From Here To Fame

Koe Rodriguez

James “Koe” Rodriguez is a recognized visual artist, Hip-Hop scholar and an entrepreneur. His work has appeared in published books, domestic and international magazines, documentary films, group photo exhibitions and on lifestyle apparel. Over the years he has interviewed and captured such notables as: The Cold Crush Brothers, Rakim, LL Cool J; Jay-z, KRS, Wu-Tang Clan; Kenny Dope, the TATS CRU and Sal Abbatiello of the Disco Fever.

In 2005, Rodriguez curated his first group photo exhibition in Brooklyn, New york entitled ‘3 The Hard Way.’ The exhibition featured the works of renowned New york photographers, Joe Conzo, Ernie Paniccioli and Jamel Shabazz, and represented the first time all three photographers exhibited their timeless works under one roof. That year, Rodriguez would go on to pen a powerful afterword in Shabazz’s acclaimed book ‘A Time Before Crack’ before heading to Paris, France to helppromote the seminal sneaker documen - tary, ‘Just For Kicks,’ in which he co-starred.

Rodriguez is the Owner / Founder of Koe Rodriguez LLC, a sole proprietorship specializing in creative representation and media licensing. The company represents a number of renowned clients, such as: Martha Cooper, Ernie Paniccioli, Joe Conzo; Jamel Shabazz, Henry Chalfant and Thirstin Howl the 3rd. In conjunction with his clients, Rodriguez has worked on a number of international lifestyle projects with Adidas, Montana Cans, Sony; Nike, TriStar Pictures, Puma; ESPN+, Beyond The Streets and the Rock & Roll Hall of Fame, to name a few. He is the owner / founder of the curatorial apparel and art brand ATW (www.atwcrew.com).

The following pages feature an interview Koe did with legendary documentarian Henry Chalfant celebrating 40 years of the film Style Wars.

I’ve known the great Henry Chalfant for over 3 decades. It seems like yesterday that I was a teen trekking from Jersey City to his studio at 64 Grand Street in Manhattan. Hallowed ground by the late 1980s, Henry’s spot was an official graffiti hub that many near and far made pilgrimages to. In was in that legendary loft that I saw (in awe) his big portfolios of subway graffiti. Some of the masterpieces would be immortalized in his and Martha’s Cooper’s book Subway Art and in the seminal film Style Wars. It was also at Henry’s spot where I met many OG writers like my Boricua brothers, Lee Quiñones and Cope 2; The Video Graf gang: Cameraman Carl, Spin and Nic1; and Mr. Style Wars himself, Noc 167. Aside from Henry’s many achievements, including photographer, filmmaker, author, and sculptor, his humility, generosity, and unwavering support and contribution to Hip-Hop culture is unmatched. He is simply in a class by himself.

The former Pittsburgher has helped create books and films that are considered holy grails in Hip-Hop. In 1983, Henry and Director Tony Silver via PBS (Public Broadcasting Service) unleashed the Hip-Hop Kraken, Style Wars, on the country. Bar none, the award-winning film is considered the definitive (and arguably the best) documentary on early Hip-Hop culture. This year, we not only celebrate Hip-Hop’s big 50, but 40 years of Style Wars as well. In the spirit of these momentous occasions, I reached out to my man Henry C to discuss the film that helped introduce Hip-Hop to the masses and help fuel a cultural revolution. Henry not only shared candid thoughts on his famous flick, but he also opened up the Style Wars vault and allowed me to share some great visuals to accompany this story as well. Enjoy!

KOE: 2023 marks 40 years since Style Wars was released. Looking back, did you think the film would have such a huge international impact and stand the test of time?

HE nry C: When we completed the film in 1983, we had no idea about the future and already there were other takes on the culture, notably Wild Style and Beat Street. We were aware that we were on to something exciting and important. I couldn’t imagine the global reach until maybe about a year later when I started to get letters from kids in other parts of the country and even the world. These letters were so enthusiastic and grateful, and I began to understand that we had struck a vein of powerful emotion out there in the world.

KOE: Back in ’82 when you and Director Tony Silver were making Style Wars, were there any conflicting feelings about the light you guys were about to shine on this new subculture and how the film was ultimately going to be received?

HE nry C: We understood that shining a light on the subculture was going to change it in unpredictable ways. For better or worse, we had no idea. As a photographer I had already seen changes. Among writers, there was an important element of peer teaching, a kind of apprenticeship that was diminished by the ease with which people could copy and learn style from photos. But mostly we were excited to be showing something so amazing to the world.

KOE: What were some of the challenges you, Tony and the rest of the crew faced making Style Wars? Was production ever in jeopardy of being terminated?

