SPORTS LUXURY
The Jordan II is the last bastion of mystery (other than the IE on the XI Lows which I believe stands for International Edition because we wouldn’t be able to take the patent toe looks of the original — but that could be bullshit) within the Air Jordan line. When a key selling point is your European place of manufacture, it’s clear that (bar that fairly recent dark leather Italian made variation that I can’t recall ever dropping) this has never been retroed with the original appeal intact. It’s unique selling point is absent and it’s a shame — an Italian-made Jordan II with the excellent box reproduced would be a thing of beauty and it’s one of the few editions that isn’t played out despite having a substantial hip-hop following (Skinny Boys, Heavy D and more wore it well) in its day. I always got the impression that MJ was never fully happy with a signature shoe until part III (though I always heard he threatened to bounce after Peter Moore left) and while there’s a name to a shoe each time before and after, I’ve never fully known if Peter Moore or Bruce Kilgore created the AJII (it’s generally assumed that they made it together — did Bruce take over the project? I know Moore exited Nike in 1987 and this patent from 1986 that cites a Gucci shoe somewhere has their names on it and is for the Italian-made Taiwan-made (thank you Simon Trenholm) Nike All England tennis shoe from 1986 that had the Wimbledon box).
What wasn’t made in Italy (it was made in Taiwan instead) was the mysterious Nike Air Python from early 1987, that’s occasionally spotted beneath shrink-wrap in Japanese deadstock spots (it seemed to be a big shoe with collectors there in the late 1990s) but carried the Jordan II’s animal texture concept and took it a little more literally. Just as the Safari was once an elusive creature, this shoe is a lesser-spotted one — was it actually made for performance? Part AJII, part Air Force II with some high roller high-end cues, it’s just a strange, brilliant moment in Nike collector lore that’s the sum of two sequels. I wouldn’t be mad at a retro at all, seeing as the world seems to have caught up with this kind of weirdness. Between the Python and PUMA’s The Beast shoe from 1988, there was definitely something in the water back then. The 1996 AF1s in python (in the brown and grey that both colourways of the Air Python dropped in), plus the early ’00s Python pack seemed to nod to the Air Python’s cult following. The Nike Air Python is a key Look ma, no swoosh! moment, but MJ’s model deserves the props for that. For ditching the newly recognisable branding that seemed like so much of a selling point, the Jordan II is a breakthrough moment in shoe design. The Sports Illustrated piece on the Nike Air Jordan II above is a decent snapshot of the expectations of that shoe back in 1986, including some tux talk that pre-dates the XI by nearly a decade and the Jordan Brand plan in its early stages.
Back in 2006, Bootcamp Magazine seemed to drop from nowhere, to pick up at spots like Stüssy and The Hideout alongside TET’s sadly defunct Philosophy ‘zine. Largely wordless to demolish a language barrier, the quality of some of the shoots, the black and white, plus the old style binding was all striking. It’s also completely free. I haven’t heard about Base Control and their basics and slouchy beanies in a while beyond some collaborations, but I’ve long associated it with Bootcamp because of the ads they carried and Bootcamp Magazine‘s creator, Motoki Mizuguchi of Shibuya’s mo’design agency being the creator of that brand’s logo. I never knew this publication was still running until I heard about the release events in Japan, but v.12 is good. I picked it up while in Nepenthes New York while ogling that Rebuilt by Needles recycled vintage military jacket that still haunts my daydreams occasionally.
