2012年6月13日 星期三

R.I.P STAY HIGH 149 ,est. 1969- June 11th 2012

R.I.P STAY HIGH 149  ,est. 1969- June 11th 2012
Wayne Roberts was born in Emporia, VA in 1950; his family migrated to Harlem seven years later. He grew up at a time when the social unrest of the streets resulted in riots. He watched as Harlem almost burned to the ground in 1964, a year later at the age of fifteen two assassins opened fire on Malcolm X and Harlem wept as it buried it’s native son. Wayne’s journey was far from over as his family made a brief escape to the Grand Concourse in the Bronx.
In 1969 Wayne’s best friend Dave gave him the nickname STAYHIGH since he was smoking an ounce of marijuana a week; before long, everyone on the Grand Concourse knew him by that name. Wayne had taken a job as a messenger on Wall Street where he sold loose joints on his lunch break. During the early 70’s he began to notice names appearing on the insides of the trains and stations, TAKI 183, JOE 182, and PRAY were all inspirations for him. In 1971 he started writing STAYHIGH along the Grand Concourse, he quickly added the street number he lived on. As a messenger he could hit the trains on the way to work and back, as well as during the day when he had to make deliveries.

STAYHIGH’s style evolved rapidly and in 1972 he added the final element to his signature: the “Smoker.” Wayne had been an avid fan of The Saint television show, which was in reruns in New York. He took the Saint stick figure, turned him around, and drew him smoking a joint. The classic STAYHIGH tag had been formed and to this day most writers agree that it was the best tag ever. The fact that he was able to get it everywhere merely enhanced his reputation. He could hit 100 trains during the day while working and hit 200 more at night at a lay-up, sometimes doing signature pieces as well.
In 1973 New York magazine published an 8 – page essay on the subway graffiti movement, they included a photo of a STAYHIGH piece on a train, as well as a portrait and his tag. New Yorkers could finally place the face with the tag – of course, so could the police. He was arrested just a month later while motion tagging in Brooklyn. When he arrived at the precinct house the detective’s had a copy of the magazine on their desk. After the bust, which resulted in a $20 dollar fine, STAYHIGH had to give up his name.
No one loved the sub-culture of writing more then STAYHIGH and he quickly adopted the new name OVERDOSE. He hated the name and only wrote it for a month. One day on the way to work he looked down at a column in the newspaper called Voice of the People, the name immediately resonated with him and by the time he arrived at work he had turned it into a vertical signature that read VOICE OF THE GHETTO. He decided not to tell anybody and proceeded to hit the lay-ups and yards with the new name, tagging it almost exclusively in three color uni-wide magic markers. The secret didn’t last long when other writers noticed that STAYHIGH’s partners, DEADLEG 167 and LSD OM, were tagging with the same markers.



STAYHIGH’s status as in icon in the writing world was cemented by 1974 when The Faith of Graffiti was published. He was prominently featured in the book and in December 2008, when the 35th anniversary edition is published it will feature STAYHIGH on the cover. There was nothing left to do and in 1975 he retired from the writing scene for good.
In 2000, after a 25 year disappearance STAYHIGH emerged at a gallery show and was besieged by admirers. He signed over 400 autographs that night and left through a back door as the line for autographs got longer and longer. He was simply overwhelmed. At the age of 50 STAYHIGH began writing again for a whole new generation, leaving his trademark “Smoker” image everywhere he went, he’s 58 years old and he hasn’t stopped. STAYHIGH, perhaps more then any other writer truly is The Faith of Graffiti.

“Legends Never Die They STAY HIGH”

本文轉載自:Frank151

2012年6月11日 星期一

GET DOWN NEWS 人物專訪 IWM GRAFFITI CREW - 虫先生 (WORM)


這次GET DOWN NEWS很高興為大家訪問到來自台南的塗鴉藝術人"虫先生(WORM)",讓他來跟大家聊一聊他的塗鴉歷程以及看法喔!! 希望大家可以藉由這篇訪問多認識他以及HIP HOP文化中的塗鴉藝術喔!!

簡介:
1983年出生,自幼不愛唸書,惟獨熱愛於創作。
1995年於台南丹青畫室學畫
1999年之後幾乎不碰畫筆,專心於專研噴漆罐。
2008年之後想法有些改變,覺得不該只噴自己的,應該做些什麼事來幫助剛接觸塗鴉的人,因此架構IWM塗鴉藝術論壇。


Tag Name: WORM
年齡:29
塗鴉年資:12
擅長風格:圖像
隸屬團體:IWM
最喜愛塗鴉的風格:人物、3D
最喜愛的塗鴉者或團體:BELINDOESMAD C
最喜愛的音樂風格:HIPHOPTRANCE
最喜愛的服裝品牌:TRIBALOG ABEL

