From Here To Fame catalogue 2012-2013 by From Here To Fame Publishing

DISTRIBUTION

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At From Here to Fame Publishing our roots are firmly set in urban culture. Not only do we produce literature about graffiti, street art, design, Hip Hop and the scenes and phenomena that surround it, we live it. Our team comprises of an international, assortment of urban culture activists, with backgrounds in graffiti writing, art & design, scene involvement and documentation. The initial idea was to create engaging and relevant books “from writers, for writers” that document and preserve graffiti history and legends at work. Inspired by how expressions of urban art evolved, this concept expanded in time to include all areas of urban culture, art, typography and design. All of our publications are collaborations with international artists, writers and researchers who have been personally involved in shaping or documenting the development of their respective scenes. The relationships formed with many of these artists and activists have been nurtured by individual members of our team throughout more than twenty-five years of involvement in the global urban art movement and through numerous off shoot cultural projects, exhibitions, and publications. This inside perspective not only gives us our edge, it means that our readers get the lowdown directly from the source. Through our collective experience and knowledge we promote the history, development and influence of these urban cultures in our society—with a keen focus on a young generation that is learning from its beginnings, and contributing to its future.

NIELS SHOE MEULMAN: PAINTER

NEW Niels “SHOE” Meulman & Adam Eeuwens Language: English Info: 144 pages, 22,9 x 22,9 cm (9.2 x 9.2 inches), 200 photos and illustrations Hardcover 21.95 € / £ 21.99 / US $ 29.90 / ISBN 978-3-937946-44-3

Author:

‘Niels Shoe Meulman: Painter’ is an avalanche of visual poetry and poetic visuals, in which alert readers will find a story about an artist who rejected being called an artist, who ran several design and advertising studios, then invented the new art form Calligraffiti and became a globetrotting painter after all. After the worldwide success of his first book, ‘Calligraffiti: The Graphic Art of Niels Shoe Meulman (2010)’, the artist and his co-author Adam Eeuwens take his bold venture to a place where street art meets abstract expressionism. Messing up book sections. Again.

Of Hand, Quill and Virtue

round the year 1650, Rembrandt

van Rijn picked up a pen and did a series

However, the situation was very differ-

Buurkerk at Utrecht, from 1644, in which one can see a Dutch graffiti artist of the period nonchalantly drawing on a church

been touting “Holland’s Next Top Cal-

wall, shows that this practice was also un-

ligrapher.” But it wasn’t, so what actually

derstood in the Golden Age.

happened were highly publicized competitions like the Prix de la Plume Couronnée

All of which is why, as a historian and

in 1589, which made Jan van Sambix,

a calligrapher myself, I find that Niels

Salomon Hendrix, and Jan van den Velde

Meulman’s work brings us full circle. His

national celebrities. Van den Velde, just

Dutch cultural legacy helps explain his

21 at the time, went on to become one of

urge to unite a set of practices which we

the greatest Dutch penmen. He and his

think of today as belonging in utterly sep-

fellow calligraphers had close social and

arate boxes. In his art, the graphic design-

professional ties with the engravers, print-

er, the calligrapher, and the tagger blend

ers and painters of the period. This was

into a single entity. Less concerned with

of freely drawn calligraphic flourishes on

no accident in an age in which calligraph-

seventeenth century calligraphic perfec-

a piece of paper which were later reused

ic brushwork had become a hallmark of

tion than calligraphic rhythm and flow, it

for a drawing (now in the Peck collection)

painters like Frans Hals, and pen paint-

is in the rhythmic repetition of Van den

of a canal and boats. Rembrandt had, at

ing would be made famous by Jan van

Velde’s circles and ovals that Meulman’s

about that time, been doing a portrait of

den Velde’s son. The pen and the brush

work loops back to intersect with his

Lieven van Coppenol, a calligrapher who

were held the same way. Even when they

heritage. If, on a certain level, graffiti has

believed that calligraphy was an art. Van

didn’t have a calligrapher father, Dutch

always been about making oneself heard,

Coppenol is shown executing a perfect

Golden Age artists learned calligraphy

then Meulman’s rhythmic pieces are less

circle—an achievement which Rembrandt

at school, as having a good hand was

the musical analogue of the Baroque

singularly failed to master in his flourish-

an essential social skill. And calligraphy,

and more Philip Glass meets electronic

ing, but painted into the background of one of his self-portraits.

printed maps and paintings all vied for

dance music. As artists from Kandinsky

wall space in early seventeenth century

to Jackson Pollock have played with this

Dutch houses.

synesthetic overlap of sound and vision,

In today’s climate it’s hard to conceive of

Meulman’s pieces similarly juxtapose

a period in which calligraphy and paint-

Despite our modern preconceptions, wall

multiple fields and connect multiple

ing could have been perceived as equals.

space may have had room for graffiti in

spheres of practice. Here, gesture, culture

Even in 1650 it was difficult. Painting

the seventeenth century. Recent research

and concept coalesce in a complex, con-

was well on its rise up the slippery slope

shows that during the medieval period

temporary mix that signals it as art for

of cultural celebrity whilst calligraphy,

and in the early modern world people

today.

despite the best efforts of apologists like Shoe Xylophone by Peter Gilderdale. Done at a late night session after the Calligraffiti workshop at the University of Auckland, New Zealand.

graffiti. Pieter Saenredam’s Interior of the

ent sixty years earlier. Had reality TV been around at the time, the industrious Dutch television producers would have

‘Calligraffiti’ gained followers within graphic design, fashion, architecture, typography, advertising, calligraphy and graffiti. Sharing an interest in the visual arts and an appreciation for print, they came to understand that a word is an image. In this volume Niels Shoe Meulman expands his ever-evolving artistic territory to include wild paintings and fine art, this time around in vivid full color.

were just as prolific graffiti writers as were

van Coppenol, was settling into a bit part

the citizens of Pompeii. Even churches

role.

were sites of large amounts of medieval

Peter Gilderdale Auckland, 2012

NO ORDER NO cHAOS ONlY EvERYTHINg IN BETWEEN

EvERYTHINg IS AMAzINg BUT NOBODY IS HAppY

WE DON’T SEE THINgS AS THEY ARE THINgS ARE AS WE SEE THEM

jE REgRETTE TOUT

BEAUTY IS IN THE EYE Of THE BEERHOlDER

106

107

If AT fIRST YOU SUccEED THEN WHAT? 100

101

ARABIC GRAFFITI

“A piece of contemporary history.” ART Magazine “One of the most exciting design books of the year.” The Atlantic “Highly recommended!” Slanted

BESTSELLER Fully revised and extended edition! Pascal Zoghbi and Don STONE Karl Language: English Info: 208 pages, 21 x 28 cm (11.2 x 8.3 inches), 300 photos and illustrations Softcover 24.95 € / £ 24.99 / US $ 31.95 / ISBN 978-3-937946-45-0

Author:

This is the new and fully revised edition of the only book available to date on the topic of Arabic graffiti. Arabic Graffiti is a bestseller that has become a classic soon after its publication and remains the standard work in academic circles and the art world alike. This new edition is enriched by a new and exclusive chapter on Graffiti of the Arab revolutions. It also includes an update on Graffiti in Bahrain following the latest developments in this country. Arabic Graffiti is an extensive and valuable reference that showcases the use of Arabic script in a contemporary, urban context. It brings together artists, graffiti writers, designers, and typographers from the Middle East and around the world who merge Arabic calligraphy with the art of graffiti writing, street art and urban culture. In addition to a rich

assortment of photos featuring Arabic graffiti and street art styles, the book includes essays by distinguished authors and scene experts that explore the traditional elements, modern approaches, and the socio-political and cultural backgrounds which have shaped Arabic graffiti movements in the Middle East. With contributions and essays by: Huda Smitshuijzen AbiFarès, Rana Jarbou, Tala F. Saleh, Houda Kassatly and William Parry. Includes the artwork and thoughts of: Hassan Massoudy, Malik Anas Al-Rajab, eL Seed, Hest1, Julien Breton, L’ATLAS, Aerosol Arabic, Native & ZenTwO, Zepha aka Vincent Abadie Hafez, Typism, Akut and many more.

WALLS OF FREEDOM Street Art of the Egyptian Revolution

Spring

2013

WALLS OF FREEDOM Street Art of the Egyptian Revolution

WALLS OF FREEDOM

of the Egyptian Revolution Street 21,5 Art of the Revolution Basma Hamdy and Don STONE Karl Language: English Info: 208 pages, x Egyptian 29,2 cm (11.4 x 8.3 inches), 450 photosStreet andArtillustrations Hardcover 24.95 € / £ 24.99 / US $ 34.95 / ISBN 978-3-937946-41-2

Author:

Since the start of the Arab revolution the Middle East has seen an unparalleled explosion of graffiti. Egypt has played a remarkable role in this phenomenon. Even when the army tanks rolled onto Tahrir Square in Cairo, they were immediately adorned with graffiti. Along with people from all walks of life, artists, calligraphers and designers took over the public space. In no time a vital and now globally acclaimed street art scene emerged in Egypt. ‘Walls of Freedom’ is a powerful portrayal of the Egyptian Revolution, telling the story with striking images of art that turned Egypt’s walls into a visual testimony of bravery and WALLSatOFthe FREEDOM resistance. It takes a closer look most influential artists who have made their iconic WALLS WALLS WALLS OF OF OFFREEDOM FREEDOM FREEDOM Street Art of the Egyptian Revolution Street Street StreetArt Art Artof of ofthe the theEgyptian Egyptian EgyptianRevolution Revolution Revolution

marks on the streets. This survey of Egyptian street art is also enriched by images of the revolution taken by acclaimed photographers and activists. Spanning major Egyptian cities like Cairo, Alexandria and Luxor it is a day-to-day reflection of the volatile and fast-shifting political situation. With contributions by experts in the fields of typography, graphic design, sociology and Egyptology, ‘Walls of Freedom’ not only places the graffiti of the revolution in a broader context, it also examines the historical, socio-political and cultural backgrounds which have shaped the movement.

