During the mid to late nineties and early two thousands, there were several major hitters in the game in NY. I wasn't there but I like to look into the history books. Just about the time when the "beef" between Tupac and Notorious B.I.G (Biggie) came to an end with their respective deaths in '96 and '97, New York's "Game of Thrones" (in the rap industry) was in the works.
At center stage was Jay-Z and Nas:
1997 Jay-Z 'Where I'm From'
*Apparently this track initiated tension with Prodigy from Mobb Deep
2001 Jay-Z 'Takeover'
*Aimed at Nas and Prodigy from Mobb Deep
2001 Nas 'H to the OMO' Stillmatic
2001 Nas 'Ether'
2001 Nas 'Got Urself a Gun'
2002 Jay-Z 'Supa Ugly'
2002 Jay-Z 'Blueprint 2'
2002 Nas 'Last Real Nigga Standin'
**Truce in 2006**
Nas ft. Jay-Z 'Black Republican'
Jay-Z ft. Nas 'Success'
Saturday, November 30, 2013
Thursday, November 28, 2013
Wednesday, November 27, 2013
Tuesday, November 26, 2013
Sunday, November 24, 2013
Thursday, November 21, 2013
Hip Hop as a Social Movement: The f*** you mean 1995?
Back in August, there was an article that came out on the "evolution of hip hop", stating that it went from "party music to political platform".
The paper was to be presented at the American Sociological Association. I tried to get a copy but I never heard back from the researcher despite the ASA telling him of my request.
Having not heard from the researcher, I'm just going to go off on what the article states. So, the researcher states:
“It [Hip Hop] started in the mid-1970s and the performers were primarily interested in entertaining and expressing themselves. By the early to mid-1990s performers began more consistently looking at hip-hop as a political opportunity with social movement implications.”
He states that it didn't become political until "1995":
"Callais uses 1995 as the turning point for this shift when hip-hop truly evolved into a platform for social movement. For his research, he interviewed 25 people involved with hip-hop before 1995 and 25 who joined the industry after. These included performers, writers, producers, and critics."
Personally, I find this dubious and would disagree whole-heartedly. I would argue that the birth of hip-hop was the birth of a political platform and social movement. That its origins were indeed political and socially oriented. The entertainment and joy was certainly there, but I would disagree that it became a political platform in '95.
Early on, hip-hop was a positive movement for the youth. Breakdancing and battling was the alternative to gang violence. Similarly the MC - born out of permission from the DJ - also took on this alternative to gang violence in the form of the cypher. Graffiti was an avenue to write. The DJ created the backbone for all this to happen by bringing people together. The acts themselves are already a social movement and a political platform. Bambaata argued for the four principles of hip-hop: Peace, Love, Unity and Having Fun. (it's evolved since then of course). In addition, hip-hop also spearheaded the 'Crack is Wack' movement. This is not just a coincidence and there is a good reason why hip-hop was such a part of it. The political platform began way before 1995. Hip-hop grew out of the extension from the marginalized and the influence of the Black Panters, Malcom X, Dr. Martin Luther King Jr., Marcus Garvey, and the Harlem Renaissance. Oddly, the researcher points to Grandmaster Flash's song 'The Message' but doesn't go further to consider that the hip-hop movement was already political by making social commentary.
The researcher agrees that: “musical participation in itself can be a social movement" but doesn't seem to consider this as a "political platform". Instead he wants to say that 1995 was the year. It seems the researcher's argument is born out of the mainstream exposure and the prevalence of 'gangster rap' at the time. I think this is misleading and outright incorrect to suggest that this was when it became a political platform for those who are taking and leading the movement today. IF his point of entry into this suggestion is 2Pac, I would argue that 2Pac was political way before 1995. 2Pac in his early years with the Digital Underground and his solo albums were very political in its social awareness and commentary to the people. While he was primarily addressing the African-American community, it was also a way of getting and talking to White America through music an rap. Its efficacy may be challenged because there are so many who block out what is being said when dialogue is mixed with cuss words. But nevertheless, 2Pac's early work is strong and revealing stuff. If you read his philosophy and book of poetry, 2Pac develops a philosophy that can be captured around the metaphor: "The rose that grew out of concrete". While I am no expert on Pac but simply a fan from early on, I would refer those interested to Michael Eric Dyson as he's researched and has written extensively on this. Furthermore, talking about 1995 dismisses KRS-One, Public Enemy, Run-DMC, Eric B. and Rakim, and many many others prior to the mid-90s.
