LAW magazine’s visual direction and approach to the oft-undocumented everyday makes it one of my favourite magazines. The confident design and vision of Britain beyond the target areas delivers something that’s probably going to hold some cultural value in years to come; an antidote to any delusions of life in 2015 perpetrated by glossy aspiration bi-annuals. The new issue covers a few topics, from toilet attendants to Leicester streetwear and Scott King to tape-pack don Slipmatt. The magazine has also undergone a drastic price decrease of late—from around 12 quid to being completely free. Issue #6 is in a few of the city’s best stores, with Goodhood and Foyles carrying copies last time I looked. Nina Manandhar’s shot of a rabbit and Lacoste combination alone beats any look book concept I’ve seen this year. You don’t need to hear me rambling about it again, so I recommend just going on a hunt for it. If it wasn’t for LAW, I wouldn’t know about this Instagram project documenting corner shops either. On the topic of documenting shops, it’s worth dipping into 2 Berwick Street before Monday evening to check out the History of Vinyl in Soho exhibition that charts the 120 or so record stores that have opened and closed in that area—anyone who made the pilgrimage to Central London to be scowled at when asking for hip-hop twelves or reggae sevens, or those who recall that Berwick Street seemed to be home to a healthy amount of music stores until as little as a decade ago, will want to check it out. And yes, it coincides with national buy your one record of the year for eBay day, but if you’re tactical about it, you can avoid the foolishness, and anyway, Gang of Four are playing outside on Saturday, which should make any ordeal worthwhile anyway. The Price Buster Records bag is a personal favourite, but there’s plenty of other great designs on the wall there too. In times of change it’s essential that documentation from the likes of LAW and British Record Shop Archive exist to create a credible snapshot of the ephemeral.
You may have noticed a predilection towards rap magazines here before, and finding a stack of 20-year old publications a few weeks back I thought I’d lost had me feeling a little nostalgic for the days when WH Smiths had at least a few homegrown publications of worth on the shelf. Mainly because, with my Medusa touch, I managed to make every single UK rap magazine I’ve ever written for fold within a few months of publishing my work. Hip-hop magazines are a hard sell when you can log on and get something more up to date or catch something long form on Unkut or Complex.com, but there’s room for something created with care that captures the current state of the industry. Those with a long memory will recall an underrated British ‘zine called The Downlow that ran for four or so years (1992-1996) with an over designed, occasionally unintelligible layout with a ton of electronic typefaces that recalled David Carson’s work on Ray Gun around the same time or Neville Brody and Jon Wozencroft’s FUSE. It favoured words over pictures. 1992’s BLAG (which is, admirably, still standing) and 1995’s shortly-lived True (which switched to Trace after True folded) united hip-hop culture with style well, bringing some spirit seen in America’s Vibe and The Fader. I’m interested to see BRICK, a new British hip-hop publication, in the flesh — especially after enjoying the second issue of another London-based project, Viper. Founded and creatively directed by photographer Hayley Louisa Brown, designed by POST — and edited by RWD’s Grant Brydon, the careful approach to the all important look — complete with custom typefaces — is both evocative of the more sincere locally created mags of old and hip-hop’s current aesthetic (despite, bar honourable exceptions, a dip in the quality of album cover art during the last decade). Neil Bedford’s shots of Supreme-hating, Cobain swag jacking stoner Wiz Khalifa for one of BRICK’s cover stories made the Daily Mail (we’ve come a long way since that Snoop “KICK THIS EVIL BASTARD OUT” Daily Star cover) and hopefully that attention will turn into sales. Shouts to the team for making it happen. Go check out this fine It’s Nice That feature on the making of issue #1 and visit the official site here.