HIP HOP FILES Martha Cooper Photographs 1979-1984

REVISED EDITION

More than 35.000 copies sold! Photographer: Martha Cooper Author: Akim Walta Language: English Info: 240 pages, 22.5 x 30 cm (8.9 x 11.8 inches), 500 photos & illustrations Softcover 29.90 € / £ 29.90 / US $ 29.95 / ISBN 978-3-937946-46-7

Martha Cooper has the reputation of being the first and foremost photographer of emerging Hip Hop culture in New York City. Hip Hop Files - Photographs 1979-1984, makes a significant part of her extensive and unique archive accessible for the first time. The book documents the beginning of the phenomenon, now known as Hip Hop. The publication of many of Martha’s photos in the early 80’s, disseminated the culture both at home and abroad. From 1999 to 2003, Akim Walta aka ZEB.ROC.SKI, well-known german Hip Hop practitioner and music publisher of MZEE records, tracked down the subjects in the

photos and conducted numerous interviews obtaining insightful quotes and statements to accompany the shots. Fortunately, Martha was at the right place at the right time to document young people creating the music, dance, and art that became known worldwide. She followed people who would one day become icons: LEE, FAB 5 FREDDY, ROCK STEADY CREW, DONDI, BOBBITO, DEZ aka DJ KAY SLAY, RUN DMC, SEEN, AFRIKA BAMBAATAA, BLADE, RAMMELLZEE, FUTURA 2000, GRANDMASTER CAZ, DURO, LADY PINK and many others.

THE HIP HOP COOKBOOK Four Elements Cooking

NEW

Gerry “Cutmaster GB” Bachmann Language: English Info: 112 pages, 19,5 x 26,5 cm (10.2 x 9.4 inches), 470 photos and illustrations Hardcover / 16.95 € / £ 16.99 / US $ 22.95 / ISBN 978-3-937946-38-2

Author:

Look over the shoulder of true Hip Hop pioneers as they share some food for the soul. This collection offers a personal glimpse into the lives and kitchens of some of the most extraordinary artists from all four Hip Hop elements—MCing, breaking, graffiti writing and DJing. Accompanying the artists’ favorite recipes are short stories, biographies and photos from the past and present. Whether Lobster in Beer, Crab Fritters with Katveg & Sweet Potatoes or Kurtis Blow’s Chicken Wings, these recipes are guaranteed to give your cooking some added style and dinnertime will never be the same again. Baked Salmon with Fresh Dill & Secret Seasonings

Tash’s Veggie Lasagna

Ingredients: • olive oil • balsamic vinegar • salt and pepper to taste • dried oregano • 1 bunch of torn, fresh basil • 1 chili, finely chopped • 4 cloves of garlic, crushed • 1 brown onion, finely chopped • 1 red or green bell pepper, finely chopped • 1 head of broccoli florets, separated • 1 carrot, finely chopped • 6 mushrooms, finely chopped • 1 zucchini, finely chopped • 4 cups of baby spinach leaves • 500g (18 oz) of grated mozzarella cheese • 120g (1 cup) of grated parmesan • 1 large tub of light ricotta cheese • 2 packets of lasagna noodles • 3 cans of chopped tomatoes • 1 large jar of tomato-based pasta sauce • Sauté the garlic, onion and chili in olive oil in a pot until the onions become translucent. • Add the rest of the veggies (except the spinach!) and a bigass splash of balsamic vinegar, and stir for 2 minutes. • Pour in the tomatoes and pasta sauce and gently simmer for 20 minutes.

Featuring: Kurtis Blow, Crazy Legs (Rock Steady Crew), Grand Mixer DXT, DJ Static, Blade, Can2, Lil’ Cesar (Air Force Crew), DJ Charlie Chase (Cold Crush Brothers), Emile XY, Master OC (Fearless Four), Shiro, Wane One, Zulu Gremlin, Luana, Loomit, Duro (CIA), Katmando, C utmaster GB, Zebster and many more.

with ricotta cheese

• Season to taste with salt and pepper, oregano and chopped basil. Note: You must put in loads of basil and pepper to get the mad flava! • Pour some sauce into a large baking tray/dish (just enough to cover the bottom). • Layer with lasagna sheets, more sauce, spinach leaves and then mozzarella. • Repeat the layering 4–5 times. • Cover the last layer with sauce, then spoon ricotta over the whole lasagna. • Then, top the lasagna with more mozzarella and finish with grated parmesan cheese. Note: Parmesan doesn’t melt, so I always finish off baked dishes with parmesan to brown the cheese and get a golden effect. It works just as well on pizzas, macaroni and cheese, etc. • Bake in a preheated oven at 200° C (390° F) for 30–40 minutes. • Remove from the oven when golden brown and let stand for 10–15 minutes.

This is one of Legs' favorite dishes that I make. He likes it because it's healthy, incredibly tasty and always comes out juicy—just the way he likes it. It's one of my personal favorites because it's a recipe that my step-mom in Hawaii taught me, and it's super fast and easy. The cleanup is easy, too! • Preheat oven to 220° C (430° F). Place salmon filet, skin Joselle Y okogawa, Legs' girlfriend side down, on a large piece of aluminum foil (make sure Ingredients: • 1 full filet of fresh salmon, it should weigh anywhere between 700–900g (25–32 oz) • 120g (4 oz) of fresh dill, chopped (or enough to cover the top of the entire filet) • 30g (1 oz) “Secret Seasoning” (see recipe on page 111)

the piece of foil is long enough to give the filet ample room). Sprinkle the secret seasoning on top of the salm on filet, then cover the the salmon with the chopped dill. • Place another piece of foil over the salmon filet. Gently ‘envelope’ or seal the salmon in the foil by folding the top and bottom edges together to create a pouch (be sure to give the filet room inside the pouch). Place the wrapped filet on a baking sheet and bake in the oven at 220° C (430° F) for 20–25 minutes. • Remove from oven and let the salmon sit in the foil for five minutes. Remove the top layer of foil and serve!

Jamaican Jerk Rub Chicken

Serve with an icecold beer, a side of green salad and garlic bread … YUM!

MC Tash T

ash started writing graffiti and bombing in her home town of Adelaide in 1991—doing her first piece in 1993. Shortly thereafter, she did her first Hip Hop radio show ‘Check One Two’ on Radio 5UV in Adelaide. This show allowed her to meet local MCs and DJs who inspired her to start rapping and DJing at shows, on the radio and on demos in Melbourne. Tash went on to produce and host her own bimonthly Hip Hop TV show ‘Loungin’ on the community TV station ACE TV. At the tender age of 16, she held her first memorable interview with the Beastie Boys. In 1996 she moved to Melbourne, where she hosted the national music television show ‘Recovery’ on ABC. Unfortunately, she had to give up the show a year later after the Prime Minister of Australia banned her from television for advocating illegal graffiti on air. In 1999 her

Daikon Radish Chrysanthemums

song ‘Dis battle track gets a little nasty’ was featured on the Australian Hip Hop compilation ‘The Four Element Effect.’ The same year, she was the presenter of a national children’s show and became manager and coowner of the Butter Beats record store. Then, in 2000 she was a guest artist at a jam in Auck land, New Zealand, and wrote and coproduced her debut Hip Hop album, ‘…Gets a little nasty.’ Her work has also been featured in many exhibitions and she curated the exhibit ‘Wordy Rappinghood’ in Brisbane. In 2002 she took her first painting trip to New York, and began to get more active internationally—including performances in Central Europe, Scandinavia, Singapore and elsewhere. She was also featured in the books ‘A–Z of Australian Graffiti’ and ‘World Graffiti.’

Prepared for Siriusmo

Chrysanthemums: • 1 daikon radish • ¹⁄₆ tsp salt • oyster sauce

24 FISH & SEAFOOD

Four Elements Cooking

• Peel the radish and cut it into a cube approx. 2.5 cm x 2.5 cm x 15 cm (1 in x 1 in x 6 in). • Slice the radish cube into 1 mm (0.04 in) thick pieces, about 25 slices. • Put the radish slices in a bowl (recommend stainless steel), cover with water and let rest for 10 minutes. • Pour 750ml of hot water into pot, add salt and radish slices and cook just until the radish becomes soft and pliable. Drain and put into a bowl of cold water.

• After the radish has cooled, place one slice horizontally on a cutting board. Starting at 0.5 cm (¼ in) from the lower left corner, make small 0.5 cm (¼ in) vertical cuts every 0.5 cm (¼ in) until you’re 0.5 cm (¼ in) away from the right corner of the radish slice. Repeat this process until all the radish slices have been cut. • Horizontally place one of the slices, cut side up, on a plate. Use your fingers to pick up the lower and mid sections of the slice, fold over a small amount of the slice and roll it to the other end (You can use two or four slices if you want the chrysanthemums to be bigger). Use a toothpick or small skewer to keep the radish slice from unrolling. • Arrange all the rolled radish chrysanthemums on a heatresistant plate. • Pour 200ml (1 cup) hot water into a wok and place the plate with the radish chrysanthemums on a steaming rack above the water. Cover and steam for 3 minutes.

My mom was born and raised in Ja maica, so I’ve always enjoyed preparing dishes from that area.

Queen Lisa Lee

group Cosmic Force. They recorded the ‘Zulu Nation Throwdown,’ which was one of the first Zulu Nation re cordings, on Paul Winley Records. She is known worldwide for her part in ‘Wild Style,’ in which she freestyles together with Busy Bee during a limo ride. She was also a part of the female rap group Us Girls in ‘Beat Street.’ Lisa Lee is an original Hip Hop icon from the Bronx, NY.