To give credit and reservation, I do not know the researcher's definition of a "political platform" so I can't comment. But I think this research is extremely misleading to suggest that '95 was a turning point for "political opportunities" and a "social movement". I'd say these things were already happening. And for the researcher to make this argument and suggestion I think is revealing about how little he knows about the history and political context from which hip-hop was born. Mainstream rap is not a good index for the movement of hip-hop.
The paper was to be presented at the American Sociological Association. I tried to get a copy but I never heard back from the researcher despite the ASA telling him of my request.
Having not heard from the researcher, I'm just going to go off on what the article states. So, the researcher states:
“It [Hip Hop] started in the mid-1970s and the performers were primarily interested in entertaining and expressing themselves. By the early to mid-1990s performers began more consistently looking at hip-hop as a political opportunity with social movement implications.”
He states that it didn't become political until "1995":
"Callais uses 1995 as the turning point for this shift when hip-hop truly evolved into a platform for social movement. For his research, he interviewed 25 people involved with hip-hop before 1995 and 25 who joined the industry after. These included performers, writers, producers, and critics."
Personally, I find this dubious and would disagree whole-heartedly. I would argue that the birth of hip-hop was the birth of a political platform and social movement. That its origins were indeed political and socially oriented. The entertainment and joy was certainly there, but I would disagree that it became a political platform in '95.
Early on, hip-hop was a positive movement for the youth. Breakdancing and battling was the alternative to gang violence. Similarly the MC - born out of permission from the DJ - also took on this alternative to gang violence in the form of the cypher. Graffiti was an avenue to write. The DJ created the backbone for all this to happen by bringing people together. The acts themselves are already a social movement and a political platform. Bambaata argued for the four principles of hip-hop: Peace, Love, Unity and Having Fun. (it's evolved since then of course). In addition, hip-hop also spearheaded the 'Crack is Wack' movement. This is not just a coincidence and there is a good reason why hip-hop was such a part of it. The political platform began way before 1995. Hip-hop grew out of the extension from the marginalized and the influence of the Black Panters, Malcom X, Dr. Martin Luther King Jr., Marcus Garvey, and the Harlem Renaissance. Oddly, the researcher points to Grandmaster Flash's song 'The Message' but doesn't go further to consider that the hip-hop movement was already political by making social commentary.
The researcher agrees that: “musical participation in itself can be a social movement" but doesn't seem to consider this as a "political platform". Instead he wants to say that 1995 was the year. It seems the researcher's argument is born out of the mainstream exposure and the prevalence of 'gangster rap' at the time. I think this is misleading and outright incorrect to suggest that this was when it became a political platform for those who are taking and leading the movement today. IF his point of entry into this suggestion is 2Pac, I would argue that 2Pac was political way before 1995. 2Pac in his early years with the Digital Underground and his solo albums were very political in its social awareness and commentary to the people. While he was primarily addressing the African-American community, it was also a way of getting and talking to White America through music an rap. Its efficacy may be challenged because there are so many who block out what is being said when dialogue is mixed with cuss words. But nevertheless, 2Pac's early work is strong and revealing stuff. If you read his philosophy and book of poetry, 2Pac develops a philosophy that can be captured around the metaphor: "The rose that grew out of concrete". While I am no expert on Pac but simply a fan from early on, I would refer those interested to Michael Eric Dyson as he's researched and has written extensively on this. Furthermore, talking about 1995 dismisses KRS-One, Public Enemy, Run-DMC, Eric B. and Rakim, and many many others prior to the mid-90s.
To give credit and reservation, I do not know the researcher's definition of a "political platform" so I can't comment. But I think this research is extremely misleading to suggest that '95 was a turning point for "political opportunities" and a "social movement". I'd say these things were already happening. And for the researcher to make this argument and suggestion I think is revealing about how little he knows about the history and political context from which hip-hop was born. Mainstream rap is not a good index for the movement of hip-hop.
Tuesday, November 19, 2013
Hate "Graffiti"
Graffiti as a tool of opposition can be appropriated in any context - regardless of moral context. In a previous post, I posted an article on how graffiti has been used as a tool of political opposition in Egypt.
While graffiti began as "writing" and inner-city kids "bombing" their names on trains and walls of neighborhoods, it has also taken on ways to indicate "turf" or territory in certain areas. Graffiti was a way to represent one's neighbor-"hoods" and gangs. Graffiti can be said to have seen a shift from "bombing" trains to gang-affiliation and the delineation of groups.
