I'm British-born Chinese from Bristol, UK. I’m LA-based. I’m a hip hop aficionado. After 15 years in London I moved to LA to pursue a new career and outlook on life.
Back in the 80s I was a DJ. In the 90s I contributed to the world's first street style exhibition at London's Victoria & Albert Museum. In 2011, I had my first interviews published. Today, I’m keeping busy with music, art, photos and writing.
adidas has developed so many sub-brands: NEO, Y-3, SLVR, Stella McCartney, Porsche Design, etc., it's hard to remember what adidas means to me?! But, the one adidas brand that keeps me engaged is its adidas Originals collections.
You have to get past the adidas Originals' stale, 2-D, flat websiteand its uninspiring online apparel catalog (thumbnail pictures with no flavor!) Because, once you do you cannot ignore some of the hotness that adidas has produced in the name of Originals!
On the huuuge scale, the Superstar 35th anniversary with its 35 pairs of collaboration Superstars was a major attention grabber! Big up adidas! On the smaller scale, the Bedroom Rockersbookin collaboration with XLR8R Magazine made an impression on me.
adidas Superstar 35th Anniversary Series
adidas x XLR8R Magazine photograph 97 DJs' studios
The latest creative endeavors is the "Originals Collectors Project." This time, adidas has gone international again and chosen five adidas sneaker collectors and given them access to the adidas HQ in Herzogenaurach, Germany. The task? To design their signature version of their favorite sneaker. WOW!
"adidas Collectors Project brought five of the world's most dedicated and knowledgeable three stripe collectors together at adidas global HQ .
They were also each given the opportunity to rework their favourite archive model for an extremely limited release." adidas Originals' website
The Chosen Few The collectors came from the UK (Robert Brooks,) Germany (Julia Schoierer, aka Sneakerqueen,) Finland (Ralk Tittaannen,) and Japan (Mr. Magara.) Out of the five, Operator Emz from New York, gets my vote. His Superstar obsession narrowly beat out Sneakerqueen's Rivalry festish. Both these shoes are my favorite adidas sneakers...black with white stripes, white with black stripes...hi-top, low-top, the list goes on!
Check it, check it out! Do peep another adidas Originals collaboration. The interactive video concept is kinda unique. The "Unite All Originals" campaign has taken longtime adidas brand ambassadors and rap legends, RUN DMC, and combined them with a contemporary DJ hero, A-Trak. That's kinda interesting. The output is a music recording, some interview footage and a really smart advert video. You type in words to trigger actions in the video! Play with it here. Is it a game? Is it a film? You decide! (If you're lazy, just watch the video below.)
Patti Astor's interview in New York's Vulture webzine #pattiastor
Patti Astor in February 1983 with Keith Haring's "The Smurfs" and " II" (photo credit: Eric Kroll)
New York's Vulture published a great interview with Patti Astor, the "Queen of Downtown" (New York,) to publicize her book about her life story. In it, we're reminded how influential Astor was, even before her starring role in Charlie Ahearn's "Wild Style" hip hop film.
I've interviewed Astor in the past and she knows how to tell a story. But, it's hard to keep up. She was there during the creation of the urban culture blueprint in the '70s and '80s, yet she'd be the first to say there was no grand plan. The people in Astor's circle include unsung heroes, long forgotten players and a few people whose reputation precedes them. She treats them all the same when she tells her tales.
Check out Vulture here. Even better, go to The Fun Gallery website to buy Patti Astor's self-published book.
Here are a few snatched paragraphs of my favorite parts of Patti's interview by Mary Kaye Shilling.
If you've never heard of Patti Astor, it may be because she’s one of those people who should take credit for things but doesn’t. Back in the day, she was more interested in making sure the young artists she championed — graffiti masters like Dondi, Zephyr, and Futura 2000, as well as Keith Haring, Kenny Scharf, and Jean-Michel Basquiat — were properly respected. She's still at it some 30 years later.