100

101

Additional Recipes

Sazón

(best if made a few days before use) • 1 bunch of cilantro (about 2–3 cups) • 1 red bell pepper • 1 green bell pepper • 1 yellow bell pepper • 3 Tbsp dry oregano (preferably Dominican oregano) • 1 package of chicken bouillon • 1 head of garlic • 2 Tbsp (30ml) white vinegar • 60ml (¼ cup) of water

Adobo • 1 head of garlic • 240ml (1 cup) vinegar • 120 (½ cup) water • 240ml (1 cup) soy sauce • ½ Tbsp salt • ½ tsp black pepper • 3 bay leaves Mince the garlic and sauté over low heat. Add the water, soy sauce, vinegar and sprinkle salt and pepper to taste. Stir and add the bay leaves. Cook on low heat for about an hour and remove the bay leaves before use.

Meatballs:

Fresh Force G

ess, Steeze, Ten Two, Speedy and Trickz make up Fresh Force, a breakdance crew from Aschaffenburg and one of the pioneer bboy crews of Germany. They have won several breakdance competitions throughout Germany as well as placing first in the European championship. Their first of many trips to New York City was in 1990. During these trips they performed and painted with other people from the Hip Hop scene, such as Seen and Vic 161. It was in NYC that they met Henry Chalfant and were

allowed to see his ‘holy photos.’ In 1992 they published the magazine ‘Tuffstuff,’ the first fullcolor graffiti magazine in the world. It received

• about ½ kg (1 lb) ground beef • 1–2 medium sized onions • 1–2 cloves of garlic • 1 handful of fine breadcrumbs • 1 bun, soaked in water • salt • pepper • paprika powder • 1–2 eggs • vegetable or sunflower seed oil much attention in the scene and played a significant role in the development and globalization of European graffiti culture. The last issue was published in 2000. Fresh Force opened Sixstep, a Hip Hop and underground shop in Aschaffenburg, in 1995. This store still exists today, but in a different form and under different management. They also organized events such as ‘Ostercamp’ (Easter camp), the first training camp of its kind, which was att ended by breakdancers from all over Germany. In addition, Fresh Force has participated in numerous breakdance competitions and graffiti jams. Through their dedication to the scene they have achieved international fame and have done commissioned works for companies such as Dresdener Bank and the Hilton.

Cucumber salad: • 1 cucumber • 2 large cans of evaporated milk • salt & pepper (to taste) Flour dumplings: • 500g (4 cups) flour • 2 eggs • 1 tsp salt • 1 dash nutmeg • 250ml (slightly more than 1 cup) milk

Optinal: Top it off with garlic flakes (minced or thinly sliced garlic fried until golden brown) for added aroma.

Flour Dumplings Meatballs Mix meatball ingredients (preferably by hand) and form the meat into balls. Mixture should not be too dry or too wet. Fry in vegetable oil and enjoy.

Alpine macaroni “Alplenmagronen" is a typical meal in Switzerland, where I’m from. My grandmother used to cook it for me and today I often cook it for my kids because it is very easy to do.

Cucumber salad • Peel the cucumber thinly and slice. • Place the cucumber slices in a bowl, mix them with 2 pinches of salt and set aside for a short while. Add 2 large cans of evaporated milk, stir and add salt and pepper as desired.

Ingredients:

Flour dumplings • Sift the flour into a large bowl and add the eggs. Add the salt, pepper and nutmeg as well as some of the milk. • Stir with a large wooden spoon. Continue to add milk until you have a thick dough that forms bubbles. • While preparing the dough, boil broth or salt water. Use a soup spoon to portion the dough (for better handling, dip the spoon into hot water beforehand) and drop spoonfuls of dough into the boiling broth or salt water. Reduce the heat to medium. The dumplings are done as soon as they rise to the top.

• 400g (14 oz) elbow macaroni • 250g (9 oz) potatoes • 2 large onions • 2 Tbsp clarified butter • 3 tsp (15ml) cream or milk • 300g (10½ oz) shredded cheese (Swiss mountain cheese “sprinz”) • salt, pepper • applesauce 37

Biscuits

Bento

(Alpenmagronen)

• Peel and cube the potatoes, then cook for approx. 15 minutes and drain. • At the same time, cook the noodles in a different pot until tender, then drain. While the noodles and potatoes are cooking, cut the onions into rings and brown them in a pan with the clarified butter. • Cook the cream (or milk) on the stove and add 1⁄3 of the cheese. Stir the mixture thoroughly. • Mix the noodles and potatoes with another third of the cheese, season with salt and pepper and put it in a saucepan. • Pour the cheese sauce on top. Then sprinkle with the remaining cheese and place the sautéed onions on top. • Cover the pan and warm it up on the stove (or in the oven) until the cheese melts. Serve with applesauce.

(makes 12 biscuits) • 250g (2 cups) flour (sifted) • 2 tsp baking powder • 4 Tbsp butter or shortening • ½ tsp salt • approx. 180ml (¾ cup) milk • Sift the flour, measuring out 250g (2 cups), add the baking powder and salt and sift again. • Cut in shortening or butter (this is where I use my hands by rubbing the butter into the flour). • Gradually add the milk, stirring until a soft dough is formed. • Turn out on a slightly floured board and lightly ‘knead’ for 30 seconds, just enough for it to take shape. • Roll out the dough until it’s about 1 cm (½ in) thick and cut it with a 5 cm (2 in) floured biscuit cutter. Bake on an ungreased sheet in a preheated oven at 200º C (400º F) for 12–15 minutes. • You can also make tiny tea biscuits that are only 4 cm (1½ in) wide with a small cutter or glass bottom. These are great served with tea, jam, or honey. Makes 24.

ento (弁当 bentō) is a packed lunch or dinner which is common in Japan. A traditional bento includes rice, vegetables and fish or meat in a closed box container, made of plastic, wood or lacquerware. While bento can be bought at snack shops, grocery stores and other places in Japan, many people still prepare bento meals for them selves or their loved ones. One special type of bento is ‘kyaraben’ or ‘character bento,’ in which people prepare the food in their bento boxes to resemble their favorite characters. It has become a widespread Japanese phenomenon, and there are even national kyaraben contests. Try out your own character ideas!

• 50g (1.8 oz) chives • 1 pinch ground cloves • ½ Tbsp vinegar • ½ Tbsp brown rum • 1 whole chicken (with or without bones)

• Remove the stems and seeds from the chilis and finely chop. Quarter the chicken and cut the chives into thin rings. Put all the ingredients except the chicken into a food processor or blender and puree. Completely cover the chicken with the pureed spice paste by rubbing it well into the meat. Allow the chicken to marinate for 2–3 hours before cooking. • You can either cook the chicken in a pan with pure canola oil or grill it on the barbecue. • Enjoy this spicy dish with white rice and plantains. • The amount of chicken you use depends upon your hun ger! You can halve the recipe or use only half the sauce and save the rest for another day.

isa Lee was born and raised in the Bronx, NYC, where she grew up listening to all kinds of music. Lee and her brothers got two turntables, a mixer and an echo chamber when she was ten years old. At the age of 13 she attended her first Hip Hop Jam, Afrika Bambaataa, and DJ Mario were there. She asked Bambaataa if she could rock the mic and the rest is history! She became one of the original Zulu queens and rep resents the Zulu Nation today, just as she did back in the 70s. In 1979 Lisa Lee became a member of Bambaataa’s

Ingredients: • 6 whole chilis • 1 tsp garlic powder • ½ tsp cinnamon • 1½ tsp black pepper • 1¼ Tbsp salt • ¾ tsp nutmeg

photo by Michael Markos

Cucumber grass: • Wash 1 cucumber, cut off the ends and cut it in half lengthwise. Cut the halved cucumber vertically into 2.5 cm (1 in) chunks. • Leaving one edge intact, make 5 even, vertical cuts about 1 cm (¼ in) from the edge of a cucumber chunk. • Holding the uncut edge of cucumber, fold and tuck in wards the 2nd and 4th slice of the cucumber chunk. • Repeat the process until you have as many pieces of cucumber grass as you want to decorate the plate with your radish chrysanthemums. Decorate the plate and use the oyster sauce to create a pattern or draw a design.

110

Puerto Rican Style Red Beans • sofrito (Spanish seasoning) • 2 cans red (kidney) beans • 1 packet of sazón (1¼ tsp homemade sazón, see recipe on the right) • 120ml (½ cup) tomato sauce • 1 large potato • 2 bay leaves • vegetable oil Cut the potato into small cubes. Then, heat a small spoonful of vegetable oil in a pot until it bubbles and drop a spoonful of sofrito into the hot oil and allow it to fry for 1 minute. Add the red beans, sazón, tomato sauce, potatoes and bay leaves to the pot. Stir, cover and cook for about 20 to 25 minutes on low heat. When the sauce thickens and the potatoes are soft, it’s ready to be served.

Recaito • 2 medium green bell or cubanelle peppers, seeds removed • 2 medium onions, peeled • 1 head of garlic, peeled • 1 bunch cilantro leaves • 6 ajiesdules (small, sweet chili peppers) Chop and blend all ingredients in a food processor or blender.

• Wash the cilantro and peppers well. Chop the cilantro and peel the garlic. • Seed the peppers and cut them into chunks. • Put all the ingredients in a food processor or blender and add the chicken bouillon and the oregano. Many people like to ‘grind’ the oregano by using their hands. To do this rub the oregano between your palms to release the aroma. Dominican oregano has a very earthy and distinctive flavor. • Add the vinegar and half of the water to the blender and puree. Add as much water as necessary to make sure everything is liquefied. • Pour into a clean glass container with a lid and store in the fridge. Wait for a few days before using it to make sure the flavors are well combined, but if neces sary, it can be used right away.

Yellow Rice Puerto Rican Style • 3 cups of rice • 1½ tsp salt • 1 Tbsp vegetable oil • 60ml (¼ cup) tomato sauce • 1 packet sazón seasoning salt with cilantro (1¼ tsp homemade sazón, see recipe on the left page) Boil a little over 3 cups of water in a cast iron pot (or suitable pot for rice). Add the salt, vegetable oil, tomato sauce and sazón. Bring the water to a boil again and add the rice. The water should just barely cover the rice to prevent clumping. Boil the rice in the uncovered pot until the water level is very low, but do not let the water totally evaporate or the rice will burn. Then, reduce the heat to its lowest setting and stir the rice by turning it over in the pot. Cover and cook for another 15 to 20 minutes, or until rice is soft.