One of the ugly extensions of this is the use of graffiti to convey and vocalize hate. The most recent example, which I only know because of the press coverage, is the racism tagged on a 13 year-old teenager's home in Massachusetts (article: here)
Simply typing in 'racist graffiti' in google images raises uncouth images targeting blacks, muslims, asians, and the promotion of nazi symbols and 'white power' fills the screen.
While it is easy to see the positive and glorified aspects of graffiti - its place in hip hop culture and its elevation as a style of art - the ugliness of hate-filled graffiti, and the negative stereotypes of all graffiti as gang-affiliated, is the ignored elephant in the room.
While graffiti began as "writing" and inner-city kids "bombing" their names on trains and walls of neighborhoods, it has also taken on ways to indicate "turf" or territory in certain areas. Graffiti was a way to represent one's neighbor-"hoods" and gangs. Graffiti can be said to have seen a shift from "bombing" trains to gang-affiliation and the delineation of groups.
One of the ugly extensions of this is the use of graffiti to convey and vocalize hate. The most recent example, which I only know because of the press coverage, is the racism tagged on a 13 year-old teenager's home in Massachusetts (article: here)
Simply typing in 'racist graffiti' in google images raises uncouth images targeting blacks, muslims, asians, and the promotion of nazi symbols and 'white power' fills the screen.
While it is easy to see the positive and glorified aspects of graffiti - its place in hip hop culture and its elevation as a style of art - the ugliness of hate-filled graffiti, and the negative stereotypes of all graffiti as gang-affiliated, is the ignored elephant in the room.
Sunday, November 17, 2013
PBS - Writings on the Wall: Before graffiti became a global language
Graffiti Culture exhibit running at 'Red Bull Studios' in New York
From PBS:
Graffiti culture sprung up in New York City during a time when funding was cut for the arts in public education. It morphed into an artistic expression that cultivated a foundation for future graphic and fashion designers, fine artists and logo creators. And though the art form has been associated with crimes of vandalism -- it even took center stage during New York City Mayor Rudy Giuliani's plan to revamp the city during the 1990s -- for Jenkins, and many of the friends he grew up with, graffiti was a written language that created a community on the fringes of New York.
"Media called it graffiti, but we called it writing. We were just writing our names in the beginning," said Jenkins.
"Write of Passage," co-curated with culture magazine Mass Appeal, runs at the Red Bull Studios at 218 W. 18th St., New York through Nov. 23. The space is open to the public from 1-5 p.m. on Saturdays.
Subway train, built by Ed Metalman Walker, on display at "Write of Passage."
Source
From PBS:
Graffiti culture sprung up in New York City during a time when funding was cut for the arts in public education. It morphed into an artistic expression that cultivated a foundation for future graphic and fashion designers, fine artists and logo creators. And though the art form has been associated with crimes of vandalism -- it even took center stage during New York City Mayor Rudy Giuliani's plan to revamp the city during the 1990s -- for Jenkins, and many of the friends he grew up with, graffiti was a written language that created a community on the fringes of New York.
"Media called it graffiti, but we called it writing. We were just writing our names in the beginning," said Jenkins.
"Write of Passage," co-curated with culture magazine Mass Appeal, runs at the Red Bull Studios at 218 W. 18th St., New York through Nov. 23. The space is open to the public from 1-5 p.m. on Saturdays.
Source
Saturday, November 16, 2013
Friday, November 15, 2013
Hip Hop turns 40
Missed this article from this past August but NPR put out an article in celebration of the birth of hip-hop:
"Today marks the 40th anniversary of the day Clive "" Campbell threw his first party in the function room of 1520 Sedgwick Ave in the South Bronx. While that Kool Herc back-to-school party marks the official beginnings of the global culture we call hip-hop, what the mainstream media at large now calls "hip-hop" is a far cry from the creative culture that emerged following the gang truce between the warring tribes of the South Bronx. When most people say "hip-hop" what they're actually talking about is rap. Even then, they're usually referring to mainstream rap music by rappers on major labels, which are currently experiencing what might be their overall low point in both quality and creativity. Rap was a force that united people, spoke truth to power and entertained at the same time. Now it exists almost solely to maintain the status quo and promote moneyed interests."