On the subject of rap and typography, the Heated Words crew are studiously examining the history and legacy of the mysterious but influential b-boy font seen on Dynamic Rockers, RAMM:ΣLL:ZΣΣ, Mick Jones, Biz Markie, Malcolm McLaren and Joe Strummer that defined 1982-era hip-hop style. Supreme have used a replica of this classic heat pressed typeface several times and Alex Olsen’s Bianca Chandon recently homaged a Paradise Garage tee with it on from back in the day. It’s integral to UK street style too — imported by intrepid tourists who hit up the Albee Square Mall to get a custom creation and the Heated Words: Initial Research exhibition to set off the project opens on the 27th of this month for a couple of weeks at London’s House of Vans. Videos, photographs by Martha Cooper, Mike Laye, Michael Markos and several others, old ads and some of the clothing in question. If you like some of the nonsense I link to here, you’re liable to really enjoy this one.
While we’re talking old magazines and Neville Brody, this Gilded Words piece is great: Jamie Morgan talking about a contact sheet from a classic Buffalo shoot for with Felix Howard for the March 1985 issue of The Face and the moment when every person started calling themselves a stylist.
Every time I’m looking for good quality imagery of golden era (2001-2005) grime style, it becomes clear that Ewen Spencer and RWD’s Simon Wheatly were some of the few photographers who took the scene seriously enough to document it. I reckon the majority were scared that they’d get taxed for their camera and Nokia 7600. That, plus a sense that early 2000s sportswear and oversized streetwear would never be something to get nostalgic about — especially with the “chav” tag being hurled around, and a tabloid-fuelled folk panic when it came to hooded sweatshirts at a point where people were in fear of getting slapped in public and recorded on a grainy phone video, with their ordeal shared on playgrounds across the country. It seems like yesterday, which is why I’ve always been perplexed that there isn’t an abundance of imagery online. Grime’s boom time preempts online’s total reign over print and it exploded and dipped before the iPhone era. Now grime is a big deal again (So Solid deserve a lot of retrospective respect for paving a way — last year, a North Face store I visited a few times in Tokyo seemed to be ahead of the curve, with Asher D, Romeo and company inexplicably on full blast), with those who never fully shook off their roots ready to make some coin. Fortunately, those who took the shots are getting their due alongside the cast of characters who called the shots. Ewen Spencer’s Open Mic is a great book and it’s 10 years old this year, so he printed 500 copies of a follow-up to celebrate that anniversary. Expanding interviews (the insight from Lord of the Mics’ Ratty is always welcome) from last year’s Channel 4 documentary in association with Dazed, there’s some bonus photos in there too. Go get Open Mic Vol.2 from right here and swot up so you can say you were into it from day when Kanye drops that inevitable BBK connected track.
Regardless of whether you have the slightest interest in genre moviemaking, you’ve ever worked on a project and seen it go to hell on so many levels that you just want to wander off into the wilderness to sulk, you’ll be able to identify with director Richard Stanley (I’m guessing that you might have seen Hardware and/or Dust Devil if you found yourself here — if not, they’re well worth watching). Full disclosure — I’m a huge fan of John Frankenheimer’s work and I like the 1996 adaptation of the Island of Dr. Moreau a lot. I may be the only person to ever say that, but the sense of threat, the claustrophobia in that jungle set, the makeup and the brutal nature of it make it a gem as far as I’m concerned — David Thlewis is great in his lead role and Marlon Brando is particularly peculiar in this one (though it’s not quite Missouri Breaks levels of eccentricity). I watched it having read shitty reviews because of a colossal crush on Fairuza Balk that had me watching her flicks unconditionally, and was surprised at how much I enjoyed it. Despite being the film’s one fan, I know that there was a better version planned under Stanley’s direction and tales abound over the decades regarding the chaos around the shoot — tropical storms, plus the perfect storm of double-trouble egos in casting both Brando and Val Kilmer.