Secret Seasoning

Use a package of Italian salad dressing seasonings from the store (like Crazy Legs usually does) to make it quick or make your own version:

• 1 tsp carrot, grated and finely chopped • 1 tsp red bell pepper, finely minced • ¾ tsp lemon pepper • ¹⁄₈ tsp dried parsley flakes • 1 tsp salt • ¼ tsp garlic powder • ¹⁄₈ tsp onion powder • 2 tsp sugar • ¹⁄₈ tsp black pepper • 2 tsp dry pectin • a pinch of ground oregano • Place the carrots and bell pepper on a baking pan in an oven at 120° C (250° F) for 45–60 minutes, or until all of the small pieces are completely dry, but not browned. • Combine the dried carrot and bell pepper with the other ingredients in a small bowl. Mix can be stored in a sealed container indefinitely until needed. 111

CALLIGRAFFITI The Graphic Art of Niels SHOE Meulman

BESTSELLER

MALE FEMALE WE ARE ALL LIVING PROOF THAT 1+1=3 46

MIND MATTER THE MIND DOESN’T MATTER BECAUSE THE MATTER DOESN’T MIND 4

KING CALLIGRAPHER A story is told of

envoy to the calligrapher was curtly dis-

of jars, picks up a brush and, within two

a king who summoned the nation’s best

missed with the same information; that

minutes, has executed the most wonder-

living calligrapher and demanded of him

the drawing was not yet complete. After

fully sinuous design to represent the

to make a drawing to symbolize the king-

years had passed, the king could no long-

kingdom.

dom. The calligrapher reassured his lord

er contain his impatience and stormed

of his loyalty and left to undertake his task.

off to the calligrapher’s studio himself…

The king can scarcely control his rage, ‘If it is so easy, why have I had to wait this

Days passed; then weeks. The king sent a

Niels SHOE Meulman & Adam Eeuwens Language: English Info: 144 pages, 23.4 x 23.4 cm (9.2 x 9.2 inches), 200 illustrations & photos Hardcover / 19.95 € / £ 19.99 / US $ 29.90 / ISBN 978-3-937946-21-4

long?’ Still maintaining his silence, the

pher sitting there quietly, and evidently

calligrapher goes to the back of his studio

quite at ease. He is furious, ‘Where is

to a large alcove with doors reaching from

pening. The messenger returned with the

Author:

The king bursts in and sees the calligra-

messenger to the calligrapher’s remotely located studio to find out what was hap-

my drawing?’ he shouts. At this the cal-

the floor to the ceiling. He opens the

report that the drawing was not ready.

ligrapher bows silently, pulls a large sheet

doors and out pour thousands of study

Months arrived and departed. Every

of paper towards him, sets out a variety

drawings.

RURAL URBAN THE LOWEST AND VILEST ALLEYS IN LONDON DO NOT PRESENT A MORE DREADFUL RECORD OF SIN THAN DOES THE SMILING AND BEAUTIFUL COUNTRYSIDE

Artist Niels “Shoe” Meulman explores the contours of words as images in Calligraffiti – his hybrid art form which blends calligraphy and graffiti. This impressive publication showcases a fine selection of artworks by Meulman as he presents for our viewing pleasure a wonderful series of fast phrases and upbeat witticisms in the form of captivating typographic masterpieces. Every spread offers two interacting visuals. This interplay of contrasts, such as ‘black-white’ or ‘rise-fall’, makes this volume much more than a collection of the artist‘s best work; it unveils the basis of all graphic art.

114

115

SOBER INTOXICATED CURIOUSER AND CURIOUSER! CRIED ALICE

PAGE 110 You make us proud, 2008 Digital vector art for brand manifest and campaign for MTV Networks Benelux. PAGE 111 Everybody else is wrong, 2008 Black permanent marker ink on poly-

PAGE 112 Strike a Poser, 2009

PAGE 114 Not on a road, 2009

PAGE 116 Clock, 2009

Digital vector art for Unruly scarves.

White permanent marker ink on glass,

Limited edition, printed on pure silk.

50 x 70 cm. From the exhibition Le Miroir

The original piece was done with brush

was taken from a crappy GPS device.

polypropene film, 60 x 60 cm.

Grand-touring on the Autobahn, it would

exhibition Different Strokes, Amsterdam,

PAGE 113 Crest, 2008

keep on displaying ‘Not on a road’. It is

Digital vector art for a T-shirt print. The

PAGE 117 nielsshoemeulman amsterdam, 2009

idea for this T-shirt came about when

sicmusic.

facts into a conversation, Shoe designed

END BEGINNING To realize that every end-

this T-shirt for her. Now she can show

ing is immediately the beginning of

off her membership to this dubious elite

something else is to conclude that these

pen and India ink on paper, 20 x 20 cm.

circle without bragging about it.

One of eight designs for a streetwear

PAGE 119 Chico, 2009

ink on paper, 20 x 20 cm.

ful record of sin than does the smiling

MAN BOY ‘PSK, we’re makin that green.

and beautiful countryside.’ Quote from

People always say, What the hell does

The Adventures of Sherlock Holmes by Sir

that mean? P for the people who can’t understand. How one homeboy became

Arthur Conan Doyle.

Unruly scarf design with all four Chic Shock designs, 2009.

Not on a road, on a wall. 140

Some have time on their side, others have Beesmunt on their tits.

Mean? by Schooly D.

Accessories: a silver necklace handcrafted by Annemee Struyk.

A farewell to blank arms. Tattoo by Tycho Veldhoen.

141

SCHWARZ AUF WEISS Volume II Style Needs No Color

SNNC Language: English Info: 144 pages, 24 x 22 cm (9,4 x 8.6 inches), 200 photos and illustrations / Hardcover / 19.95 € / £ 19.99 / US $ 29.90 ISBN 978-3-937946-06-1

Author:

beginning of time’, stop listening because they are full of shit.

Logo for Musicmusic, 2007.

a man.’ From the song PSK, What Does it

two commonly used ideas do not exist. Whenever you hear someone say ‘the

Digital vector art for a tattoo. The original piece was done with brush and India

in London do not present a more dread-

Angle shot of Home Entertainment, a track by Carl Graig.

cardboard packaging for a promotional CD by music production company Mu-

not the type to randomly throw such

Digital vector art for Heineken campaign. The original piece was done with a parallel

range aptly titled Shoe for Heineken.

September 2007. Digital vector art, silkscreened on grey

of ideas he conclusively said to her: ‘You know me now, use that.’ Because she is

watch, are the ones who have time.

PAGE 115 Shopping List, 2009

many ways but if you haven’t got it, you’ll never get it.

Brand bible for MTV Networks. Graphic design by Ward Graumans.

Style Needs No Color works on the notion that excessive colors and flashy techniques should not be used to repair a weak foundation. Theybelieve that artwork should be able to stand alone without unnecessary distractions and therefore SNNC artists restrict their palette to black and white. In the follow-up release to their successful first book, Schwarz auf Weiss II – Style Needs No Color, you can see the stark beauty and striking simplicity of this idea in action. SNNC has invited a diverse range of international artists from their growing network to contribute new black and white, illustrations, vector graphics, street art and graffiti styles to this impressive publication.

Pen on paper, 30 x 20 cm. Shown in the exhibition Calligraffiti, Amsterdam, PAGE 121 knockknock, 2009

private jet. After an interesting exchange

don’t. Usually, the ones who don’t have a

out purpose.

OFFENSE DEFENSE Victory can be achieved in

RURAL URBAN ‘The lowest and vilest alleys

PAGE 120 The End, 2007

to meet starchitect Frank Gehry on his

STRICT LOOSE There are two kinds of people.

an adequate description for people with-

brand. Art direction by Cathal McKee.

SOCIAL SOLITARY When you want to be alone

Day and night are in constant battle. Twice a year it’s a tie.

designer Rebeca Méndez was invited

brush and India ink on paper, 20 x 20 cm. Those who wear a watch and those who

Digital vector art, proposal for a clothing

track by Hudson Mohawke.

December 2008. The title is taken from a

PAGE 118 I know Frank Gehry, 2009

Digital vector art for a watch company. Digital vector art. Original piece with

Vivant, Amsterdam, May 2009. This title

and black permanent marker ink on

propene film, 50 x 70 cm. Shown in the

when you are with company, you probably want company when you are alone.

2 44

Silkscreened, signed and sealed CD packaging for Musicmusic.

GRAFFITI TATTOO VOL. II

dition! now in 3rd e 1 o o tt Ta ti Graffi in the is bestseller Check out th Books! On The Run

Alain KET Maridueña and Don STONE Karl Language: English Info: 240 pages, 24 x 31 cm (12.2 x 9.4 inches), 700 photos and illustrations Hardcover / 29.95 € / £ 29.99 / US $ 39.95 / ISBN 978-3-937946-35-1

Author:

Graffiti Tattoo Vol. 2 is a beautiful and well-researched work of reference that documents the transition that graffiti artists are increasingly making into the tattoo world. Similar to the graffiti movement in which the artists battle with one another in the public eye to be the best and most respected, the same goes within the tattoo world. These spray paint technicians with their color mastery and wild styles are making a splash worldwide and changed the face of the tattoo business. They use a language filled with graffiti style

DENO, KR2 cREw

FUZI, UV TPK

Madid, Spain

n 1989 I started writing with a friend and we created a crew called KR2. It was a lot of fun, bombing trains, making big pieces on the walls. The very “golden years”. I’m still active on the streets when time, my work, my wife and my two kids allow me to escape for a minute and I can go out bombing. But I don’t have the chance as often as I used to. I started doing tattoos in 2002 right after I got my first tattoo done. I realized it was a very creative culture and that I could make a decent and positive living out it. There were no mentors, I learned by myself. I bought a machine and I starting tattooing my friends. I traveled and I inked with very good artists who I also learned from by watching their techniques and styles. After two years of doing my own thing I went to a professional shop, I showed photos of my work and I got a job. I always have my eyes wide open for inspiration. Anything can be a source of inspiration. Ideas are everywhere, on the cartoons of the cereal boxes, on a cartoon series, on the logotype of a truck on the streets, etc. I always look out for ideas to later transfer into tattoos.