訪問內容:



1.請問你是如何開始接觸塗鴉藝術的呢?可否概略陳述一下您開始塗鴉的經過?
  1999年時,跟幾個好友在街上、網路上看到塗鴉,一股衝動之下大家組成塗鴉團體試著玩玩看。當時網路上的資源沒很多,除了可以看國外塗鴉人的作外,剩下就是自己摸索了。而我團大約在一開始幾年都找非法牆面練習累積作品,累積了一定作品後開始找店家接洽,後來開始走合法路線到現在。
                                            
2.請問您認為塗鴉藝術跟Hip Hop文化的關係是怎麼樣的?
HIP HOP是塗鴉的一個源頭,也是有HIP HOP才會衍生出塗鴉這個元素。

3.那你認為身為一個塗鴉藝術家,應該用什麼樣的方式去推展HIP HOP文化呢?
以塗鴉的方式來講,我推廣的方式,就是合法塗鴉。因為塗鴉起緣的是以非法的偷噴而來,在台灣也是隨處可見非法的塗鴉。但如何讓一般的社會大眾接受,首先就是合法化以身作則,再漂亮的作品如果是非法的,都無法讓一般的民眾接受。
另外就是能參加的活動與比賽,盡量的參加,就是最好的推廣方式囉!!


4.面對當今台灣時下的塗鴉環境,您認為有何優缺點呢?
  缺點的話,應該與HIP HOP其他的元素有些共通點,就是一個[堅持]。許多人或許畢業後或是出社會後,就放棄了自己喜愛的這個夢想。或許是金錢、流行、時間或是其他的問題點所影響,但我覺得都是藉口啦!!主要就是個熱情。很多都是浮上檯面一陣子之後,最後就來個人間蒸發。像我自己也當上班族好幾年了,但我刻意去找能夠週週休的工作。有時候週末兩天,我就會排塗鴉的行程,目前塗鴉已經算是我的副業。時間如何分配工作、塗鴉、女友、家人,就看自己怎麼去想。

5.那你覺得台灣目前的塗鴉藝術家心態上或風格上有什麼樣特色?那其中有怎樣的利與弊呢?
塗鴉上來講台灣的資源比起國外輸很多,這也關乎到說玩的人不多,就不容易有國外資源進駐,因為商機不多。資源、器材少的情況下,技術層面也進步的慢,大多落後國外許多。我覺得台灣的塗鴉人都還在發展中,包誇我團也是。台灣嚴格來說還沒人稱的上是塗鴉藝術家,也還沒發展出自己的風格。

6.那您認為當今台灣時下的Hip Hop文化發展得如何呢?它又有何優缺點呢?
我較專精於塗鴉這元素,HIP HOP其他元素的專業知識我較少。但以我的觀點來看,早期幾年時確實有風氣起來,但許多人歸於現實層面之後放棄,是滿可惜的。我覺得缺乏一些指標性人物,就是比方說某元素的某前輩,能夠把某元素發展到讓自身名利雙收。有這類型的故事案例,晚輩才能有個方向,如果連基本營利的方式都不具備,容易讓人出了社會後就不去接觸。


7.那你覺得有什麼樣的辦法可以改善或修正目前台灣只有某些元素被重視的狀況呢?
我覺得這方面應該是沒辦法的,每個人喜歡的不同,也無法強迫。有時感覺又有些是因為流行性的影響。

8.請您以您自身經驗為出發點,給現今想學習塗鴉的年輕朋友一點建議!
堅持下去別輕易放棄。

9.另外也請您已自身為出發點,給現今台灣的Hip Hop文化發展一些建議!
同上,哈哈。

10.最後,也希望請您以前輩的身份跟大家分享一下您對自我的期許與目標!
我記得我們剛創團時,大家的夢想就是以塗鴉來辦畫展以及噴高樓。但前幾年已經辦很多場,且也噴過了三層樓的房子了,難道這就是最後終點了嗎??當然是要再設定更高的夢想了,線在最主要的夢想就是噴十層樓以上高樓。還有就是能否推廣這東西進藝術殿堂,或許100年後,噴漆罐有可能是美術史上主要的媒材之ㄧ也不一定。


2012年6月6日 星期三

GET DOWN NEWS 人物專訪 - 台灣派對大廚 DJ CHICANO

GET DOWN NEWS 人物專訪 - 台灣派對大廚 DJ CHICANO
 DJ CHICANO 簡介:
1997年成立Def Soul Dj Family.定期舉辦Hiphop Party,Dj技巧教學.1999年與GoldieSam一起創立Doobiest Store.推廣HipHop文化.2010年底創辦Beat Square(節拍廣場).這是一個免費推廣音樂的活動.目前每個月固定在臺北市電影主題公園舉辦.