Read more here
"Today marks the 40th anniversary of the day Clive "" Campbell threw his first party in the function room of 1520 Sedgwick Ave in the South Bronx. While that Kool Herc back-to-school party marks the official beginnings of the global culture we call hip-hop, what the mainstream media at large now calls "hip-hop" is a far cry from the creative culture that emerged following the gang truce between the warring tribes of the South Bronx. When most people say "hip-hop" what they're actually talking about is rap. Even then, they're usually referring to mainstream rap music by rappers on major labels, which are currently experiencing what might be their overall low point in both quality and creativity. Rap was a force that united people, spoke truth to power and entertained at the same time. Now it exists almost solely to maintain the status quo and promote moneyed interests."
Read more here
Wednesday, November 13, 2013
DJ Cheb I Sabbah
" If there was a disconnect in an Algerian Jew plugging into Hindu and
Sufi Muslim spirituality, or in layering ragas with heavy beats, Cheb I
Sabbah didn't see it. He used music to build the kind of world that he
wanted to live in — and in so doing became godfather and mentor to
generations of artists and listeners who found common ground on the
dance floor."
Nov. 11, 2013 RIP
source
Nov. 11, 2013 RIP
source
"How did graffiti become respectable?"
The article cited below provides a brief geneaology of graffiti without directly accounting for its origins or actual causes other than commercialization. It notes the key shifts of graffiti in Britain, primarily centered around the emergence of the now 'infamous' banksy.
The banksy phenomena that the author notes via commercialization and how the trend is to become famous through stencils and street art is captured well in the documentary 'Exit Through the Giftshop'. Kids are no longer "bombing" trains like they did in the 80s and 90s.
Sadly, this is as far as the author goes in providing reasons about why or how graffiti became respectable.
Cite
However, my contention would be that graffiti art is "respectable" and not "respectable". First we should not that in the article above "respectable" is "respectable to the public". While the author's narrative begins with bombing trains to Banksy and the commercialization, the article misses a HUGE gap in between.
To my limited understanding, graffiti made a huge move during the 80s where curators and gallery owners tried to capture the new wave of graffiti "street art" into the gallery. Putting it on canvas and so on. However, this initial wave soon diminished and graffiti artists went back to the streets and continued bombing. It simply did not achieve the same effect and bombers felt constrained by the art world. The streets were their canvas and that's where it was meant to be.The second shift, which I think is where graffiti and street art actually became "respected" in the public sphere is with Jean-Michel Basquiat - "SAMO". His career bloomed under the wings of Andy Warhol. Today an original Basquiat is worth quite a bit. And any artist, art historian, art collector, or art enthusiast will certainly tell you the value and impact Basquiat has had on the art world. You can look at a Basquiat in books but I'm told its true effect is really when you witness it in person.
So I think this is when the value of graffiti and "street art"and the third wave of placing tremendous value on a street artist is Banksy. Who we all know well. Whether we like it or not.
In large part, this renewed respect of graffiti in the second wave with Basquiat is really in the context of Andy Warhol and the popart movement. And within this context of commercialization and production art (which Damian Hurst has kind of championed) as well as the abstract asses who tried too hard (Pollock) who were also necessary for art, there is Basquiat who brought in a kind of raw expression. This contrast, I think (in my limited art history), brought respect to graffiti via Basquiat.
The third wave, as noted, with Banksy really got his fame through stencil and his humuor as well as his activism. This contrast really put Banksy on the map. Rich folk, celebrities, and other motherfuckers who have way too much money drooled. They saw the return of Basquiat in stencil form but with a social activist twist. The stencil in effect combined popart and graffiti. The loss or addition of value is up to debate. And with this kind of activism and expression on the street. The stencil became the tool for anybody to "bomb" the street without much skill in free-hand spraypainting. What's more: you can become an activist too! Put your own message out there! And look, the rich people LOVE Banksy. One of his pieces go for a lot of money. This is where the above article comes back into the foray. The commercialization of stencil street art. And correctly, many do commission street artists to paint their walls or stencil a piece here and there. Some get commissioned to do their own project. In this regard, the commission of graffiti became legitimate and an avenue of capital. This phenomena like I said is well presented in the "Banksy" documentary (which is not really about Banksy): 'Exit Through the Giftshop"
At the same time it is not respected in places where this commercialization and capitalization does not exist. Where a contemporary art gallery does not exist to the effect it does in western cultures. In other nations graffiti continues to remain an expression of the street, the people without voices, whether they are gangs or political idealogues of whatever variety but without a voice in power. In this context, graffiti is still shunned and not "respected". It is not accepted in the public sphere because it has not sold out, because it has not turned into a viable avenue of "art" and making money. The political expression of the streets and the people continue to be diss-"respected". In other words, it has yet to become capitalized. It remains a tool for opposition until then. Actually, even when it does - graffiti will continue to exist in the streets. I don't think it's ever going to go away.