"We were the first gallery to give one-man shows to graffiti artists," says Astor, poking her head into her former gallery, where a guy is renovating the tiny space. 'Our first hit of the big time was [Fab 5 Freddy’s] show. I remember sitting in the gallery, in that tiny room, and Bruno Bischofberger drives up in a limo like a city bus. He looked like Goldfinger and had a babe on each arm. I didn’t know who he was at the time, but [sculptor] Arch Connelly, who was kind of like our art guardian, later told me that Bischofberger was the second biggest collector in the world after Count Panza.” Astor, who sounds like Roseanne Barr, cackles at how ridiculous the names sound. “Anyway, Bischofberger dumps the babes and pulls out these index cards and starts asking me all these questions: Who is the most important person in graffiti? What do you think of Basquiat?" She snorts derisively. "I couldn’t believe it when I saw Tamra Davis’s documentary about Basquiat, which is really valuable for all the footage of him, but the rest is revisionist bullshit. Bruno and all these other people were like, "Yeah, we were really good friends." And I thought, You fucking pricks! You all treated him so poorly. Fred is the only one in the documentary who was a real friend of his. It really pissed me off.
Diatribes like that could be another reason Astor isn’t better known; she's not what you'd call political. Take, for example, her opinion about Julian Schnabel, who was an aspiring artist and fry cook when he first started hanging out at FUN. “Julian was really nice when he was still a cook,” says Astor. “But he got a real chip on his shoulder because he was a fry cook and not some world-famous fat slob artist. And then, of course, he fulfilled both of those goals. I loved how in his Basquiat he took 40 pounds off himself. That movie also makes me sick — that whole scene of him telling Jean-Michel what to do, like they were friends, which they weren’t.”
#UNleashed Magazine: "The Past According to Futura" #ArtInTheStreets #Futura
This is the last of four articles I wrote for UNLeashed Magazine in 2011 to celebrate the "Art in the Streets" exhibition at LA's Geffen Contemporary at MOCA (Museum of Contemporary Art.) Reviewing my interview with Futura over two years later I am still in awe of insights he shared with me and the context he gave to the fragments of hip hop history I have experienced since I fell in love with the culture in 1982-83.
A 30-year career for a graffiti artist is rare. It takes a special breed of talent and the confidence to take your art beyond the train yard, basketball court and gallery to new platforms and levels of creativity to reach broader audiences. Futura [2000] is one of the few artists who has constantly reinvented himself, always looking forward and rarely looking back. UNleashed Magazine spent an evening talking with Leonard McGurr, aka Futura, at his home in Brooklyn, ahead of his participation in the Art in the Streets show opening at The Geffen Contemporary at MOCA (Museum of Contemporary Art) in Los Angeles.
MOCA exhibition entrance (photo credit: Stevio)
Futura’s graffiti career started in 1970 when McGurr invented his tag (a graffiti writer’s nom de plume), to represent himself in the graffiti underworld and disguise himself from the authorities. “Coming up with the name ‘Futura 2000’ – there were a lot of things that I stole that from…The ‘2000’ was my inspiration and the name became something I live by…and I [have] actually survived 30 years…”
In the 70s, what made Futura 2000 stand out wasn’t his catchy sci-fi tag - after all he was preceded by Paul Renner’s 1920s typeface and Lincoln’s concept car of 1955. He stood out because he painted ‘whole cars’ – trains painted from top to bottom – in what became his signature; abstract and emotional blaze of color. His 1980 painted train raised the bar and created a new aesthetic in graffiti art. Futura lays out the milestones in his long career, “1980 I decide to break with tradition and discover the unknown. The abstract wholecar painted over a three-hour period on a cold night in March would ultimately become iconic. Whoa. who knew?”
