I’ve never ever considered myself a journalist, because I’m not qualified to be one and I generally write about the same topic, using the same words and phrases, again and again and again. I write as a hobby, and it’s always an honour to be asked to write for magazines I pick up — especially when they actually engage in an editing process, rather than hurling my semi-proofed copy straight in there. Participating in the back and forth of a good edit session is part of the pleasure as far as I’m concerned, because I’m prone to drop a typo or ten. INVENTORY — whose attention to detail is something that I admire —asked if I wanted to speak to Erik Brunetti about his career for their new issue, and he was more keen to talk art than dwell on Fuct. Which is fair enough. Plus I spoke to him about clothing and controversy for ACCLAIM a couple of years back. Because it’s Erik in conversation, he drops plenty of quotables on several subjects, plus there’s some great Tim Barber photography to accompany it.
LAW just dropped an excellent short video on Slipmatt (who was part of SL2 — the kind of act XL used to sign back in the early 1990s). This electrician/hardcore DJ legend embodies an era and is still putting in the hours today. There’s something admirable about the British subcultural characters who carve a niche that they persist in, whether it’s considered cool or not. Shouts to the Bedford crew who were buying the cassette packs from Not Just a Ticket back in the day, while I was haunting Andy’s Records for rap tapes.
Seeing as Slipmatt embodies the spirit of 1992 like few others can, it’s worth noting that Ian Powell upped a Dance Energy from Monday, November 23rd 1992 in its (almost) entirety, from the House Party era of the show, complete with a comedy subplot where Vas Blackwood schemes to earn some money for some trainers and Normski executes the laceless Huarache look with a certain panache. The performances by Secret Life and Reese Project will smear that nostalgia a little for you by reminding you that the good music was generally a one in three affair on this programme.
Nothing to see here tonight — I’ve been too busy to hunt anything worth upping and working on a book and an exhibition has eaten up my evenings this week. Please accept my apologies. In the meantime, here’s a link to an extract of my chat with James Jebbia — Supreme just put out a Timb workboot with a shot on their Instagram of Javier Nunez skating in them. Talk of skating in Timberlands is always cause to up grabs of Kyle James and Brian Wenning in their wheats. Years after I blogged on that topic, I still can’t find that Pepe Martinez Timberland footage from the True Mathematics (coincidentally, I’m sure that shoe god, Chris Hall who owned that brand did some work for Timberland in the last few years) VHS. Who needs iPath when you can skate in something wildly inappropriate? Anyway, seeing as we’re talking interviews with industry kingpins, I interviewed Erik Brunetti for the new issue of ACCLAIM.
Seeing as it’s already midnight I’m just going to post that Daft Punk promo. I’m just fucking with you. There should be some kind of cut-off or late adoption aggregator that stops people posting the same goddamn thing just to get those page views from getting free shoes or press trips. I like all the people who call Daft Punk EDM now though, because the EDM term really reminds me of 1996’s perpetually delayed VHS embarrassmentVibrations (“Their love erupted from the electronic underground”) where the cool guy from Twin Peaks loses his hands, performs as a masked performing robot character (like Thomas and Guy-Manuel) called Cyberstorm, culminating in the best depiction of live dance music ever. I hate people that sneer about films being so bad they’re good, but Vibrations is like 1983’s Joysticks in that it feels like it was made as a parody of a craze cash-in and bears no resemblance to a human experience. Viewing it is like a sweaty flu dream — it could break into hardcore porn at any minute or descend into Nic Roeg-esque insanity. But back to Daft Punk, today I got retweeted by Paul Williams — as a Phantom of the Paradise, Smokey and the Bandit and Bugsy Malone fan, that was awesome. To hear that Williams is working on the new album made a lot of sense, because we all know that Swan, and not Cyberstorm, was the true mask inspiration.
You know what was better than any lookbook or careful photoshoot? Old skate magazine ads. I frequently cite fact as a vast inspiration on me and Erik’s Rizzoli tome will be proof of how good much depth the brand has and how good he is as an artist, but here’s some ads to pass the time. Back when the brand was World Industries affiliated I remember the more sexualized stuff in Big Brother (plus a superb Absolut parody) but after Erik split from Rocco, the ads from mid-1993 took the step of calling World Industries out for using fuct designs. Then, in late 1993, the next wave of ads kicked off in Thrasher, starting with that list of fuct’s favorite things. I remain a huge fan of Steve Rocco’s copywriting, but that fact Profanity is Profit ad, with the slick look and mass of labels, plus the dealers only and kids only contact details? Classic. Here’s a selection of fuct ads from late 1993 to early 1996 that includes sister brand Dorothys Fortress too.
Writing a top 50 of anything is a motherfucker. Nobody maintains a top 50 of something unless they’re truly insane. I keep a top 5 of some stuff, but that’s as far as it goes. And that’s subject to change. So putting together anything longer is hard, and beyond that top 10 ranking, it’s merely tactical. “You put XXXXX at 35! Are you crazy?” they shout in the comments section. And I don’t listen. Douchebags can glower at me at trade shows all they like. Streetwear is a subject that’s very important to me, and I can’t be bothered to break down what constitutes streetwear — you know what it is. Salutes to all who started at 432F.
When Bradley at Complex asked me to list 50 great streetwear bites (that was later changed to homages because “Bites” is a little too controversial), I was keen to get involved. Check it out right here. It’s nice to celebrate a realm before it went all cut, sew and RRL-lite — I’m not qualified to be talking about these things professionally, as I’m just a fan. I’m a toy. But that rack of shirts I browsed in Planet Clothing back in the early 1990s that was laden with Fuct, Freshjive, X-Large and some stray Carhartt is still fresh in my mind. It was a glorious confusion — was it skate wear? Hip-hop gear? I couldn’t work it out. So I used this opportunity with Compex’s 50 Greatest Pop Culture References In Streetwear to celebrate that. But I still had to omit some stuff important to me to fit that 50, and I forgot one key design.
