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GENERIC ANIFESTO VolumeThree : Spring | Summer 2013


CONTENT

04 Greg Chapman

Phot os + t ext by Dustin A . Beatty

08

Innovative Leisure

12

Brad Elterman

26

T h e A l l a h - l a s V i s u a l To u r D i a r y

34

The Generic Man for Comme des Garรงons Shir t

38

Shadi David Perez

44

GNRC Eye

12

Te x t b y D u s t i n A . B e a t t y Te x t b y D u s t i n A . B e a t t y Photos The Allah-las Photos Felipe Lima Te x t N i k M e r c e r

Camo Print Suede Florentine

Exclusive To

Cover : Joan Jett, Los Angeles, CA . Phot o by Brad Elterman Inset : Debbie Harr y, Los Angeles, CA . Phot o by Brad Elterman Available Exclusively at Selfr idges 400 Oxford S treet London 02


WE’D LIKE YOU TO MEET GREG CHAPMAN


GREG CHAPMAN

d e t a i l s b u t t o l i t e r a l l y t r a n s l a t e t h a t t o n ew g a r m e n t s i s s o m e t i m e s p a t r o n i z i n g . I l i ke t o t a ke e l e m e n t s f r o m the past and mix them in with a modern aesthetic to m a ke s h o e s o r c l o t h e s l o o k q u i t e u n i q u e .

G R E G C H A P M A N I S T H E N E W LY A P P O I N T E D C R E AT I V E D I R E C T O R O F G E N E R I C S U R P L U S + GENERIC MAN.

S i m i l a r t o h ow a DJ w o u l d d i g t h r o u g h o l d r e c o r d s , I would imagine you come across some really interesting fabrics or materials that are unique to a specific era.

H a i l i n g f r o m o n e o f t h e b e s t - d r e s s e d t ow n s i n t h e U K , i t ’ s e a s y t o s e e w hy M a n c h e s t e r- b o r n G r e g C h a p m a n h a s m a d e m e n s we a r a f o c u s f o r ove r 2 5 ye a r s . He spent the better par t of the nineties buying rare, d e a d s t o c k s n e a ke r s f o r s h o p s i n t h e U K a n d J a p a n ; i n f a c t , C h a p m a n h a s wo r ke d i n a l l a s p e c t s o f t h e business from retail, buying, sourcing, designing and p r o d u c t i o n . H e h a s a va s t k n ow l e d g e o f A m e r i c a n a c l o t h i n g a n d a l l a s p e c t s o f f o o t we a r t h a t l e d h i m t o l a u n c h t h e Fr e d Pe r r y c o l l e c t i o n b a c k i n 2 0 0 2 w h e n t h e f o o t we a r d i v i s i o n o f t h e b r a n d h a d b e e n d e a d f o r ove r 3 0 ye a r s .

I ’ ve h a d a p a s s i o n f o r t h i s a s l o n g a s I c a n r e m e m b e r — p r o b a b l y s i n c e I wa s s i x ye a r s o l d . I t ’ s r e a l l y impor tant to get into the depth of the garment whethe r i t ’ s s h o e s , a n o u t e r we a r p i e c e , s h i r t s o r d e n i m . I h a ve a r e a l p a s s i o n f o r c l o t h i n g , s t i t c h i n g a n d f a b r i c b u t a l s o t h e h i s t o r y. S i m i l a r t o h ow a s p e c i f i c h o o k or a bar might stay with a musician, there are cer tain g a r m e n t s t h a t h a ve s t a ye d w i t h m e f o r l i f e . O u t s i d e o f t h e o b v i o u s u t i l i t y, w h a t w o u l d y o u s a y the fundamental dif ference is between designing what you wear on your body versus what you wear on your feet?