HE nry C: It was a challenge to get funding for a film about an illegal activity which was hated by a lot of people, especially people in positions of power. Initially we were turned down for a grant from the National Endowment for the Humanities due to the opposition of the right-wing chairman, William Bennett. Our first funders were Channel 4 in Britain. But Mayor Koch, to his credit, got on board, and his ok allowed us to work with the Transit and police departments and get limited access to the tunnels and yards. We had to promise we wouldn’t shoot any illegal painting. When Cap on his own initiative painted a couple of throw ups in the 180th St yard, we filmed it. When we interviewed Ravitch, the MTA chairman, we told him about it on camera and asked him to say he wouldn’t arrest anybody. In spite of the MTA ban, Tony and I still wanted to shoot an illegal painting session and we planned an incursion into the 6 yard with Seen. We entered through a hole in the fence with all our equipment and crew, and waited for things to be quiet, but there was such a police presence cruising around the yard, that we had to abort. Back in the day with film, if you wanted quality you needed a lot of equipment and crew. It was hard to be clandestine; not at all like shooting video today. Anyway, had we been caught they would have killed the project and our access to the yards that they had agreed to.

KOE: Wow! Were there any writers or Bboys who were difficult to work with making Style Wars?

HE nry C: Everybody was cool while we were making the film.

KOE: 40 years later, we’ve lost so many stars of Style Wars, including: Shy 147, Iz The Wiz, Dondi; Tony Silver, Frosty Freeze, Rammellzee; Skeme’s mother Barbara Andalcio and most recently Dez aka DJ Kay Slay. Is there a feeling of happiness knowing that their legacies will live on through the film?

HE nry C: Nothing can replace the wonderful, talented, vital people who participated in making Style Wars. The list goes on. We need to mention Kippy Dee (Rasean), Take One, Ty Fly, and the two amazing camera men, Burleigh Wartes and

style Wars

traP & d EZ outtake from style Wars

Jim Szalapski. I am forever grateful that they all shared their talent with us, and happy that their work and participation will shine and be appreciated forever.

KOE: Although the MTA finally won its battle against subway graffiti, they didn’t win the war. Graffiti and street art are bigger than ever. Do you think Style Wars played a part in this?

HENRY C: Style Wars had a role in sparking Graffiti and Street Art and the idea of creating art in public spaces got a big boost. There are cities around the world who promote “their” street art as tourist destinations.

KOE: 1984 was such a seminal year in HipHop culture. Beat Street and Breakin’ were released in theatres; Style Wars debuted on PBS Ch. 13; Graffiti Rock -- a name you actually coined -- premiered on Channel 5 in New York; the New York City Breakers performed for Ronald Reagan during the Kennedy Center Honors on CBS and you and photographer Martha Cooper release what is now considered “The bible of Graffiti,” Subway Art. Was there a feeling that Hip-Hop had finally arrived and that you and your work would receive its due?

HENRY C: There was a lot of attention in 1984; PBS broadcasts across the country, but there weren’t any major theatrical screenings which we had hoped for. Style Wars found its public in schools, museums, Hip-Hop festivals, and conventions. Subsequently, it has become something of a cult classic. I am constantly amazed by meeting people who were so strongly in - fluenced by the film, who can recite all the dialogue in it and talk about how it transformed their lives.

KOE: This year Hip-Hop culture turns 50. Did you ever think we’d make it this far?

HENRY C: Hip-Hop culture has had a transformative role in popular culture and political empowerment around the world for marginalized people. I saw the potential, but never imagined it would spread so widely.

KOE: Please give us one of your favorite moments during the making of Style Wars.

HE nry C: It’s gotta be the shoot in Skeme’s kitchen. It was delightful to watch the conversation between mother and son unfold, to watch Barbara Andalcio’s skepticism and ironic humor; Burleigh Wartes’ incredible timing as his camera follows the conversation from one point of view to another. After the shoot, Barbara told me that she remembered being 16 years old, and that she used to wait till her parents were asleep, to sneak out the window and down the fire escape to go dancing at 2 in the morning.

KOE: Style Wars and Subway Art birthed no fewer than two generations of Graffiti and street artists, including yours truly. How do you want people to remember your legacy and your incomparable contribution to Hip-Hop culture?

HE nry C: The most important people in the culture are the artists, the true cre - ators. Without them there is nothing. I want to be remembered as one of the people who helped to amplify the voices of those two generations and the many that will follow, of people who hopefully will never again be silenced.

KOE: Thank you for your time and friendship, Henry!

HE nry C: I, too, deeply appreciate your friendship and all of our collaborations.

Words © 2023 James “Koe” Rodriguez. Photos © Henry Chalfant and © Martha Cooper, respectively.