In the troubled production documentary stakes, David Gregory’s Lost Soul: the Doomed Journey of Richard Stanley’s Island of Dr. Moreau is up there with the superb Overnight, the uncut Wreckage and Rage: the Making of Alien3 and Heart of Darkness: a Filmmaker’s Apocalypse (in one colossal coincidence, it transpires that Stanley’s grandfather is Sir Henry Morton Stanley — an explorer believed to be the inspiration for Kurtz in Joseph Conrad’s Heart of Darkness, as reinterpreted by Brando in Apocalypse Now). Lost Souls also joins Jodorowsky’s Dune (as with …Dr. Moreau I love the resulting Lynch film, regardless of flop status) in the compelling explorations of the greatest films that never were. Worth watching for Graham Humphrey’s concept art alone, this film is sad, compelling viewing and an education on the way a studio like New Line was operating in the mid 1990s. It’s a shame that Thlewis’ name isn’t even mentioned (he wrote his own 60-page account of filming that I’ve been trying to hunt down for the last 8 years), there’s no Val Kilmer interview, and Frankenheimer passed away 13 years ago (had he been willing to talk about the experience, it would almost certainly have been quotable after quotable). Lost Soul is screening sporadically at the moment and it’s also available via VOD on Vimeo if you’re residing Stateside (or know how to make your browser think you are). Highly recommended.
Mr. Tom Scott put me onto this tremendous chat with William Gibson about clothes on Rawr Denim, wherein Gibson demonstrates an enviable knowledge of vintage and contemporary apparel, and reveals just how much of an ACRONYM fanboy he is. I liked the mention of “gray man” dressing to stay unseen — a survival and security term that represents the anti-flash polar opposite of peacocking for a mode of everyday camouflage. To be deliberately nondescript apparently requires a fair amount of thought, and isn’t just about chucking on a Superdry jacket and a top from Next.
I like this Bored of Southsea Stone Island-inspired graphic. I’ve heard a fair amount of gripes from associates regarding the love that Osti’s output is getting after the Supreme project, but hasn’t the brand always been aspirational? Do people shell out on expensive tech outerwear to wear it ironically? Still, most of the stuff I saw as a kid was very fake, and I was never an Armani Jeans kind of guy. Some skaters came up idolising Stoney, but I get the impression that a fair amount also experienced a fair amount of hassle from the kind of guys who donned the compass. Given Bored’s proximity to Pompey’s ground, it’s safe to say that the team have seen their fair share over the years.
I’m late with the updates because I’ve exiled myself to NYC for a week as penance for running an online store into the ground. Actually, I’m here on a holiday. That means I’m not keeping my eyes open for product or any releases, but a few things caught my eye. Will Robson-Scott is one of my favourite photographers and filmmakers — he’s technically great, but he’s curious when it comes to exploring the harder side of life too — I think that fearlessness when it comes to his personal projects sets him apart from the rest. The In Dogs We Trust series was created in partnership with Ollie Grove and explores human relationships with our canine buddies (which is beautifully depicted in Will’s John and George), the age-old belief that they look like their owners. Shot across several cities — from London to LA – it’s being published by Victory Editions this March as an edition of 500. I’m hoping it’ll be kicking off with a gallery show of pooches and their human buddies. This is everything I want in a book and there’s more information here.
The most amusing stories around signature shoes like the Air Jordan don’t come via the people who wore them and want to remind us, in tiresome fashion, how they saved/begged/skated a pair…whatever. Who cares? Every thirtysomething has a Jordan shoe story of one kind of another, even if they hated them. No. the best stuff comes from the behind-the-scenes hustles, and Sonny Vaccaro (who was meant to be played by James Gandolfini in an HBO film that never got produced) was at the heart of getting kids signed by any means necessary. The sports marketeer who pioneered a new breed of shoe promotions that made the canvas and rubber wheeler-dealing of old seem ultra-archaic is getting an ESPN 30 for 30 that’s full-length, but broken into online only chapters for a digital debut. Sole Man premieres on April 6th via Grantland and the Jordan Effect episode about the 1984 Nike deal promises, “…a Hollywood story that features secret phone calls, a six-figure check, a mansion in Oregon, and a plate of ribs at a Tony Roma’s restaurant in Santa Monica.”
Finding out the inside story of how LeBron ended up at Nike over adidas (beyond the monetary one-upmanship) should be interesting too. This talk at Duke from a few years back is a good Vaccaro primer before Sole Man screens.