People without a voice are always going to "bomb" the walls.
A Million Street Bomb.
The banksy phenomena that the author notes via commercialization and how the trend is to become famous through stencils and street art is captured well in the documentary 'Exit Through the Giftshop'. Kids are no longer "bombing" trains like they did in the 80s and 90s.
Sadly, this is as far as the author goes in providing reasons about why or how graffiti became respectable.
Cite
However, my contention would be that graffiti art is "respectable" and not "respectable". First we should not that in the article above "respectable" is "respectable to the public". While the author's narrative begins with bombing trains to Banksy and the commercialization, the article misses a HUGE gap in between.
To my limited understanding, graffiti made a huge move during the 80s where curators and gallery owners tried to capture the new wave of graffiti "street art" into the gallery. Putting it on canvas and so on. However, this initial wave soon diminished and graffiti artists went back to the streets and continued bombing. It simply did not achieve the same effect and bombers felt constrained by the art world. The streets were their canvas and that's where it was meant to be.The second shift, which I think is where graffiti and street art actually became "respected" in the public sphere is with Jean-Michel Basquiat - "SAMO". His career bloomed under the wings of Andy Warhol. Today an original Basquiat is worth quite a bit. And any artist, art historian, art collector, or art enthusiast will certainly tell you the value and impact Basquiat has had on the art world. You can look at a Basquiat in books but I'm told its true effect is really when you witness it in person.
So I think this is when the value of graffiti and "street art"and the third wave of placing tremendous value on a street artist is Banksy. Who we all know well. Whether we like it or not.
In large part, this renewed respect of graffiti in the second wave with Basquiat is really in the context of Andy Warhol and the popart movement. And within this context of commercialization and production art (which Damian Hurst has kind of championed) as well as the abstract asses who tried too hard (Pollock) who were also necessary for art, there is Basquiat who brought in a kind of raw expression. This contrast, I think (in my limited art history), brought respect to graffiti via Basquiat.
The third wave, as noted, with Banksy really got his fame through stencil and his humuor as well as his activism. This contrast really put Banksy on the map. Rich folk, celebrities, and other motherfuckers who have way too much money drooled. They saw the return of Basquiat in stencil form but with a social activist twist. The stencil in effect combined popart and graffiti. The loss or addition of value is up to debate. And with this kind of activism and expression on the street. The stencil became the tool for anybody to "bomb" the street without much skill in free-hand spraypainting. What's more: you can become an activist too! Put your own message out there! And look, the rich people LOVE Banksy. One of his pieces go for a lot of money. This is where the above article comes back into the foray. The commercialization of stencil street art. And correctly, many do commission street artists to paint their walls or stencil a piece here and there. Some get commissioned to do their own project. In this regard, the commission of graffiti became legitimate and an avenue of capital. This phenomena like I said is well presented in the "Banksy" documentary (which is not really about Banksy): 'Exit Through the Giftshop"
At the same time it is not respected in places where this commercialization and capitalization does not exist. Where a contemporary art gallery does not exist to the effect it does in western cultures. In other nations graffiti continues to remain an expression of the street, the people without voices, whether they are gangs or political idealogues of whatever variety but without a voice in power. In this context, graffiti is still shunned and not "respected". It is not accepted in the public sphere because it has not sold out, because it has not turned into a viable avenue of "art" and making money. The political expression of the streets and the people continue to be diss-"respected". In other words, it has yet to become capitalized. It remains a tool for opposition until then. Actually, even when it does - graffiti will continue to exist in the streets. I don't think it's ever going to go away.
People without a voice are always going to "bomb" the walls.
A Million Street Bomb.
Monday, November 11, 2013
Immortal Technique
For those who don't know about 'Tech (born in Peru raised in Harlem) get at him - the following are from his 2nd album:
His 1st album (2001):
2nd album (2003):
3rd album (2008):
Compilation album (2011):
His 1st album (2001):
2nd album (2003):
3rd album (2008):
Compilation album (2011):
Sunday, November 10, 2013
Friday, November 8, 2013
'Proposed law would ban graffiti in Egypt'
"Egypt's Ministry of Local Development will present a draft law that would ban "abusive" graffiti on buildings across the country. If the law is passed, those found guilty could face a prison sentence of up to four years or a fine up to 100,000 Egyptian pounds ($14,516). Local Development Minister Adel Labib says neighbourhood committees have been formed to monitor graffiti.