It’s great to find out that Judah Friedlander from 30 Rock is an appreciator of the legendary Abel Ferrera flick Fear City, but anyone who cites Eric Red’s Cohen and Tate as a pivotal moment of 1989 would get extra points from me. If you don’t like Near Dark or The Hitcher (both written by Red), I feel bad for you. If you don’t like Blue Steel (written by Red and similar to Kurosawa’s Stray Dog — a film that has had two official remakes over the years) Body Parts (which Red directed) as much as I do, I can understand. Red even got the opportunity to rewrite ALIEN3 (alongside the rest of Hollywood at the time). Cohen and Tate is an ultraviolent fairy story that sits alongside later personal favorites of this ilk like Freeway and Running Scared, with a smart kid taken by mob hitmen (the calculated Cohen played by Roy Scheider and the unhinged Tate played by Adam Baldwin) and subsequently playing them off against each other. It was apparently based on the far more innocent and light-hearted short story by O. Henry, The Ransom of Red Chief and according to The Guardian last week (which also mentions the tragedy of Red’s March 2000 car crash — an incident which reads like a less stylised but equally ambiguous and vicious script from the man himself), Cohen and Tate seemed to inspire the Kane & Lynch video games and it definitely inspired John Wrathall’s script for The Liability with Tim Roth in a Cohen-informed role. After Red put out some incredibly brutal deleted scenes from the film a year or so ago, Cohen and Tate is getting the Blu-ray treatment in July via Shout! Factory with extras and the kind of premium packaging it deserves after years in the bad transfer, bootleg and VHS zone. This is a video shop classic.
Shouts to Doubleday & Cartwright for making their feelings on NYC’s recent sporting acquisition very clear in t-shirt form. I don’t know if this is ever going on sale, but it’s a great design that’s up there with No Mas‘ bestselling protest pieces.
INTERVIEW
I don’t have much of an inclination to be a writer or journalist. If an opportunity arises, I’m occasionally keen to participate, but the assumption of free work and a brief period spent in the competitive wastelands of fishing for freelance work soured any keenness I once displayed. I still enjoy interviewing people and maintain a wish list of subjects I’d love to document a conversation with. On the writing front, I’d sooner write a brief piece on a product for a brand for money than waste my energy peddling glorified advertorial for nothing. I think out-and-out corporate copy is a little more honest.
Despite this cautious approach, I wanted to speak to my friend Maxime Buchi because he doesn’t deal in one-word replies and because he asked if I wanted to conduct an interview to coincide with the release of Sang Bleu #6. If you have common ground but never grew up together, it’s strange how much conversation discusses other people’s past and output without ever broaching personal stories. If you know Mr. Buchi, you know that he’s an intense individual with a multitude of philosophies.
After conducting this interview almost a year ago in an incredibly noisy branch of Byron Burger (where background sound and dense dialogue muffled by food munching made it hell to transcribe), our outlet to publish it made the decision to stop running features. A few other outlets were approached but they wanted it edited down, which we felt rendered it pointless (and made me give up on magazines that operate within the industry I work entirely) and a mismatch for Sang Bleu’s glorious sprawl. Another good friend, Nick Schonberger wrote a great intro, but still, we had no choice getting our doomed chat published anywhere – either digitally or on paper – so Maxime upped it on the Sang Bleu site a couple of days ago. I’m blaming Maxime for any typos too. Here’s an extract:
GARY: You’ve got a Gucci Mane tattoo. What incited that addition to your body?
MAXIME: Gucci Mane as a rapper is pushing what I think is postmodern. He represents my idea of postmodernism in rap. Even before the albums he was representing something extreme and new in the same way as NWA back then. If you listen to it now, late 1980s rap was so theatrical. And then in the early 1990s, tension started building up. If you listen to NWA going into ‘The Chronic’ and if you listen to Ice Cube’s solo albums you can feel that it’s getting more and more serious.
G: It reaches an apex around 1992.
M: With the LA Riots.
G: When’s the first time you saw tattooing in hip-hop? Tone Loc’s Crip tattoos were early. There were a lot of shoulder tattoos but Treach from Naughty by Nature seemed to be on forearms early.
M: You know what? I just remembered the other day, that the first rap tattoo I remember was a French rapper from the group NTM.
G: What was the tattoo?
M: It was a logo that MODE2 designed.
G: MODE2′s and Chrome Angelz’ work lends itself to a tattoo very well.
M: MODE2 designed that logo and it was the cover of their very first single. It was a mini CD. Joey Starr had it tattooed at the top of his shoulder. You can see it in the video of ‘Le Monde De Demain.’ If I remember well, I even got it as a sticker in on of the early issue of infamous french rap fanzine ‘Get Busy,’ I am not talking about the watered-down 2000 resurrection, but about the early 90′s photocopied ones. The first copy I got — the one with the sticker — had a MODE2 illustration on the cover too. I still have it. It’s amazing. I used to think that the first rap related tattoo I was struck by was in the Warren G ‘Regulate’ CD booklet.