I assume nobody cried about LRG being out the list again, because they’re not peddlers of parody, but I had to ditch Eightball and Droors because they’re skate brands, and before you claim that Supreme is a skate brand, we all know that it’s something bigger in 2011. In fact, I could easily make a list of nothing but Supreme gear, and I’m sure they loathe being tagged as streetwear too. But again, this isn’t the place for debate. It was originally a list of 80 or so designs. Some images were just impossible to find and some creations were excised because I couldn’t justify featuring more than 6 of the same brand when there’s a numerical perimeter to work within. You all knew Stussy and Supreme’s Chanel and Kruger homages would top it though, didn’t you?
But some stuff’s in there solely because I respect their business game or because that design typified an era, regardless of how regrettable it might look now. OBEY warrants a place for importance even if it’s super-wack to me nowadays, but those stickers fired my imagination back in the day. I saw one question on Twitter — “How could they forget air Johnny?” I can answer that one. Because it’s shit. It was nice to take another look at the work of the late Bleu Valdimer’s overlooked Kingpin line and Pervert’s Don Busweiler, who ditched the brand to join a cult. There’s a phenomenal documentary in there somewhere.
I regret omitting Supreme’s ARMY shirt, Stussy’s PiL-style StU, Zoopreme, King Stampede’s Cult stuff, Supreme Maxell, the J$ Situationormal Alpo shirt, Absurd’s A-Wing, DQM’s Meatallica, Diamond D-Wing, Undrcrwn’s Biggie and Pac shirts, Undrcrwn’s Coogi-style basketball shirts, Silas’s ‘Silas Bloody Silas’ shirt, Gimme5’s Ghostbusters image, Fuct’s ‘Warriors’, the BMW Red Army Faction shirt (I couldn’t find the designer), Perks & Mini’s Balearic Flag and Sun-Ra designs, Goodenough’s ‘Dog or Die, Staple’s Cassius Clay, Crooked Tongues’s ‘Crooked Force’, SSUR’s IZM IBM homage, Tonite’s ‘Party On’ Patagonia shirt, ALIFE’s Otis Bantum Correctional Facility, Freshjive’s ‘Don’t Tread On Me’, WTAPS’s ‘Rise Above’ stuff NFC’s Krylon print, 10.DEEP’s Champion shirt, the SSUR Bruce Lee ‘Enter the Dragon’ chest marks, the St. Alfred’s YSL style monogram, the Bounty Hunter Danzig font, the Bounty Hunter Ducky Boys shirt, Pervert’s Kappa bite, Orchard Street’s ‘Pimp Accordingly’, Mishka’s ‘Death to All’, HVM8 ‘Bone Thugs & Typography’, aNYthing’s BAD NEWS series and a few more….in fact, I’m sure there’s a hundred more significant shirts, hats and sweats.
I couldn’t single out a specific NBHD design that’s an iconic homage. Mr. Craig Ford reminded me of plenty more Hysteric Glamour creations, Duffer’s Ducci Gucci bite and a Hermes homage, plus BAPE’s Versace and Cazal copies. The Natural Born ‘I Against I’ and 2K/Gingham Beatles designs are clever, but I never saw them as homages or imitations. Even only including a single No Mas design seemed churlish.
But now I’m boring myself.
There’s one major idiotic omission in the listing (and apologies to Erik for misspelling his name as Eric a couple of times) — the Fuct ‘Goodfellas’ shirt. The brand’s early ’92 film poster art preempts SSUR’s ‘Mean Streets’ and Supreme’s ‘Taxi Driver’. I mentioned it, then forgot to include it later on like a dumbass. It seems so obvious to stick gangsterism on cotton now, but back then it felt totally fresh. Fuct is a very overlooked brand indeed.
(Please excuse the shitty image quality)
Why is the list largely absent of designs post-2006? Because there’s some lines that deserve a spotlight and I’m afraid SSUR creations warranted a place more than your line. There’s still some great creations being pumped out from newer labels, but post-2006, the homaged brands seemed to want more of that hypesphere loot and seemed happier to officially collaborate. I feel that murdered some of the rebel spirit and that was an instant disqualification, though on seeing the list, Jeff Staple mentioned that the John Jovino Gun Shop shirt was made with his cooperation.
It’s heartening to see a streetwear resurgence of sorts in the UK. Shouts to Gabriel at Origin London for his latest project with This is My Costume, Puck and Second To None. At fear of sounding patronising, the dude is 17 and creating a presence for his brand using a network of folk who dwell on the new. We old farts are on our way out — and not a moment too soon. Too much nostalgia can prove unhealthy.
With all the current MTV celebrations, it’s always worth re-watching the ‘VH1 Goes Inside Yo! MTV Raps’ documentary from a few years back. There’s some great outtake footage in there, and just as that rack of randomly gathered shirts had a vast impact on me, those saturday mornings watching Ed and the team were life-changing. Anyone else remember those switches to Marxman and Talkin’ Loud releases during Fred’s non-studio section courtesy of MTV Europe? I always felt I was missing out on some amazing US stuff as a result of that intrusion.
And if anybody can tell me what a ‘Purple Onion’ is in the comments, I’d love to know. While this track is hypnotic, I initially wrote the video off as a So Me copy, but the ‘Pop Up Video’ style comments and ‘What They Do’ style is decent.
GWARIZM 