Since the 2011 revolution, graffiti has become a popular way of displaying opposition. Yet some say, at times, it can overstep the line between art and vandalism."
Wednesday, November 6, 2013
"I got the whole world in my slang"
Anthropologist H. Samy Alim discusses how hip hop culture is changing the wor(l)d:
http://www.today.ucla.edu/portal/ut/h-samy-alim_hip-hop.aspx
http://www.today.ucla.edu/portal/ut/h-samy-alim_hip-hop.aspx
De La Soul - 3 Feet High and Rising (1989)
From Dangerous Minds:
"Nevertheless, a small handful of classic albums that mostly consist of samples did get made—and released—despite the best efforts of the music industry’s own legal eagles to strangle them in their crib. 3 Feet High and Rising
is one of these records and considering that the samples come from Led
Zeppelin, Michael Jackson, Jefferson Starship, Kraftwerk, The Turtles,
Parliament, Otis Redding, James Brown, Barry White, Sly and the Family
Stone, Johnny Cash, Steely Dan, The Bar-Kays, The Monkees, Cymande, even
Liberace and Richard Pryor, it is something—like Paul’s Boutique—where it’s just a miracle that it even exists.
3 Feet High and Rising
is one for the ages. The Village Voice dubbed it “The Sgt. Pepper of
hip hop” and the good people of the Library of Congress evidently feel
the same way as they inducted it into the National Recording Registry of
culturally, historically, or aesthetically significant American
creations in 2010. It’s an album that’s been included on practically
every “of all time” list known to man."
Side 1
1) Intro
2) The Magic Number
3) Change In Speak
4) Cool Breeze On The Rocks
5) Can U Keep A Secret?
6) Jenifa Taught Me
7) Ghetto Thang
8) Transmitting Live From Mars
9) Eye Know
8) Take It Off
9) A Little Bit Of Soap
10) Tread Water
Side 2
1) Say No Go
2) Do As De La Does
3) Plug Tunin'
4) De La Orgee
5) Buddy
6) Description
7) My Myself And I
8) This Is A Recording 4 Living In A Full Time Era
9) I Can Do Anything
10) D.A.I.S.Y
11) Potholes In My Lawn
"Nevertheless, a small handful of classic albums that mostly consist of samples did get made—and released—despite the best efforts of the music industry’s own legal eagles to strangle them in their crib. 3 Feet High and Rising
is one of these records and considering that the samples come from Led
Zeppelin, Michael Jackson, Jefferson Starship, Kraftwerk, The Turtles,
Parliament, Otis Redding, James Brown, Barry White, Sly and the Family
Stone, Johnny Cash, Steely Dan, The Bar-Kays, The Monkees, Cymande, even
Liberace and Richard Pryor, it is something—like Paul’s Boutique—where it’s just a miracle that it even exists.3 Feet High and Rising
is one for the ages. The Village Voice dubbed it “The Sgt. Pepper of
hip hop” and the good people of the Library of Congress evidently feel
the same way as they inducted it into the National Recording Registry of
culturally, historically, or aesthetically significant American
creations in 2010. It’s an album that’s been included on practically
every “of all time” list known to man."Side 1
1) Intro
2) The Magic Number
3) Change In Speak
4) Cool Breeze On The Rocks
5) Can U Keep A Secret?
6) Jenifa Taught Me
7) Ghetto Thang
8) Transmitting Live From Mars
9) Eye Know
8) Take It Off
9) A Little Bit Of Soap
10) Tread Water
Side 2
1) Say No Go
2) Do As De La Does
3) Plug Tunin'
4) De La Orgee
5) Buddy
6) Description
7) My Myself And I
8) This Is A Recording 4 Living In A Full Time Era
9) I Can Do Anything
10) D.A.I.S.Y
11) Potholes In My Lawn
Tuesday, November 5, 2013
Monday, November 4, 2013
Saturday, November 2, 2013
5 Pointz: "The United Nations of Graffiti"
In New York
more images here
"It's the closest thing the world has to a graffiti museum. Standing in the loading docks at the center of a sprawling complex of disused warehouses in Long Island City, visitors can see a rotating collection of works by artists from France, Spain, Brazil – and, of course, New York."
Apparently on the verge of being destroyed...
more images here
"It's the closest thing the world has to a graffiti museum. Standing in the loading docks at the center of a sprawling complex of disused warehouses in Long Island City, visitors can see a rotating collection of works by artists from France, Spain, Brazil – and, of course, New York."
Apparently on the verge of being destroyed...
Friday, November 1, 2013
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