INsider Magazine Interview...
What years were you in the graffiti scene?
I've been involved with the graffiti scene in varying degrees since I started being an active participant in 1986. I was intensely involved from about 1991-1997.
What changes have you seen as the years progressed?
Mainly just changes in style trends, but also the development of different approaches and the use of new materials.
How do you feel about the Chicago scene?
The Chicago graffiti scene, and the graf scene as a whole is just a little microcosm that reflects the same degree and rate of evolution and stagnation that’s evident in the rest of the world. There’s people that forge ahead, and people that cling to the past. There’s peaceful people, violent people, quiet, loud, rich, poor, whatever you can think of. I have strong attachments to it for nostalgic reasons, yet have the same love/hate relationship with it that I have with the rest of the world. It gives me a reason to try and set what I’m hoping to be a positive example by living a life in contrast to those that embrace that "anything for money or fame" kind of approach that is so often celebrated in our American society. Many of the things that I feel I know as truths in the nature of humans I learned in the observance of myself and other participants interactions in the Chicago graffiti scene, so it’s been a great teacher for me, and I’m thankful for that.
Why the term "bombing"?
In terms of origin I’d say that it was adopted mainly because it appeals to some pretty basic primitive aggressive tendencies found in men. I personally say it just because that’s what I grew up hearing everyone else refer to the act of tagging as, so it’s effective for communication amongst writers. As in, “Hey Mike, let’s go out bombing tonight.” Now with our ridiculous “Homeland Security Act”, I might not say that anymore in case someone listening in might decide to take it literally. Anyway, it’s just a metaphor for the act. I prefer the bombs fired by urban artists to any other kind, and the creators of those bombs are often very peaceful, warm-hearted, interesting and dynamic individuals.
What is the purpose of graffiti to you? Does it hold a hidden socio-political message or is it more personal?
It functions as both for me. In itself it’s a symbol of unrest and a desire for a voice in a system that is hard to be heard in unless you’re on the side of money or power. Even if your intent isn’t political, the act is. It’s a decision to move outside of what is generally accepted by the current structure. It’s always personal as well, because I am a person, and anything that I say or do is colored by that fact.
Why are you no longer involved in the graffiti scene?
I wouldn’t go so far as to say that I’m not involved in the graffiti scene anymore, only that my connection to it is not as deep as is was several years back. When you’d originally contacted me I just thought it might be better for you to interview somebody that’s really active rather than some tired old man pretending to be a spokesperson for something that he’s not even doing much anymore. Socially I’m still involved, just not so much as a real contributor of actual graffiti. I try to do entertaining interviews instead.
How do you develop graffiti skills?
The same way you develop skills in anything. Observation, dedication, practice and passion.
Did you go to art school, and how do you feel about writers going to art school?
Yeah, I went to art school.
There’s a school of thought in the graffiti world that tries to discredit writers that go to art school as if it gives them some sort of unfair advantage in the grand-graffiti scheme of things. I’ve seen writers that went to art school that aren’t too outstanding regardless. I’ve seen writers that never went to art school that are incredible at what they do. It just boils down to paying attention, putting in the time, dedication and passion. There’s no strict path that anyone needs to follow in order to get good at something and nothing makes anyone magically better at something than other people.
What is the essence of graffiti culture? Are you involved in other areas of hip-hop culture?
Ummm, self-expression, originality, innovation, egomania, defiance? And yeah I suppose you could say I am, although the definition of what hip-hop is may be changing. I make music that comes from a solid foundation of hip-hop, although all of it would definitely not be categorized as hip-hop. I write rhymes, and get on my turntables once a week. Sometimes after a few drinks I’ll bust out a handspin, and maybe do that pop-locking move where you swallow and regurgitate your opponent’s heart, so you could pretty much say I’m a renaissance man. Aww, but I can’t beatbox at all, damn.
Two years ago, IBM was charged for putting their icons in graffiti. How do you feel about commercialization of graffiti?
I think it’s usually incredibly cheesy, obnoxious and distasteful, but we live in a capitalist society so I can’t say I’m surprised. That’s the nature of it. I think it’s really refreshing and positive when graffiti artists market their own art rather than using it to help sell Nike or Coca-Cola.
The term writer--Is graffiti more about the "word" or art?
It’s about whatever each individual decides that it’s about. For me it’s about visual communication and that could include an extensive literary element, a word, or perhaps half of a word. It’s a space for me to experiment with whatever ingredients I decide might be effective or fun for a particular piece.
How do you feel about Mayor Daley's war on graffiti and the graffiti blasters?
I don’t expect Mayor Daley to have the same aesthetic preferences that I have so I can’t pretend to be mad about it. He’s going for what’s going to look good on his resume, or for what is going to encourage property values to rise or make tourists feel safe to spend money here. Or maybe for what his wife thinks is pretty, I don’t know. I don’t really think about it. He’s a great warrior I guess.
Can you explain to me the way you feel when you do a piece? The smells, the thrills, any frustrations?
I feel like a dangerous wild beast, high on the cool electricity of the night, ready to attack the city’s walls with the brutal paint propulsion devices that I produce from my pouch. In an aerosol mist, my soul is warmed by the knowledge that I’m providing our good city’s Graffiti Blasters with something to hide underneath their beautiful beige paint, thereby preventing my savage propaganda from contaminating the conservative political persuasions of our fair city’s fine citizens. Then after that I’m usually pretty spaced out and hungry.
Did you primarily work on legal or illegal pieces? Is there a difference in the way you approach these?
I have never ever broken the law. It is wrong and it makes God mad. So does lying.
Anything else you think people should know about graffiti?
I think people should learn about not supporting or participating in acts of violence before they should learn about graffiti.