C h a p m a n h a s c o n t r i b u t e d t o G N RC s i n c e i t ’ s i n c e p t i o n 6 1 / 2 ye a r s a g o , a n d wo r ke d o n a s i g n a t u r e d e s i g n t h a t eve n t u a l l y l e d t o a c a p s u l e c o l l e c t i o n f o r T h e G e n e r i c M a n l a u n c h e d l a s t F a l l exc l u s i ve l y f o r S e l f r i d g e s i n L o n d o n . T h e r e c e n t f u l l - t i m e i nvo l ve m e n t f i n d s h i m h a r d a t wo r k o n t h e S p r i n g / S u m m e r 2 014 c o l l e c t i o n s a n d w h i l e we c a n ’ t g i ve a wa y t o o m a ny d e t a i l s ex p e c t t o s e e “ m o r e c o l o r, n ew f a b r i c s a n d s o m e a d d i t i o n a l s i l h o u e t t e s ” t o t h e ex p a n d i n g r a n g e . F i n d i n g t h e r i g h t f i t f o r yo u r f e e t i s l i ke f i n d i n g t h e r i g h t p a i r o f j e a n s , ” a d d s C h a p m a n . Re a d o n t o f i n d o u t w h a t m a ke s t h i s m a n t i c k .

I t h i n k yo u r e a l l y n e e d t o c o n s i d e r d u r a b i l i t y w h e n yo u ’r e d e s i g n i n g f o o t we a r. I wa l k a l o t s o o n a p e rs o n a l l eve l I c o n s i d e r t h e f i r s t f a c t o r t o b e c o m f o r t a n d t h e s e c o n d t o b e d u r a b i l i t y. F i n d i n g t h e r i g h t f i t f o r yo u r f e e t i s l i ke f i n d i n g t h e r i g h t p a i r o f j e a n s . T h a t ’ s w hy I ’ ve a l wa y s a p p r e c i a t e d G e n e r i c S u r p l u s b e c a u s e t h e r e ’ s e n o u g h d e s i g n o n i t t o m a ke i t unique. Te l l m e m o r e a b o u t t h e S e l f r i d g e s d e s i g n s . W h e r e d i d y o u t r a i n y o u r ey e f o r t h e l o o k a n d f e e l o f t h o s e styles?

M a ny k n ow y o u by y o u r i c o n i c s t y l e : H ow w o u l d y o u d e s c r i b e w h a t y o u w e a r a n d h ow y o u l o o k ?

I l i ke t h e i d e a o f t e a m c o l o r s a s a s o r t o f b a d g e t h a t i d e n t i f i e s yo u . We s a w a l o t o f t h a t i n t h e s t r e e t we a r o f t h e 8 0 s a n d 9 0 s w h e r e b r a n d s l o o ke d t o A m e r i c a n a n d B r i t i s h s p o r t s . Pe o p l e w h o f o l l ow s p o r t s c a n a l wa y s a s s o c i a t e w i t h a c o l o r. I wa n t e d t o t r a n s l a t e that to a dress shoe and I did that with the designs for Selfridges.

I ’ m r e a l l y i n f l u e n c e d by h i s t o r y, h e r i t a g e a n d a l o t o f A m e r i c a n a ; i n f a c t , I ’ ve b e e n i n t o v i n t a g e A m e r i cana since the mid-80s in England. American denim a n d wo r k we a r f r o m t h e 4 0 s a n d 5 0 s h a s a l wa y s f a s cinated me. It ’s really quite common for British guys t o we a r a l o t o f s t u f f f r o m t h i s e r a . I g u e s s I ’ m o n e of those kinds of guys.

Being from the UK, I have to imagine that the application of spor ts-related colors looks a little dif ferent t o a n A m e r i c a n c o n s u m e r.

W i t h s o m a ny b r a n d s l o o k i n g t o t h e p a s t f o r i n s p i r a t i o n w h a t d o y o u t h i n k i t t a ke s t o b e o r i g i n a l ? I think it ’s all about finding those unique pieces from w h a t eve r e r a yo u h a ve n o s t a l g i a f o r a n d histor y does repeat itself from decade to decade. I t a l wa y s s e e m s we ’r e l o o k i n g b a c k a n d b o r r ow i n g

I t ’ s ve r y d i f f e re n t . A l o t o f t re n d s i n t h e U K re a l l y d o s t e m f ro m t h e f o o t b a l l h e r i t a g e . T h e re ’ s s o m u c h p a s s i o n f o r t h a t i n t h e E u ro p e a n m a r ke t , e s p e c i a l l y i n E n g l a n d . I n my d a y p e o p l e we re a l wa y s c h e c k i n g o u t w h a t yo u were 06

GREG CHAPMAN

wear ing bef ore or at t he f ootball matc h. We alwa ys want ed to look our best—not in our Sunda y’s best but in your casual wear. This is ver y big in t he UK and a lot of my passion and obsession wit h apparel comes from t his but even t hat has its limits. It ’s im por t ant to also consider t he consumer who might just buy some t hing because t hey like it.