Futura 2000 whole car 1980 (photo credit: Henry Chalfont and Martha Cooper)
He made the transition to canvas in the 80s and shared a Lower East Side studio with Fab 5 Freddy. This is the period that will be the essence of Futura’s installation at MOCA. “I have a fantastic painting from 1984, [a] kinda large important painting - seven by nine feet. It was a large painting for its time. This particular painting I gave to my wife when she was pregnant…in the summer of ‘84…that’s 26-27 years ago and it’s a great painting to have as a retrospective [of my work]. And I’m gonna match it with another piece that I haven’t even made yet. I’m gonna make it out there [Los Angeles]. It’s not the ‘yin and the yang,’ but the ‘then and the now’.”
Futura paintings 1984 and 2011, Art in the Streets (photo credit: Stevio)
On the importance of the MOCA show, Futura is very clear. “It is great that Jeffrey [Deitch] has done this, because...people [will] want to talk about the history of the movement…[And] being selected as one of the artists [at MOCA] is awesome…this is probably the first real recognition by an American institution…of the entire movement.[Not just] individuals like Basquiat and Haring who had already been recognized.” As an elder in the graffiti world, Futura is philosophical about what the exhibition will do for the street art genre as well as artists’ careers. “I’m not looking at the show [to say] ‘hey I’m in MOCA!’ It’s one aspect of me as a person. It’s not that important! I’m sure to some of these kids this is it! This is like ‘oh, God dude I’m in! I’m gonna cash in on this,’ or whatever the motivation will be. I’m grateful and I will represent myself very well.”
“I think this show will inflate some peoples’ prices and that should be good for them. I’m grateful for MOCA and I’m excited, but I don’t see it as the defining moment in my career. I think it’s a great moment for the movement…but how many people are in the space, literally inside the show? How many kids who didn’t make it in the show are part of the exterior events? [Ask yourself] not who’s in, [but] who’s out!”
Art in the Streets artist group photo (credit: Stevio)
Futura Past You have to understand Futura’s past to truly understand his point of view. He got recognition during the first gallery love affair with graffiti art in the 80s. He exhibited in the Tony Shafrazi gallery in 1982 alongside Kenny Scharf, then again in 1984 with a solo show. But he was given the cold shoulder after galleries and collectors turned their backs on graffiti art and moved on to more traditional, highbrow art. In response to that boom and bust era, he looked for other avenues to channel his creativity. He reflected, “I didn’t want to be part of the movement 24/7…I diversified my creativity is how I see it. I did a lot of things with my talent and I wasn’t a one-dimensional player. [Now, with MOCA] the art world has come to me. I’ve tried to avoid it…but here it is.”
Earlier this year, fine art auctioneer house, Bonhams, sold one of Futura’s installation pieces painted live in 1983 while he was on tour with the UK punk rock band, The Clash. The four by eight foot painting sold for just under $60,000. “It’s an awesome price and it’s great for the person who profited from that,” said Futura, “I’m not bitter [or asking] ’where’s my percent[age]?’ I don’t worry about those things or play the numbers game.”
credit: Bonhams
“I’m not a collector of my own work, or for that matter of fact, anyone’s work…there’s only one painting in my apartment [and it’s] of my kids. It’s not like I need to be around my work…if there is some potential business [from MOCA I will look at it], but I will [continue to] be as stingy and cheap with my own work as I’ve ever been. Hey, I don’t even have [any of] it! So it’s hard to come by. Just because there’s going to be a rush on it doesn’t mean I’m going to fill it either…I’m never drawn by that [money], that’s not my motivation.”
Outernational As with many things, foreign collectors seem to appreciate the graffiti aesthetic more than at home. Collectors of Futura’s work outside of America have been consistently supportive over the years, so why not move abroad like some of his contemporaries? Futura explained how it was in the early 80s, “People like Jon One, Toxic, Quik, didn’t really expatriate until ‘83/’84…First of all, I’m from New York so I’m not going anywhere, although I have been to 70 countries…and I loved it. All the subsequent exhibitions were based on European interest in our work. [It came from] the people in France who bought; the Dutch who bought a lot, as well as the Germans and the Italians. They all supported our art, whereas no one in New York was supporting it, except for the high-end guys – Basquiat, Haring, Scharf. I sold some paintings; no doubt, I had a moment, but no one was buying graffiti art with any consistency. I was never going to leave [New York]; but people left because that’s where the money was.”