DJ Name: DJ Chicano
年齡38
DJ年資:截至目前為止約17
擅長風格Mixing,Cut /Drop & Scratch
隸屬團體Beat Square
最喜愛的音樂風格80’s Old Skool Rap,90’s Hip hop,R&B,New Jack Swing
最喜愛的DJ或團體Big Daddy Kane,Eric B & Rakim,Digable Planets,Tony Touch,Dj Ta-Shi
最喜愛的服裝品牌Tribal Streetwear,Uniqlo

訪問內容:

1.請問您是如何開始接觸DJ的呢?可否概略陳述一下您成為DJ的經過?
高中時期因為愛跳舞.常常週六下午或是晚上會去Disco(當時沒有夜店這名詞),
後來慢慢發現舞廳裡所放的音樂是從哪來?原來是台上的DJ所播放出來.那個時候才開始對DJ產生興趣.真正開始傭有第一部專業DJ唱盤(technics 1200-mk2)是當兵的時候.然後第一份DJ的工作是西門町米其星DISCO.當時一小時的薪水是220.

2.請問您認為DJHip Hop文化的關係是怎麼樣的?
DJ就是Hip Hop文化裡的傳教士

3.那你認為身為一個DJ,應該用什麼樣的方式去推展HIP HOP文化呢?
其實說推展的話也許太沉重.每個DJ未必會去做.而且會去在意到推廣層面的DJ更是少之又少.只能說希望每一位接觸Hip Hop文化的DJ,能夠在教育下一代的時候盡力去傳達這文化的來龍去脈~

4.面對當今台灣時下的DJ環境,您認為有何優缺點呢?
現在的數位科技讓年輕一代對於DJ這項技巧垂手可得,似乎也變成一種娛樂.包括手機APP軟體都有類似DJ的遊戲可下載.缺點是造就大量MP3播音員,無法體會到黑膠DJ花時間去找自己喜愛的唱片的快感跟成就感!感覺就像是跳過苦練十年功然後直接吃仙桃直接飛天堂那種意思.

5.那你覺得台灣目前這樣的”DJ速成生態有什麼樣的利與弊呢?
的確,數位讓很多對DJ這門行業有興趣的朋友們更快速的踏入了.至少一台萬把元的Controller再加上一台Notebook就可以取代一個巨大的DJ.而且做外場不用大包小包還要搬唱盤.這真的是優點..方便便宜又快速.不像以前先得花個好幾萬買整套器材.還得先幫師父提個一年半載的唱片箱.然後再慢慢由代班的職缺開始進入.而且有的半途就有可能被淘汰掉.可見現在這市場多自由啊!….,缺點是造就出大量的速成DJ.就像補習班總是會打著”XX速成保證班”,可是這行是殘酷的.10個出來的DJ有幾個能存活下來.所以還是老話一句.縱使有便利的器材.唯有自我的加強才是不被別人打倒的不二法門~

6.那您認為當今台灣時下的Hip Hop文化發展得如何呢?它又有何優缺點呢?
目前看起來舞蹈是發展最大也是最快的,不管是B-Boy或是舞感.都有一定的市場在.可能舞蹈是讓年輕朋友接觸Hip Hop文化最快的一個管道吧.這算是優點之ㄧ.缺點是其餘的DJ MC 噴畫比較常被忽略掉..

7.那你覺得有什麼樣的辦法可以改善或修正目前台灣只有某些元素被重視的狀況呢?
這倒是考倒我了.事實真的是這樣.不如找個時間場合所有元素一起辦個活動~互相幫助幫助吧~好像只能從這樣做起!

8.請您以您自身經驗為出發點,給現今想學習DJ的年輕朋友一點建議!
即使科技讓人便利.但是傳統的DJ技法還是需要磨練與學習的.記得剛出道時,不管是玩什麼曲風,每位前輩都會練習簡單的Scratch技巧.而且放歌發生跑拍的狀況根本是無地自容吧!!雖然現在輔助DJ接歌的效果器很多.我的意思是不要太依靠.自己練就的技巧終究是屬於自己的..也是別人學不來的風格!!

9.另外也請您已自身為出發點,給現今台灣的Hip Hop文化發展一些建議!
不管是你是舞蹈DJ MC 噴畫都好,都必須要去了解這文化怎麼來的.多去看看國外相關的書籍例如嘻哈美國”…這樣才會更喜歡也更堅持你()所做的

10.最後,也希望請您以前輩的身份跟大家分享一下您對自我的期許與目標!
目前自己希望能將節拍廣場這活動能一直持續的舉辦下去~讓它能夠在台灣的各城市舉行~然後與年輕朋友分享HipHop文化~


DJ CHICANO FB http://www.facebook.com/chienchicano1
BEAT SQUARE FB https://www.facebook.com/bbeatsquare