My style hasn’t changed much. I started doing what I still do today. I definitely have gotten better with my technique and I see a certain kind of evolution or mutation with my style but the basis remains the same. I have my own drawing style, solid and thick lines, and a lot of black and plain colors. It is always me drawing over a foundation that we could call “traditional occidental tattoo”. I also travel a lot and I work as a guest artist in a few of the best shops around the world, like Tattoo Paradise in Washington DC, Chapel Tattoo in Melbourne, Infamous Tattoo in Stockholm, Family Business in London, Kings Avenue in New York City, Aloha Tattoos in Barcelona, Tatuata in Helsinki, Psycho Tattoo

KEET D’ARms

Pais Noth Sububs, Fance

in Rome, Classic Tattoo in Goteborg, Black Pearl in Norway, Purple Paint in Norway, and La Main Bleue in Belgium. I have a lot of stories, every day something funny or crazy happens. It’s maybe the best work in the world. I’m always around cool people and friends, making jokes and having fun. One day I was inking a big piece on the chest of a guy who was struggling hard with the pain. When we finished he had a big shadow on his pants, he had pissed himself. We didn’t say anything.

Atlanta, Geogia, USA

e and my partners Wish, Dicke and Era started 2ZC in 1988 in Albuquerque, New Mexico. We had all been scratching around for a few years before. We wrote to tell the city who we were. I wrote Stack1. I do pieces when I feel like it and take a tag or two these days, but I wouldn’t call myself “active”. I started tattooing in the mid ‘90s. It was the only thing that married the outlaw nature of writing and art into something I could make a living at. I was taught by Cap Szumski. I made a commitment to give three years of my life to him so that I could learn my craft and trade. I moved across the country without knowing anyone into a situation that was more or less indentured servitude. I made a sacrifice and was rewarded for it. There are way too many young kids who think they should be handed tattooing without giving anything up. They should find another subculture. I like to do tattoos that fit the person who wears it―tough tattoos for men and pretty tattoos for ladies. Classic images never go out of style and there is really no need to “re-invent” anything. Tattooing is an art that is unlike any other as it tends to age with the person it is on. I apply techniques that I was taught that make the tattoo look great for the longest time possible―simple things like outlines, black shades and open skin. I am most well known for being the person that I am. I think that it is impossible to untangle that from my art. I try to make the experience of getting tattooed as memorable as the art is permanent. I like lettering, black and grey, and traditional tattooing. I make tattoos that look like tattoos, not skin paintings. There are almost no similarities between writing and tattooing to me. A client asks to be tattooed and their wishes should be respected since they pay you to execute a job. No one

started writing at the end of 80s to do it like "the real guys." I wrote FUZI, Moloss, Voyou, Tu2, ED, Baby Face, Turbo, Bible and few others. But the name wasn't the most important thing. It was the moment when you write it. I am the fruit of my environment. Graffiti made me. I always considered myself as an artist on a train, on a canvas, on a sheet of paper or, like today, on the skin. It's me, entirely dedicated in a total and sincere expression. To make graffiti as I was able to make it involved spending all of my time and energy on this activity—stealing, bombing, the locations, painting the line and its "maintenance”, the fights with other crews to assert ourselves. Whenmy activity on trains slowed down little by little, the drawing alone could not compensate me. So I opened myself to different mediums (painting, writing, sculpture, tattoo)—each one revealing and developing a facet of my personality. I always keep a selfeducated approach and prefer the freshness of the discovery. I began tattooing a few years ago to discover another means of expression more suited to my new life instead of illegal art every day. I have learned tattooing naturally and alone with no master or idol. It was just a perpetuation and further development of my style acquired in the yards. As with my graffiti I took history as a basis and privileged the illegal sides; the prison tattoos and gangs were my influences. I refreshed those to match our time, mixing traditional contemporary tattoo themes with my background—graffiti, violence, humor, sex and drugs. I have a shop in my new town Perpignan (near Spain) and I’m tattooing a lot in galleries for shows and in kitchens or your living

EAZ

San Jose, Califonia, USA

hile I was born and raised in New Jersey, USA, Union City and Fort Lee is where I would spend most of my youth. I started writing when I was a kid because its influence was all around me, impossible to resist. I have slowed down a lot on painting due to dedicating so much of my time to tattooing and drawing. I have been known to come out to paint here and there. I have been a bit more comfortable tattooing these days so I actually have been feeling the urge to paint again. I have been tattooing for almost two years. The catalyst came way before that though. Over the years I grew tired of the corporate

CirCus TaTToo alcorcon Madrid, spain www.circustattoomadrid.com

www.eaz-one.com eaz@eaz-one.com facebook.com/eazonerocs twitter: @Eazone

50 künstler name

burners and characters that are a departure from the standard tribal design and sailor styles. While the first book allowed a rare glimpse into this movement, this much larger successor provides a full-blown compendium of these fantastic pieces on skin. Graffiti Tattoo Vol. 2 features more than 65 of the best artists and international stars of the scene.

künstler name 51

scenarios that I always found myself in as a graphic designer. I was successful with it, working with huge companies like Pfizer and Nintendo. I won a few awards for the company I worked with but that was never the real me. I didn't feel comfortable having to "sell" my design ideas to a boardroom full of clients and explain why I did this or that. Nothing that I was doing during my design career was “me”. It was all a soulless shadow of me. My boy Adrian Roots from our shop Scared Roots Tattoo in San Jose helped me more than anyone else. He shared a lot of his tattoo techniques with me. Even before we officially opened he was showing me a lot of important things I wouldn't have known otherwise. To me tattooing is art. If it is dope and your artist is dope it deserves to be on your skin. If you can dream it you should wear it. There is no reason that a person getting tattooed cannot collaborate with a good tattoo artist and not come up with something great,

with or without meaning. "Graffiti" tattoos are one of the things I feel most strongly about. If I am creating graffiti style work on people I want to be able to proudly say I did it. Some dudes are tattooing really embarrassing shit graffiti letter styles on people's skin. I mean seriously, it’s a tattoo, not a practice wall.

60 künstler name

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room—everywhere you call me. Today all my "clients" are more and less associated with the art world. Those who come to see me want some Fuzi. I only tattoo my drawings and consider each piece unique; like a painting, it’s a piece of me. The guys don’t come to me by coincidence; they want to have a tattoo by the ignorant master. I have tattooed in trains, boxing rings, drug dealer’s houses, on rooftops, in saunas, in art galleries, in middle-class houses, trader mansions, and even crackhouses. The tool is just a way to give of who I am, to express myself with the least outside interferences possible, assimilating the technique in my way with my errors, which will accentuate my personal touch. This was it for the tattoos. I saw a link between my street culture and this art that I considered as rebellious. It is pretty different today. I brought my sincerity into my tattooing and the result is a really atypical style that matches my graffiti approach.

fuziuvtpk@gmail.com fuziuvtpk.blogspot.com

88 künstler name

asks for graffiti. It is an expression of who you are as an individual and a way to communicate with other writers. It is the best and worst kind of ego trip. Tattooing has changed significantly since the TV show boom. Tattooists have proliferated like “street artists” who wheat-paste garbage everywhere. Every kid that can draw a bad rose thinks they can help themselves to some of the money I feed my family with. They want all the glory with none of the risk or sacrifice. Customers have changed as well. No one wants a tattoo picked off the wall, yet everyone thinks the first page of a Google search is unique. I’m in it for the long haul, so I’m not “just tattooing until my painting career takes off ”. I love this life I chose. More tattooists should keep their “lifestyle” to themselves. Cheap fame just blows up the spot. One of my crazy tattoo memories was tattooing a tiny lightning bolt on this nervous guy who passed out a couple of times while getting a five-minute tattoo. The next time we saw him he was on his way to Florida in a stolen car with two hookers and some contraband. It was as if this tiny tattoo he got was his reason for letting loose and living his life, however crazy that might have been. You never know what tattooing can do for you.

keet313@gmail.com souThErN sTar TaTToo 736 Ponce De Leon ave. suite a&B atlanta, Ga. 30306, usa www.southernstartattoo.com

künstler name 89

102 künstler name

künstler name 103

künstler name 133

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künstler name 157

LUIs mENDONçA La Linea de la Concepción, Cadiz, Spain

started painting as a kid at age five or six. My first paint on a wall was at age fourteen. It was the first graffiti ever painted in our neighborhood La Linea de la Concepcion. My crew was composed of Dani Muñoz, Kaberna and I, we were writing sk8 and rap for life! I didn’t write much at the time since there were too many limitations. I started painting aliens and things related to hip hop culture. Believe me, I was writing way less that what I wanted to write. Later I started doing jams and showcasing the most respected graffiti artist from our area. These days I don’t paint anymore. I am more an event producer today and a tattoo artist. I always was into tattoos and all kinds of sketches. I began learning tattooing around 1996-7 in a Rock shop on Gibraltar, an English colony. I worked there for many years selling clothes at the store until the day that I decided that I needed a profession so I do not need to work for anybody else and have fun at work. There is nothing better that to sell something (tattoos) that is eternal, for life. I had a mentor for four years. He was more into simple and linear designs, with good style and technique but not too artistic. I was more into realism, which I learn through great tattoo artists that inked my skin. I also learned a lot at the tattoos conventions where you can meet a lot of talented and cool people and a lot of fresh styles. Every year I’m getting better and perfecting my craft and loving more what I do. I see my ideas more clearly now and its becoming easier to bring them to the skin.