Bonjour hip hop In 1982, Futura visited France for the first time as part of the New York City Rap Tour. This was masterminded by journalist Bernard Zekri who befriended Afrika Bambaataa (founder of Hip Hop’s influential Universal Zulu Nation) and Jean Georgakarako (better known as Jean Karakos) the man behind French new wave record label, Celluloid Records. This period is one of folklore, but it is clear that commercial interests had already infiltrated hip hop. Futura recalls that time, “Prior to the tour, there was a French rush on our movement [hip hop] and it occurred with a few articles that were done with [Fab 5] Freddy, myself and Bambaataa about this new phenomenon…it wasn’t called hip hop yet. The creation of the records [I painted the sleeves] was all part of Jean Karakos’s marketing strategy.”
Talking about his work for Celluloid and the 1982 Celluloid release of his record Escapades of Futura 2000, “I did those covers [for Celluloid] but those records were an exploitation event and I never got a dime, but I know that they cut a deal with The Clash to get their music. That record was meant to happen as a cassette tape and it predates the [New York City] Rap Tour by seven months. So, when I came back to New York I said to Fred [Fab 5 Freddy] ‘Yo, you gotta listen to this little rap record I did…’ It was my homage to graffiti, but I never wanted that to be a fucking record…and Celluloid cut other records (Fab 5 Freddy’s Change the Beat, DST’s Megamix II and Phase II’s The Roxy). All this record shit gets done prior to this tour. Why? Because they have to sell something on the tour. At the time, I was totally manipulated, but I didn’t mind because ‘we were all going to Paris!’”
Fast Forward to the 90s “1985 the Eighties peak; mid decade... those with skills and talent find new opportunities. those without; are trapped in history. Bummer!” Futura moved on to the next phase in his career. By the 90s, the fate that Futura firmly believes in continued to push his brand of art internationally into other avenues. “…I met James Lavelle from Mo’Wax in Berlin. As a result of meeting James, I met Hardy [Blechman of Maharishi for whom Futura designed a range of clothing]. A few years later, I hooked up with the Tokyo ‘Harajuku’, über-cool set. Things were happening without any plan or forecast. The gates opened up in Japan. Japan wound up being this place that supported me…and gave me opportunities that I’d never seen before in America…I love Japan. And James was my key…as he was always in with those guys.”
Cultural Overload By 2005, Futura saw the urban culture swelling in popularity. “2005 the MOVEMENT is not just GLOBAL it’s GARGANTUAN.” When asked to elaborate, he added, ”I don’t just mean the art world. It’s the lifestyle and culture…street art, social networking and blogs, in addition to all the consumer culture like Hypebeast and Freshness. No longer do we live in niches; all the circles cross over each other. There’s the community of artists and designers and the ‘cool boy’ stuff. In ’05 it hit a curve, [and became] another movement that was bound to explode – it was too much – and now we’re in this recovery period. I think the movement glutted on itself, it got too high on itself, fed off of itself and it got sick. I’m weary of all that. I can be in it, but when I’m in it, I am never really believing it.”
In April, Futura travels to Los Angeles in preparation for the Art in the Streets show. “I’m looking forward to going to LA just to check out the work on the street, ‘cause I’m sure there’s a ton. I think I’ve seen all there is to see in New York, which is almost depressing.” As the MOCA show shines the spotlight on him once more, like many forefathers of a movement, he’s protective of what he’s pioneered and outspoken about those who follow in his footsteps. Referring to the new wave of street artists, Futura opines, “I take a lot of photos, so I’m aware of the new kids on the block. I don’t mean the bigtimers like Twist, Swoon, Barry McGee or Shepard Fairey. I’m talking more about the people who haven’t made it yet.”