G: The ‘Long Beach’ back piece?
M: Yes. It’s so good.
G: You grew up in Switzerland. What was the hip-hop scene like there? Is it like Germany, where people really get into things?
M: Yes. I have a feeling that hip-hop kicked off in France and Germany as a very serious cultural thing. Switzerland came early too. Bambaata used to visit. We had the Zulu Nation, of which I was a member. Those who could were traveling to NY as if it was going to Mecca.
G: If you can only get certain things sent over, you’re going to get serious. What got you into hip-hop?
M: Rap. I grew up in a very political environment and my parents were very left wing.
G: Were they bohemians?
M: Kind of. In a Swiss way, whatever that means! They had strong values. I read ‘The Communist Manifesto’ when I was a teenager. I declared I was a communist when I was 12. Obviously, I didn’t know what it really meant, but I could understand and agreed people should generally be more equal. My grandmother was an Italian Protestant. We had that obsession with America right out of post war Italy. And also because of the hippy culture my parents were into.
G: Did your parents have any interest in the Black Panthers?
M: Absolutely. My parents didn’t like punk. For them it wasn’t an option. It influenced me. For them rap was that fight in America for civil rights. Obviously, they couldn’t understand the lyrics – then they might have had another opinion. They might have had another opinion. The first rap I heard was Run DMC’s ‘Tougher Than Leather’ which was pretty hardcore. Rhythmically and lyrically it’s pretty tough. From then onwards I was only interested in things that were tough sounding.
G: Getting a backpiece as a first tattoo is a bold move. Don’t most people end with that?
M: In Japanese tattooing you start with your back then expand to your entire body and that’s totally how I approached it. I was totally ready for such a commitment. I had been considering my tattoo for a long time. That’s just the way I am. A backpiece is a personal and symbolic investment. It’s like having a good watch. Not a lot of people know, but those that know appreciate.
Check out the whole interview right here.
Jorg at Beinghunted has started talking about the origins of his site. I’ve long cited BH as a key inspiration on what I do and with the current array of content management tools, sites like that being updated in HTML makes them seem like something from another world. Ease-of-use 12 years later is staggering, but as the man points out, it still works. I remember seeing the Hideout version of the Nike Presto on there (see above) in late 2001 and desperately hunting them until they mentioned that they were a one-off a few weeks later. Were they made by Nike? I’ve never known, but that Jordan IV Cement theme seemed unique at the time. Bear in mind that these were the days when an Alpha Project shoe could appear in a major Hollywood production, like this cameo from the Zoom Seismic in 2000’s Hollow Man.
The Mo’ Wax Urban Archeology trailer shows that James Lavelle and everybody else involved seems to have plenty to dig through. This video was presumably meant to coincide with a Kickstarter link to raise book and exhibition money, but at least it’s happening. There’s plenty of Mo’ Wax music I couldn’t listen to in 2013, but the imagery and ephemera collated is something I’m keen to see. Will the Mo’ Wax Bulletin Board get a mention too? That was a key digital nerd meet up spot to see in a new century and wait for releases that never seemed to happen.
CONFERENCING
Because I’ve got nothing better to do, there’s not a lot of childhood nostalgia I haven’t ticked off to some degree. I’m still hunting the name of a movie where a wheelchair-bound man was terrorised by a computer that controlled his house and I want to know the model name of the mid-cut adidas shoes I owned that had a nylon quilting all over the upper, but other than that, everything else has a name, year and some kind of contextual place in my mind. On revisiting it, most of it wasn’t that good but the unknown can get sugar-coated by nostalgia rounding the edges and giving it a soft-focus. What I dId like was my adidas Pro Conference Hi.
Obsessed with the Metro Attitude (which I never saw on sale in my town), I ended up with these. I may have been unable to find a size 7.5 non-Air Nike (£39.99 or below before discount was the only way at the time) at the Champion Sports concession upstairs at Bedford’s Burton store in 1988 and grabbed these as a second-choice, but I recall wanting adidas hi-tops with the ridges on the heel and the Pro Conference Hi fitted the bill. Pivotal models from my childhood like the PUMA Jopper and Nike Bongo kids’ models are unlikely to be reissued (the Jopper was — kind of — a takedown of the California that has been retroed and the Bongo, as has been discussed here, was the junior version of the underwhelming Bravo model). These were my first adult sized shoes though.