I u s e d t o b u y a n d c o l l e c t a l o t o f s n e a ke r s ; i n f a c t , a t o n e p o i n t I h a d c l o s e t o a t h o u s a n d p a i r. I l o o k t o a l o t o f t h a t t o i n s p i re my d e s i g n . Fo r exa m p l e , t h e re m i g h t b e s o m e t h i n g i n my wa rd ro b e t h a t I c o u l d s e e t ra n s l a t i n g t o f o o t we a r. T h a t c o u l d b e s o m e t h i n g a s s m a l l a s a c l i p o r s n a p t h a t I c o u l d p i c t u re o n a s h o e .

I s i t p o s s i b l e t o l e a d t h e c o n ve r s a t i o n — t o d i c t a t e t r e n d s — ve r s u s d e s i g n i n g s t r i c t l y f o r t h e c o n s u m e r b a s e d o n m a r ke t p r e s s u r e s ?

I’m sure there are a lot of people who would like t o s e e y o u r c o l l e c t i o n i n i t s e n t i r e t y o n e d a y. D o you have any plans to do that?

Bac k in my da y my excit ement came from individual sty le and how you had to go hunt f or t hings whe t her it was a pair of sneakers, denim or some t hing someone else had. I got to do t hat a lot while living in t he UK and even tra veling t he lengt hs of Amer ica to f ind dead stoc k sneakers of shoes t hat were never released in Europe. To ge t some t hing t hat no one else has got was t he ultimat e goal. These da ys most ever yt hing is accessible wit h t he clic k of a button. The c hallenge becomes to t hink outside of t he little crowd and appeal to a global mar ke t. You nev er know where some t hing might ge t pic ked up S o h ow d o you a void h om og eny?

I t ’ s a p o s s i b i l i t y, y e a h . I f a n y o n e w a n t s t o s e e m y crazy crap t hen I’ll show it to t hem! [laughs].

That ’s a tough one. I t hink by limiting how muc h product you release so once some t hing is gone it ’s gone.

W h a t ’ s l i f e l i k e i n N e w Yo r k o u t s i d e o f d e s i g n ?

I f c reat ivit y is your business wh at ’s your c reat ive out le t ? People! I tra vel a lot and gat her so muc h inspiration from t hose I mee t. Histor y. Walks in t he stree ts. Going to f lea mar ke ts or some random place I’ve never been bef ore. I absolut el y love f lea mar ke ts and ha ve ever since I can remember; in f act, I grew up around antiq ue dealers in my f amil y

I l o v e N e w Yo r k a n d I a l w a y s h a v e ; I ’ v e b e e n c o m ing here for over twenty years. It ’s a city so it can be crazy like anywhere else but I live in Williamsb u r g a n d t h e r e ’ s a l o t g o i n g o n h e r e r i g h t n o w. I ’ m happy to be a par t of t hat. No one does clot hing l i k e A m e r i c a r a n g i n g f r o m o u t e r w e a r t o w o r k w e a r. I s e e a l o t o f t h a t i n f l u e n c e i n N e w Yo r k e v e n i n t h e architecture.

D o you f ind a per sonal responsibilit y t o be an arc h ivis t wit h wareh ouses of sneaker s, c lo t h es and wares?

What kinds of things can we expect from your new role at GNRC?

Yeah, I ha ve a big arc hive here in t he US and one bac k in t he UK. It can ge t out of hand and reall y hard to manage. When it ge ts r idiculous I tur n around and sell stuf f.

Without giving up too muc h detail we’re going to f o c u s o n a d d i n g m o r e c o l o r, n e w f a b r i c s a n d s o m e additional silhouettes. 07

T E X T  :  D U S T I N A . B E AT T Y


I N N O VAT I V E L E I S U R E

I N N O VAT I V E L E I S U R E

out his first 45 and the first time I h e a r d i t I wa s i m p r e s s e d . I n f a c t , I ’d n eve r h e a r d s o m e o n e d o a t a ke o n 5 0 s r o c k ‘ n ’ r o l l a n d R & B. There’s a popcorn R & B scene t h a t ’ s b i g i n E u r o p e . We s i g n e d h i m a n d b o o ke d N i c k ’ s f i r s t L A s h ow a t t h i s s p e a ke a s y i n Ve n i c e .