Futura, Art in the Streets 2011 (photo credit: Stevio)
“It kinda makes me angry that artists who are out there today don’t get the historical perspective; they simply jumped on a bandwagon that had gained momentum…happy to jump aboard and reap the benefits; and they don’t care about, or respect the forefathers or pioneers. I claim some stake in the way it has all panned out 30 years later.”
Talking about street art, Futura says, “I like some of it, but I don’t get anything [emotional from it]. It’s very strange.I get that in galleries also.” He continues, “It’s not just technical ability; it’s energy and emotion which I think certain artists [need to] deliver which is beyond even the work. You [need to] get more of a feel for the person, and that’s hard to translate with a lot of street art. It’s very cold, I don’t get a lot of warmth from it…”
Futura, the artist, is multi-faceted and his work has seeped into every aspect of urban culture, but Futura the man is very much centered around his family whom he considers to be his greatest achievement. “I’m proud of my kids –they’re children of the globe, but Brooklyn is at the heart. My wife laid out the plan...If I need technical advice I call my son, if I need the truth I call my daughter…”
So, what’s next for Futura? “I’d still like to make a movie…I’m still young enough to do a lot more interesting things…that’s why I don’t like to reminisce, although this [MOCA] show makes us look back. It’s not what I do…I’m Futura, I’m the guy who’s looking ahead. It’s no disrespect…I’ve always been that guy.”
Hollywood didn't fake hip hop in the movie, "Now You See Me," which I got from Redbox last week. Who knew the film featured exciting footage of the iconic, infamous 5 Pointz graffiti Hall of Fame (as pictured above?)
I've been visiting this location for many years, even before the fire exit collapsed! So, of course I was saddened to hear the news back in 2011 that the warehouse was threatened by property development. But, I never wrote about it until now. Life, just got busy!
As a hip hop fan who never got to see subway train whole cars traveling across the city back in the 80s (pre-Mayor Koch days,) 5 Pointz represents the essence of graffiti. It's the nearest to real graffiti in hip hop's Mecca. Despite, every city I've lived in having graffiti Halls of Fame, there is nothing like having the #7 train rumble above as I walk around checking out the latest graffiti burners! It's as close to the heyday of New York graffiti as I can experience. That may all disappear into history and memories held on this blog and my hard drive.
Get Active. Be Heard.
So, here's the latest news. Last Weds 2nd October, 2013, there was #1 of the official City Council hearing in Manhattan. There was quite a sympathic article towards the development in the New York Daily News this summer. It seems that, in June 2013, the Community Board 2 voted down the G&M Realty development plans. But, as an advisory board, it's unclear what teeth it has to enforce any changes to the plans and how long it can hold up any development schedule.
You can check out how you can help and other updates at the official 5 Pointz website.
I'm British-born Chinese from Bristol, UK. I’m LA-based. I’m a hip hop aficionado. After 15 years in London I moved to LA to pursue a new career and outlook on life.
Back in the 80s I was a DJ. In the 90s I contributed to the world's first street style exhibition at London's Victoria & Albert Museum. In 2011, I had my first interviews published. Today, I’m keeping busy with music, art, photos and writing.
"I love it when she calls my phone
She even got her very own ringtone
If that ain't love then I don't know what love is"
"Cupid's Chokehold," Gym Class Heroes
"...We give a f*&@ about status, who you are tomorrow, whether you beg or borrow or if you hit the Super Lotto, whether your girl looks like a minger or a Supermodel..."
"Wonderful Night," Fatboy Slim
"I wish I was little bit taller,
I wish I was a baller,
I wish I had a girl who looked good I would call her,
I wish I had a rabbit in a hat with a bat and a '64 Impala"
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