Looking back, the Pro Conference Hi seems like a shoe out of its time — Decade style slimline tooling with the ’88 heel application, unlike the expensive Dellinger webbed, big tongued shoes of the time. My brother called them “ice skates” because they lacked the b-boy bulk that was desirable at the time and I wore them strangled with an early iteration of a mullet and hand-me-down denim with the back in the days (actually, the faded denim look remains). I wrecked them skating (like a true grommet) in a matter of months. It was odd to be reacquainted with the adidas Pro Conference Hi as a reissue (in the colourway I would have chosen if it had been available at the time) as a retro from Originals. Strange rubberised stripes and that angled adidas font gave me flashbacks — it’s an unlikely one to.rerelease (presumably the Decade’s retro makes it an affordable one to resurrect) but what was a budget offering at the time seems to look a lot better now and to have a shoe made of actual leather is a novelty. Shitty leather or pleather is the enemy of footwear memories.
The Rivalry Hi (which I chose these over as a sample) was a budget shoe too back in the day, but the array of colours it dropped in popularised it, yet this one resonated with me a little more. It wasn’t a French-made masterpiece like the adidas boots that took prime catalogue space, but there’s something about the Pro Conference that resonates with me in the present day. It’s a shame that the current shoe boom doesn’t have the cheaper takedowns that will spark similar memories for the next generations — I get the impression that the days of a shoe becoming a cult favourite because of its popular pricepoint are over, because people want the shoe by any means necessary. Compromise created some unlikely classics.
STILL HOLIDAYING
I’m still in NYC so this blog stays barren until I get back at the weekend. Just to prove I’m not dead and that this site hasn’t come to an abrupt halt, here’s a couple of shoe-centric images. My friend and favourite tattooist Mr. BJ Betts broke out these Gucci Tennis from 1988 at the weekend during a road trip to Delaware. He had these dyed black and requested the addition of a ripple sole from Dapper Dan in Harlem during an NYC trip back in the day and rather than retting a resole, that ripple has been glued over the existing unit to give them a running shoe/court/hiker appearance. Nice piece of custom footwear history from Betts’ insane collection and proof that he was stunting very, very hard while I was starting middle school. I miss the days when people engaged in expensive antics like that to avoid wearing the same shoes as the next man.
And continuing my occasional rappers-in-AM95s series, who could forget Onyx in The Source and HHC, promoting their second album in 1995 and acting all sporty for the photographers? Fredro Starr’s metallic windbreaker (which I believe was Polo Sport like Sticky’s hoody) and Air Max combination was this season’s tech-running look way ahead of its time. Interesting departure from automatic weapons and combat boots. He carries the facial expression of a teenager who just found he needs a code to look at porn or death videos on the family Dell desktop though.
HOLIDAYING
I’m on holiday right now, so consider this my GONE FISHING sign. Normal service (well, longer rants) should resume at the end of next week, but I can’t stay away entirely. Catching up with Mr. Ronnie Fieg — a man who loves shoes as much as I do — we discussed whether kids who couldn’t give a shit about the things I throw up here still feel the innate credibility of a brand that had power back in the day as opposed to an old brand that sucked then and sucked now. ASICS is a good example: the Gel designs were worn by those looking for a break from the staggeringly obvious and their individual, Japanese approach to design has paid off at heritage level. Not enough people seem to recognise the Gel Lyte III’s groundbreaking approach to midsole densities and heel support beyond the strange Videodrome-esque tongue slit. Ronnie’s Dolphins colourway versions are powerful, taking me back to the days when I would have sold a lung for the Miami makeup of Pony Linebackers. Reading Pump Me Up, I got to look at a classic Glen E. Friedman portrait of D.C.’s D.I.Y. Def Jam legends, the Junk Yard Band and noticed that they’re repping the ASICS hard back in ’86.






