Whoa. I wasn’t expecting that CT obituary to spread like it did, but I’m glad people are taking an interest in that company’s history. It deserves to be in the spotlight for its contribution to the culture. In the meantime, I’ve been amusing myself by watching archaic Foot Locker ads, like the 1981 one where the mighty John Goodman wanders into the store pre-fame and asks for every single brand possible (this was two years his role as working class Joe eating Egg McMuffin in a 1983 McDonalds ad) and the bizarre brand loyalty spot above from 1983 in all its white-toothed cinematic glory. Then there’s the 1987 depiction of a colourful, dystopian future where some kind of zero-gravity robot-lobster claw game is the #1 spectator sport shown during a Superbowl XX1 ad break. Because of YouTube, the baritone part of 1988’s Come to the Stripes still gets sung by me during any prolonged conversation about FL’s current contents. This 1989 Australian effort merges American style pop rock with an Aussie voiceover talking about bargain aerobic tights, plus a locker full of Nike rarities like the Air Pressure, as well as some classic trainers. In the early 1990s, it gets a little too stylised and Paula Abdul on us — thankfully, no matter how slick your ads get, you can’t stop the back room buffoonery and fotojack72 was on hand to upload videos of him and his buddies acting a fool while working at his local Foot Locker in 1991, complete with this Harmony Korine-esque footage of a man dancing to Check the Technique by Gang Starr while clutching a red shoe.
Huck is a great magazine. That it seems to sell well enough to stay in print is a miracle — after all, most conversations about British magazines dwelling on radical culture, photography and creativity are rooted in past tense, because they have a tendency to disappear one day. The Church of London’s work is always superb and after the What I Love About Movies book via Little White Lies, Huck are dropping some artistic motivation in Paddle Against the Flow — a well priced compilation of quotes to memorise and quote as your own until you get called out for it. If you can’t trust advice from Spike Jonze, Kim Gordon and Dave Eggers, who can you trust? Paddle Against the Flow drops next month.
Dick Jewell is a gem in the pantheon of legendary British photographers and filmmakers. Resolutely uncommercial (even his commercial work maintains a sense of subversion), Jewell prefers to create work on his own terms — a vast archive that spans found photo booth shots and club scenes that are long extinct. He’s still as fascinated by the literal movements within movements, clusters of outsiders, tribes and the barely documented. Finally grabbing Hysteric Glamour’s compilation of his work from 2001 sent me to his website, with a great little archive of his video work — Notting Hill Carnival 83 > 86 and Skins are incredible. I’d love to see the Spats film in its entirety too. Before everyone had a camera in their pocket (and I’m sure we’re missing something regardless), Dick was there capturing this superior Super 8 footage for posterity.
I’m late to this one and I only ran into it trying to get hold of a copy of Ice-T Shot Me in the Face (if anybody has a copy of that book for sale, holler). I’ve long railed against lame shoe-dude apparel (bar Stüssy AM95, Dead Stock and OG CT tees) and the misconception that being into trainers is necessarily connected to style nowadays, but this 2007 image by the aforementioned book’s Montreal-based publisher Paul Labonté called Rubber Bands and a Shoebox (which, as part of a 2008 exhibition, probably isn’t a reference to this track by Ya Boy, who completely confused me by changing his name recently) is a Tumblr classic (which can be summoned by typing in cash and shoebox on Google Images) that benefits from filling a box that could contain some obscure AF1 His from 1992 or some Raids with stacks rather than some new packaging. Paul Labonté’s work is something I’ve been a fan of for a while now (as Paul 107, he wrote 2003’s excellent All City: the Book About Taking Space and he directed the video to Azelia Banks 212 too, plus this Black Atlass video) and the photo has been put on a long-sleeve t-shirt from Desfois/SOMETIMES that just started shipping. You can also grab the 2010 Photographs Inspired by the Rap Music That Once Inspired Me book from here and an enamel badge made with fellow Montreal man, JJJJound’s Justin R. Saunders, bearing the stuffed box image. Very well executed.
On the subject of graffiti and beautiful presentation, burning down the house, Norman Behrendt’s study of Berlin writers, looks incredible, studying the participants, the process and the spaces. That camo-like U-bahn seat pattern cover is incredible.