FRANZ JägER Copenhagen, Denma

W LE Fix TaTToo Guldbergsgade 18 kld. Tv 2200 Copenhagen N Denmark www.lefix-tattoo.com info@lefix-tattoo.com

78 künstler name

künstler name 79

80 künstler name

here I grew up there was not much to do for young teenagers except for smoking weed and stealing cars and so on. Then along came this thing called graffiti and I pretty much got hooked on it right away. I started out writing in the mid 1984 or 1985. In the beginning I had different kinds of tags, to be honest I can’t even remember most of them but three or four years later I started writing the tag “Faze” and have kept that ever since. I started out tattooing in 1999 – then I suffered a knee injury that forced me to stop working construction and seek a career

change. So it was more by accident that I got into the tattoo game. The place I started learning was an old school biker shop where every aspect of it was done in an old school way. When I think back it was kind of crazy but also fun to have been a part of that particular period of tattooing in Copenhagen. So the learning process for me was strict but also fun. I do many different styles but if there is something I am known for then it is that I do it MY way. I’m inspired by various tattoo artists, especially old American flash art and later on in my career old school Japanese style

BLaCk DraGoN TaTToo Coronel Cadalso # 2 La Linea de la Concepción Cadiz, spain

΋ künstler name 81

132 künstler name

blackdragontattoopiercing@hotmail.com

MURALISMO MORTE The Rebirth of Muralism in Contemporary Urban Art

MURALISMO MORTE

COLOR ME MANGA GRAFFITI

II.

ABAnDOnED SPACES

Shut down factories, crumbling apartment buildings, single fragments, huge, rusting steel containers and abandoned wooden shacks. The muralism of abandoned buildings thrives in the most varied atmospheres and places. Muralists can work freely since they are not accountable to any owners. That’s why their styles and subjects are particularly diverse. While the spanish muralist aryz creates large-scale comic characters (see pages 66 – 69), using huge walls as practice surfaces, the French artist iemza (p. 80 – 83) integrates whole spaces. He covers the walls with drawings and incorporates the ground and ceiling in his site-specific paintings. an atmosphere of decay permeates his work.

aryz and iemza work with clear outlines. Their artistic interventions are clearly defined. kim köster’s interventions (see p. 84 – 87) integrate themselves into their surroundings to the point that the boundary between art and location blurs. His poetic works are quiet additions to the abandoned idyll. They show tranquility and isolation.

ful everywhere. in denmark people sometimes seek out abandoned underground rooms. in Belgium the search seems to be easier; the northern village of doel (p. 102) is almost completely empty and has waited for decades to be torn down. it’s paradise on earth for muralists. The muralism of abandoned buildings has been the focus of many exhibits. The Milanese project centosette (p. 72) took place illegally at an abandoned site in the south of the Lombardic metropolis. Within hours, huge factory buildings were painted; all without a curator and outside of institutional limits. The organizers spoke of a performance in which everyone could participate. With the exhibit ‘Muralismo Morte’ (p. 92), the muralism of abandoned spaces entered the art world. The exhibition took place in a center for contemporary art and was split into authorized and unauthorized sections. While murals, sketches, videos and photos were displayed in the official exhibit space, art was also produced in an empty hall in saxony’s government district – the Muralismo Morte Museum of dresden.

The Tuscan artist Moneyless (p. 120 – 121) gives form to contrasts. His clearly defined, geometrical constructions seem like foreign objects. and yet the quietude of the location reflects the walls and they merge together. left page:

The text ‘going underground’ (p. 112) shows how complex the search for available walls is. abandoned factories aren’t plenti2

canovelles / spain, 2009

granollers / spain, 2010 top:

Sepe, Saiko, Esze, Warsaw / poland 2010

bottom: right:

Sepe, ‘WaiTing’, kluczbork / poland, 2010

Sepe, ‘He(LL)aVen’, kluczbork / poland, 2010

II. ABAnDOnED SPACES

Jens Besser Language: English 200 pages, 21 x 28 cm (11.2 x 8.3 inches), 300 photos Hardcover / 24.95 € / £ 24.99 / US $ 34.95 / ISBN 978-3-937946-29-0

‘HoMe oF THe HoMeLess parT 2’, Fokus Festival, görlitz / germany, 2009

granollers / spain, 2010

next spread: Aryz,

Author:

top left:

Resto, ‘keep iT spor-T’, Belgium, 2010

bottom left: right:

Info:

görlitz / germany, 2009

next spread: Zonenkinder,

II. ABAnDOnED SPACES

top left and right: Aryz, bottom: Aryz,

left: Kim Köster, right: Irgh

Resto, ‘carToad’, Belgium, 2010

Resto, ‘Foooood’, Belgium, 2010

next spread: Seize Happywallmaker, ‘MeMoire exTra TerresTre’, Bayonne / France, 2009 “a coloristic alien invasion.”

cheb / czech republic, 2009

(Wurstbande), Berlin / germany, 2010

106

107

II. ABAnDOnED SPACES

Muralismo Morte reveals the vibrancy of a new type of muralism as it rises from the shadows of urban spaces in metropolises worldwide. From much celebrated pieces in prominent places to those hidden in anonymous, decayed ruins, it features the largescale murals and small interventions of some of the most exciting international artists associated with this movement. Muralist and art activist Jens Besser uncovers these treasures and offers special insights into the emerging scene that is coloring our urban experience.

COLOR ME MANGA GRAFFITI

top: 108,

‘BLack TriangLe’, zaragoza / spain, 2007

top right: 108 & Moneyless, bottom right: 108,

116

‘BLack & WHiTe / BLack TriangLe’, genova / italy, 2009

‘BLack sHape’, Fame Festival, grottaglie / italy, 2010 117

COLOR ME MANGA GRAFFITI MANGA-GRAFFITI-AUSMALBUCH

NEW

COLOR ME MANGA GRAFFITI

COLOR ME MANGA GRAFFITI COLOR COLOR MEME MANGA MANGA GRAFFITI GRAFFITI

Available from all major wholesalers and English, German Info: 48 pages, 29.7 x 21 cm (8.3 x 11.7 inches), 30 illustrations and photos / Paperback / 6.95 € / £ 6.99 / US $ 8.95 ISBN 978-3-937946-42-9 / English / ISBN 978-3-937946-43-6 / German Language:

‘Color Me Manga Graffiti’ is a coloring book with drawings by the Japanese female graffiti artist Shiro. Her cute and funny characters and graffiti styles appeal to children as well as to the young at heart. Shiro’s cheerful mix of Hip Hop flavor and mangainspired characters offer inspiration in fun coloring designs for people of all ages. Shiro is a female graffiti artist from Japan. She expresses her own vision of life through her original characters and she is inspired by the creativity of old-school Hip Hop. Shiro loves traveling, painting, making friends and leaving her footprints all over the world.

COLOR ME GRAFFITI 2

Language: English Info: 48 pages, 29.7 x 21 cm (8.3 x 11.7 inches), 30 illustrations and photos / Paperback / 6.95 € / £ 5.99 / US $ 8.95 ISBN 978-3-937946-30-6

From the successful series that aims to educate and delight, Color Me Graffiti is back with an exciting, new coloring adventure. Color Me Graffiti 2 continues to deliver the freshest graffiti styles, characters and illustrations that you have grown to expect. Color Me Graffiti 2 is a fun activity book for urban culture addicts of all ages to savor.

GRAFFITI-AUSMALBUCH Deutsche Bundesländer und Landeshauptstädte

Hip Hop Stützpunkt Language: German 48 pages, 29.7 x 21 cm (8.3 x 11.7 inches), 60 illustrations and photos Paperback / 6.95 € / £ 5.99 / US $ 8.95 / ISBN 978-3-937946-13-9 / German

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Graffiti fördert im frühen Alter Kreativität, Farbenlehre und das Lernen von Buchstaben & Typografie! Dieses Buch zeigt 28 heimische Graffiti-Künstler mit Illustrationen zu ihren jeweiligen Bundesländern und Landeshauptstädten.

SPECIAL EDITION

2013 This book series established by From Here To Fame Publishing provides important snapshots of graffiti history, urban art, and legends in the making. A variety of urban culture-related topics are featured which explore the work of an individual artist, crew, collective, theme, event or photographer within the genre. Together, the series creates an exclusive and welldocumented library, offering a lifetime of inspiration for all aspiring artists, collectors and fans of personal expression to enjoy.

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‘Meeting of Styles’ is the offspring of the legendary ‘Wall Street Meeting’, an international graffiti and Hip Hop event in Germany, where graffiti artists from all over the world gathered in the spirit of collaboration. In the late 1990s this legendary event welcomed hundreds of artists and more than 25,000 international visitors to enjoy the art in process. Meeting of Styles has launched more than 130 events and attracted more than 150,000 spectators across cities such as New York, Chicago, London, Paris, Buenos Aires, Venice, St. Petersburg and Sofia.

MEETING OF STYLES Manuel Gerullis English Info: 224 pages, 23.5 x 16 cm (9.25 x 6.3 inches), 500 photos & illustrations Softcover 14.95 € / £ 14.99 / US $ 19.95 ISBN 978-3-937946-39-9 Limited collector’s edition 19.95 € / £ 19.99 / US $ 24.95 978-3-937946-40-5 Author:

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On The Run Books display Free for bookstores, Hip Hop and urban art stores.

