/s1600-h/clyde.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" mt="true" src="http://2.bp.blogspot.com/_h6uFB80smGU/S1rGUiGfSuI/AAAAAAAAAII/BoKR0Mjwyc8/s320/clyde.jpg" /></a><br />
</div><br />
<br />
<br />
Dj Clyde Ft. Kay One - Hypnocalypse now<br />
Download link: <a href="http://www.zshare.net/audio/71576312f6da6c64/">http://www.zshare.net/audio/71576312f6da6c64/</a>THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-19144696859229886312010-01-23T01:34:00.000-08:002010-01-23T01:34:26.664-08:00REGGIMENT- The many faces of Reg Wyns (Brooklyn, NYC)<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_h6uFB80smGU/S1q_IVf22eI/AAAAAAAAAIA/HHyG_vbXo4M/s1600-h/PICT0630.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" mt="true" src="http://4.bp.blogspot.com/_h6uFB80smGU/S1q_IVf22eI/AAAAAAAAAIA/HHyG_vbXo4M/s320/PICT0630.JPG" /></a><br />
</div><div class="separator" style="clear: both; text-align: center;">Live and Direct from Brooklyn, New York comes Reggiment, aka. Reg Wyns, a talented actor/musician with the ability to rock the stage with original rhymes and soulful energy. Reg began his music career as one half of Black L.I.B rapping and singing on their early releases and performing at the legendary Lyricist lounge. It was the Lyricist Lounge platform which enabled the group to showcase their distinctive and original sound, fitting perfectly the classic 'golden era' hip hop aesthetic... After attending an Us3 performance at London's Jazz Cafe, legendary soul diva Angie Stone invited Reggiment to join her Stone Love Tour. After numerous Europen and US dates The Stone Love Tour would bring Reg home to perform with Angie Stone at BB Kings...Currently Reggiment lives in Brooklyn where he is recording new solo material, some of which is featured here. For more informations contact: Reggiment@Hotmail.com. <br />
</div><br />
<br />
<a href="http://www.myspace.com/reggimentmedia">http://www.myspace.com/reggimentmedia</a><br />
<br />
Check his two exclusive joints produced by my man Magic P from TKC CREW.<br />
<br />
REGGIMENT- Dean's List (prod Magic P- TKC)<br />
Download link: <a href="http://www.zshare.net/audio/7157585242b078d5/">http://www.zshare.net/audio/7157585242b078d5/</a> <br />
<br />
REGGIMENT- Renovate (prod Magic P- TKC)<br />
Download link: <a href="http://www.zshare.net/audio/7157607519313567/">http://www.zshare.net/audio/7157607519313567/</a>THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0tag:blogger.com,1999:blog-6679544874522685692.post-28310156015256004412009-11-28T10:53:00.000-08:002009-11-28T10:53:05.421-08:00Save the planet!!!<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/r6_-xqnmqpg&hl=fr_FR&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/r6_-xqnmqpg&hl=fr_FR&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>THE COUNThttp://www.blogger.com/profile/17253898106563246819noreply@blogger.com0