SPECIAL EDITION

ON THE RUN BOOKS # 16

New York City is the birthplace of style writing. It is here that young graffiti writers first began to transform letters from simple tags on a wall to elaborate, masterpieces of colorful letters embellished with characters which depicted friends and heroes alike. One of their favorite painting spots since the late 1970s was a schoolyard in Harlem, which later became New York City’s official Graffiti Hall of Fame. Its motto, “Strictly Kings and Better,” dared only the most accomplished graffiti artists to leave their marks, and over the years the word spread beyond New York around the world. n

HALL OF FAME – NEW YORK CITY

Alain KET Maridueña English Info: 224 pages, 23.5 x 16 cm (9.25 x 6.3 inches), 550 photos & illustrations Softcover 14.95 € / £ 14.99 / US $ 19.95 ISBN 978-3-937946-36-8 Limited collector’s edition 19.95 € / £ 19.99 / US $ 24.95 ISBN 978-3-937946-37-5 Author:

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As long as stocks last: ON THE RUN BOOKS are also available as LIMITED COLLECTOR’S EDITION

For the connoisseur we present the expertly crafted silver embossed hardcover edition with dust jacket and stitch binding. Print run limited to 1,000 pieces.

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‘ROUGHNECK REALiTY’ by VULCAN, SPON / 1993

‘Roughneck Reality’ was a real accomplishment; the wall is huge and he did it all by himself. It’s something “likeVulcan’s four handball courts put together—no piece of cake. I don’t think there is another wall this big in the city. To get this done you have to lay it out right and it takes a lot of paint. The piece spoke about what was happening in the city and the neighborhood at the time—reality was based on being a roughneck, a hoodlum. PART ONE

‘GRAFFiTi HALL OF FAME’ and ‘PLASMATiCS’ by DEZ, VULCAN / 1981 / Photo by Martha Cooper 14

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BiO, BG183, HOW, SEN2, NiCER, NOSM / 2008 / Photo by Roman Akkerman

‘THROW-UPS’ by BG183, NOSM, NiCER, BiO, HOW / 2008 / Photo by TATS Cru REVOLT, Hurst (DOVES, JAMES TOP), Characters by DOVES / 2003 148

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ZEBSTER – AKA ZEB.ROC.SKI

ON THE RUN BOOKS # 14

HOW&NOSM – THE BRAZIL DIARIES

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ON THE RUN BOOKS # 13

FAITH 47

MONSTERS OF ART – 20 YEARS OF HAVOC

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SPECIAL EDITION

Akim Walta English Info: 144 pages, 23.5 x 16 cm (9.25 x 6.3 inches), 350 photos & illustrations Softcover 9.95 € / £ 9.99 / US $ 14.95 ISBN 978-3-937946-33-7 Limited collector’s edition 14.95 € / £ 14.99 / US $ 19.95 ISBN 978-3-937946-34-4

Amber Grünhäuser English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches), 250 photos & illustrations Softcover 9.95 € / £ 9.99 / US $ 14.95 ISBN 978-3-937946-31-3 Limited collector’s edition 14.95 € / £ 14.99 / US $ 19.95 ISBN 978-3-937946-32-0

Amber Grünhäuser English Info: 224 pages, 23.5 x 16 cm (9.25 x 6.3 inches), 470 photos & illustrations Softcover 14.95 € / £ 14.99 / US $ 19.95 ISBN 978-3-937946-68-9 Limited collector’s edition 19.95 € / £ 19.99 / US $ 24.95 ISBN 978-3-937946-69-6

English 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches), 135 photos & illustrations Softcover 9.95 € / £ 9.99 / US $ 14.95 ISBN 978-3-937946-08-5 Limited collector’s edition 14.95 € / £ 14.99 / US $ 19.95 ISBN 978-3-937946-09-2

This book is Hip Hop history par excellence. Zebster is a graffiti writer, music producer (Zeb.Roc.Ski), historian and organizer of international Hip Hop projects. He began breaking and writing graffiti in the early 80s and is considered one of the top European writers of the era. But Zebster gained his fame in the global Hip Hop community for many other feats as well. His life story is fascinating, hyperactive and at times controversial. Get it from the source, from the founder of On The Run, the Hip Hop label MZEE Records and From Here To Fame himself. n

The Perre twins aka How&Nosm are European graffiti artists and professional muralists residing in New York. There has been much interest in their new work. In times when a multitude of colors, techniques and effects tend to overcompensate for style, How&Nosm take the opposite approach. With a limited color pallet in hand, the brothers create eye-catching murals laced with social commentary. Their signature ‘black, white and red’ intricate patterns, stark line work and stylized forms allow the clarity of the message conveyed come to the fore. How&Nosm – The Brazil Diaries is an intimate look at their art explorations in Brazil.

Europe’s most notorious train crew, Monsters of Art, celebrates 20 years of train havoc. It is with great pleasure that we honor their anniversary with a monster edition of ON THE RUN. Join us for a rare and privileged glimpse into the unruly world of MOAS. With over 200 pages that detail MOAS’s history and unique crew concept, along with classic tales from the train yard, including great escapes, writer beef, legendary busts, extreme graffiti feats, trains, trains and more trains. This is a must-have for all diehard fans of train graffiti. MOAS—20 years on the run and still going strong. Don’t listen to the rumors; get the story direct from the source.

For lovers of poetic observations with social nuance, Faith 47 creates thoughtprovoking street art that crosses artistic and cultural boundaries. Her art takes on the form of metaphor, both abstract and definitive in meaning, plucking at our heartstrings in harmonious and sometimes dark tones. Old factories, dusty side roads and inner-city alleyways provide a fitting canvas. Faith’s interactions resonate with our fragility and our elusive relationship with dreams, memory, human interaction and urban decay. Established internationally, Faith exhibits in galleries and participates in projects across the globe.

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ON THE RUN BOOKS # 8

Amber Grünhäuser English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches), 250 photos & illustrations Softcover 9.95 € / £ 9.99 / US $ 14.95 ISBN 978-3-937946-22-1 Limited collector’s edition 14.95 € / £ 14.99 / US $ 19.95 ISBN 978-3-937946-23-8

Alain “KET” Maridueña English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches), 230 photos & illustrations Softcover 9.95 € / £ 9.99 / US $ 14.95 ISBN 978-3-937946-24-5 Limited collector’s edition 14.95 € / £ 14.99 / US $ 19.95 ISBN 978-3-937946-25-2

Amber Grünhäuser English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches), 250 photos & illustrations Softcover 9,95 € / £ 9.99 / US $ 14.95 ISBN 978-3-937946-66-5 Limited collector’s edition 14,95 € / £ 14.99 / US $ 19.95 ISBN 978-3-937946-67-2

Amber Grünhäuser English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches), 230 photos & illustrations Limited collector’s edition 14.95 € / £ 14.99 / US $ 19.95 ISBN 978-3-937946-65-8 (only available in Germany)

Sabe is a true master of styles. Adept on many levels, he is able to switch between advanced mechanical compositions, bubble styles, throw-ups, characters and photorealism with ease. With a ‘paint now, think later’ attitude he mixes up these styles to suit the occasion, leaving a legacy of playful hybrids that sit left of mainstream. Never one to be called a slacker, he has an execution rate that leaves most gasping for air.

Ghost is one of the last purveyors of the New York City train writing era. He has developed his own funky letter styles that defy convention. A mad bomber at heart, he thrashes out a few hundred throw-ups without a second thought. His styles possess that same casual blast, with a combination of loose letters and psychedelic cartoons that drip off the wall with his boogaloo charm.

This book is the long-awaited and fully revised edition of the legendary Jepsy On The Run black book. Jepsy of TRD (The Real Deal) made a name for himself in the mid 90s by setting the European transit lines ablaze with his classic New York City styles and elaborate characters, executed with clear-cut precision. Full aesthetic production like this on trains was and still is a rare and wondrous sight. Naturally, Jepsy gained international fame. Now, back by popular demand, this edition is a musthave for all die-hard fans of steel burners. Its predecessor became a much soughtafter collector’s item after its initial success in 1997.

Acclaimed graffiti collective The Exchange has created a stir with a dynamic online style dialogue. The idea behind the project is for members to pair up, trade letter styles and rock diverse styles outside of their usual comfort zones. These experiments are then posted online to be applauded and critiqued by members. A verbal and visual style assault from some of the finest active writers across the globe: Ewok, Revok, Rime, Persue, Yes 2, Pose, Stae 2, Snow, Bates, Serch, Poet, Kacao 77, Scotty 76, Askew (just to name a few). This book is jam-packed with expert style antics. You might want to get your sketchbooks out and start taking notes.

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GHOST – RIS CREW

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JEPSY – THE REAL DEAL

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THE EXCHANGE

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ON THE RUN BOOKS # 6

ON THE RUN BOOKS # 5

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Alain “KET” Maridueña English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches), 230 photos & illustrations

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New York City – Black Book Masters

BESTSELLER

ON THE RUN BOOKS # 7

Graffiti Tattoo – Kings on Skin documents the transition that graffiti writers are increasingly making into the tattoo world. These spray paint technicians are making a splash worldwide with their color mastery and wild styles, creating a new visual language on skin that includes letters and boldness, burners and characters. Join us in celebrating the artwork of the best artists who have made the transition from the streets to the tattoo shops around the world, including Jason Kundell, Mr. Went, Ces, Sabe, Timmi Mensah, Circle and many others.

GRAFFITI TATTOO – KINGS ON SKIN Alain “KET” Maridueña English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches), 230 photos & illustrations Softcover 9.95 € / £ 9.99 / US $ 14.95 ISBN 978-3-937946-62-7

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In God I Trust / 2007

PoRTland, oReGon, usa

Tattoos have become so widespread, I have clients these “days from all walks of life, and all ages. I have fifty-yearold-plus government workers to eighteen-year-old college students and everything in between. JASON KUNDELL

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When I was about thirteen I started writing graffiti. Back then, at least in my group of friends, most of us got into it. It was just sort of what you did at the time in Southern California. You skateboarded or surfed, listened to punk and some Hip Hop, and you did graffiti. Or you were a jock and you didn’t do any of those things. For me there was something really fucking cool about going to a blank wall and making it into something so much more so quickly. It’s hard to say exactly what got me into it but once I was exposed I couldn’t stop thinking about it. My very first tag was Sync. But it turned out there was already someone who wrote Sync from the TCF crew in the valley not too far from me. After a year or two I just sort of got the name Bles. Not exactly sure how it found me or me it but we have been together ever since. left page: Dragon with blossoms back piece / 2009

I’d say my style is kind of between older traditional graffiti and the really good, crazy stuff that other guys are doing. People like Revok, Krush, Saber, Zes, and Aloy—to me these guys look like they have the future of graff. I think everyone in AWR would describe my style as meat and potatoes, in a good way though. Good meat and potatoes. I got into tattoos really early on. When I was a teenager I couldn’t wait to get tattooed, so as soon as I turned eighteen I started getting tattoos. Vision from Venice gave me some good people in the Bay Area to get tattooed by so that’s what I did. I had such a great time and right from the start I knew that’s what I needed to be doing. I began tattooing towards the end of 1996. I had a good friend who had recently started working with AWR (Paco Excel), and he and his partner at the time (Adrian Lee) offered to teach me. One of the really big challenges was that most of

what I drew was just lettering; in tattooing you have to learn how to draw everything. Also no matter how good you are at graffiti you have to start from scratch in tattooing all over again. No matter what, that’s it. You suck all over again. For me there are a few similarities between graffiti and tattooing but I think my background as a writer helps me best with things like lettering and fonts. That type of stuff, along with coloring and putting together color schemes, comes very naturally from all the graffiti. Aside from that I don’t think there are too many similarities between them. These days there are a lot of people who inspire my tattoos. Some of the main ones are the people I have become friends with or worked with over the years. I have had the good fortune of working with some amazing people all over the world and they have all helped my tattooing a lot. In the beginning, when I first started tattooing or even before I started, it was mostly all the people in the

Keepers of the light / 2009 63

Clown brain / 2007

War in the streets / 2006

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Various back pieces / 2000-02

A selection of letter-based tattoos / 2000

both pages: European interpretations of Asian styles / 2007-09 72

Sold out!

Smash 137 – Smash Proof

Amber Grünhäuser English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches), 230 photos & illustrations Softcover 9.95 € / £ 9.99 / US $ 14.95 ISBN 978-3-937946-56-6

Black books are not just glorified sketch books; they are the lifeblood of a writer, a communication tool and a source of pride. Within the pages of their black books, writers try out styles, plan their next pieces, create colorful burners and collect signature styles from other writers. New York City Black Book Masters pays homage to the black book with an intimate collection of personal drawings from some of New York’s finest old school and new school writers, the likes of Riff 170, Noc 167, Case 2, Chain 3, Dondi, Erni, Daze, Iz the Wiz, Lady Pink, Zephyr, Ghost, Freedom, T-Kid 170, Cope 2, Nic One, Ewok One, Zimad and many more.

An in-depth look at a style in flux, Smash 137 – smash proof traces the various style excursions and developments of Smash 137— one of Europe’s finest contemporary style writers — as he chases the elusive ‘perfect style’. Never content with resting on his reputation or accepting invogue styles, Smash keeps busy mixing it up and pushing his forms to the limit. He is renowned for executing complex transitions and ideas under the guise of a simple veneer. Don’t be misled — behind the bubbly persona and swing of these so-called ‘simple’ letter styles is a subtle but powerful punch. This is a work in progress full of interesting twists and turns.

ON THE RUN BOOKS # 4

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ON THE RUN BOOKS # 2

ON THE RUN BOOKS # 1

Alain “KET” Maridueña English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches), 260 photos & illustrations Softcover 9.95 € / £ 9.99 / US $ 14.95 ISBN 978-3-937946-58-0 Limited collector’s edition 14.95 € / £ 14.99 / US $ 19.95 ISBN 978-3-937946-59-7

Don Stone Karl English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches), 230 photos & illustrations Softcover 9.95 € / £ 9.99 / US $ 14.95 ISBN 978-3-937946-54-2 Limited collector’s edition 14.95 € / £ 14.99 / US $ 19.95 ISBN 978-3-937946-55-9

English 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches), 260 photos & illustrations Softcover 9.95 € / £ 9.99 / US $ 14.95 ISBN 978-3-937946-52-8 Limited collector’s edition 14.95 € / £ 14.99 / US $ 19.95 ISBN 978-3-937946-53-5

Alain “KET” Maridueña English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches), 535 photos & illustrations Softcover 9.95 € / £ 9.99 / US $ 14.95 ISBN 978-3-937946-50-4 Limited collector’s edition 14.95 € / £ 14.99 / US $ 19.95 ISBN 978-3-937946-51-1

Part One – The Death Squad is truly sensational! The first book to document the artistic impact of Part One – TDS, one of NYC’s most influential graffiti style writers, from the developmental years of mid 70s subway style writing until now. Jam-packed with exclusive stories and images from a bygone era; growing up in Spanish Harlem, subway graffiti in the 70s and 80s, The Death Squad years and more recently the Hall of Fame.

Cubabrasil was the first-ever attempt to bring aerosol art to the tropical locale of Havana. This book documents the creative fusion of Latin American aerosol stars like Os Gemeos, Vitché, Nina and Joana with German graffiti writers Won, Neon,Cemnoz and Stone, alongside some of Cubas best muralists and the German video artists BerlinBeamBoys. The fruitful outcomes are captured in a series of exclusive essays and pictures from beginning to end, which make the book an important read for those interested in street art’s international story.

Logan has established his reputation as one of aerosol art’s worldwide heavyweights, specializing in murals, characters and illustrations. Having bridged the gap between spraycans and tattoo machines, Logan has become a master in graffiti-influenced tattooing. Check out this Sevillan’s résumé as he takes the world by storm! The book comes with a ton of exclusive texts and pictures.

Sento, the self-proclaimed ‘king of swing’ has consistently pushed the boundaries of style writing to create a unique slant that references the history of graffiti all rolled into one Sento-centric mash up complete with comical letters and interesting connections. These colorful masterpieces with quirky designs have inspired generations. Sento was always a prolific train writer and continued to paint trains well into New York City’s clean train era.

Part One – The Death Squad

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Logan – Seville’s Finest

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Sento – The Fantastic Partners

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THE NASTY Terrible T-Kid 170

STREET PLAY Photographs by Martha Cooper

English 120 pages, 21 x 24 cm (8.3 x 9.4 inches), 100 duotone photographs Softcover 19.90 € / £ 19.90 / US $ 24.95 ISBN 978-3-937946-15-3 Hardcover 29.95 € / £ 29.95 / US $ 29.95 ISBN 978-3-937946-16-0 Language:

Julius Cavero Language: English, French Info: 200 pages, 22.5 x 30 cm (8.9 x 11.8 inches), 200 photos & illustrations Hardcover 34.99 € / £ 34.99 / US $ 34.95 EU / ISBN 978-3-937946-11-5 / Engl. USA / ISBN 978-3-937946-10-8 / Engl. ISBN 978-3-937946-12-2 / French

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Martha Cooper’s Street Play is a captivating collection of heartwarming photographs of children at play in the harsh urban wasteland that was New York City’s Lower Eastside in the 70s. It shows the creative and indomitable spirit of NYC kids as they turn their inhospitable environment into an adventure playground.

The Nasty Terrible T-KID 170 is an uncensored Bronx Hip Hop story. This autobiography chronicles the life of Julius Cavero, aka T-Kid, a gang member turned graffiti writer and style writing mentor. It retraces his colorful life from the early 1960s to 2005. Alongside his artwork and painted trains are written accounts of a ghetto childhood, his gangbanging years and daring feats of graffiti. T-Kid won fame early on with sharp styles that have inspired generations since

BACKJUMPS

IRON CITY

PUBLIC WALL WRITING IN PHILADELPHIA

WE BE GIRLS

The Live Issue #3

SALE!

Graffiti Dortmund

SALE!

SALE! Willem Stratmann, Don STONE Karl Language: English / German Info: 320 pages, 16 x 23.5 cm (6.3 x 9.25 inches), 600 photos & illustrations Softcover 14.95 € / £ 14.99 / US $ 19.95 ISBN 978-3-937946-27-6 Author:

English 156 pages, 16 x 23.5 cm (6.3 x 8.3 inches), 550 photos & illustrations Softcover / 5,00 € ISBN 978-3-937946-17-7 (only available in Europe, except for the UK)

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Back Jumps – The Live Issue #3 documents Berlin’s original, most authentic and lively street art exhibition. In addition to showcasing the artwork, installations, and urban interventions from twenty-four international street artists, the book includes related essays, numerous photographs and an extensive visual and written report on the first two exhibitions of the series.

The first book focusing on girls in Hip Hop culture with international artists speaking their piece.

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Megawords Magazine English Info: 96 pages, 24 x 34.2 cm (9.4 x 13.5 inches), 100 photos Softcover / 9.95 € / £ 9.99 EU / ISBN 978-3-937946-07-8 (only available in Europe)

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English / German 128 pages, 250 photos & illustrations Hardcover / 10,00 € ISBN 3-0-010224-0 (only available in Germany)

Writing culture celebrated at the place of its birth, Public Wall Writing in Philadelphia is a collection of photographs that chronicle the history of wall writing in Philadelphia from the late 1960s through to the early 1980s. As youth discover the power of the written word in public spaces, they scrawl social commentary, political swipes, declarations of love, names and basic signs of existence across the city. The book captures the zeitgeist of that period of writing and a fragment of Philadelphia’s urban life. n

The city of Dortmund lies in the industrial heart of Germany. From the early days on, it played a significant role in Graffiti. Writers such as Rio, Chintz or Anger affected the entire nation with their style and hardcore bombings. Iron City shows the colorful development of illegal piecing on trains and walls from the first days in 1983 to 2002.

FROM HERE TO FAME Publishing Marienburgerstr. 16A | 10405 Berlin Tel.: +49 (0)30-210 21 86 70 | Fax: +49 (0)30-21021 86 77 www.fromheretofame.com | info@fhtf.de