Can you walk me through the chain o f ev e n t s t h a t l e d u p t o y o u s t a r t i n g I n n ov a t i ve L e i s u r e ? JA M I E S T RO N G : N a t e wa s a t S t o n e ’ s T h r ow f o r a b o u t s i x o r s ev e n ye a r s . H e s t a r t e d a p u b l i s h i n g a n d l i c e n s i n g c o m p a ny w i t h Pe a n u t B u t t e r Wo l f a n d E g o n . E ve n t u a l l y, he lef t the label to focus on the l i c e n s i n g a n d p u b l i s h i n g c o m p a ny t h a t p i t c h e d t h e va r i o u s a r t i s t s o n t h e l a b e l t o T V, f i l m , a d ve r t i s i n g e t c . I n n ova t i ve L e i s u r e wa s a n o u t let for us to put out releases that didn’t necessarily fall in line with w h a t S t o n e ’ s T h r ow wa s p u t t i n g out.

Q & A WITH INN OVATIVE LEISURE

A b o u t t wo ye a r s a g o I wa s i n S a n Fr a n c i s c o a n d I s t o p p e d by t h e H u f store where I ran into Hanni [El Ka t i b ] . I k n ew o n e o f t h e m a n a g ers there and happened to run into H a n n i a f ew t i m e s i n t h e p a s t a t M a g i c . H e g a ve m e a d e m o t h a t I p l a ye d i n my r e n t a l c a r a n d wa s c o m p l e t e l y b l ow n a wa y by i t ! I t wa s s o u n i q u e a n d r e a l l y r e s o n a t ed with me.

So m eone s o m ewh e re s a id t h e o n l y co n st a nt i s c hange and s i n c e we e m b ar ke d o n a n ex p e ct e d jou r ney i nt o t h is n ew ce n t u r y we ’ ve ce r t a i nl y se en a l o t go d ow n w it h t h e m u s ic in d u s t r y. A s a res pons e t o t he c h a n g in g t id e s , L A - b a s e d I nnova t i ve L ei s ure Re co rd s h a s n o t o n l y s ig n ed so me of t he m o s t gro u n d - bre a k in g a c t s b u t a lso ke e p s t hi ngs i nt eres t i n g w it h eye - p o p p in g d e s i gn a nd dis t r i but i on c ha n n e ls b r in g in g t h e ir g e n re - b e nd ing ros t er t o t h e m a s s e s . I t ’s a b u s in e s s m o d e l t hat gi ves f ans a lit t le le g ro o m t o e n joy so m e moder n cl as s i c s a s I n n ova t ive L e is u re cont i nu e s t o be har bi ngers o f g o o d t a s t e a n d a n ent i t y a l l t hei r ow n. Wel c o m e t o t h e f u t u re .

I shared the music with Nate and suggested that it might be a good f i t f o r l i c e n s i n g . H e wa s a l s o b l ow n a wa y by i t a n d a s ke d m e i f I wa n t ed to put it out together as par t of I n n ova t i ve L e i s u r e . We d i d t h e d e a l with Hanni who t hen ended up on t he cover of L A Record. Chris Ziegler over t here asked me if I k n e w a n y t h i n g a b o u t N i c k Wa t e r house and I hadn’t. He had just put 08

Things were pretty successful f o r I n n ova t i v e L e i s u r e o u t o f t h e gates. JA M I E : We l l , we a l l d e c i d e d i n M a y o f 2 011 t h a t i f we we r e g o i n g t o m a ke t h i s h a p p e n we all needed to focus on it. I lef t S t o n e ’ s T h r ow a n d H a n n i l e f t H u f t o wo r k o n a r t a n d m u s i c f u l l time.

N AT E : We t a ke t h e n ew m o d e l i n t o consideration, especially focusing on third par ty licensing. JA M I E : I t j u s t s o h a p p e n s t h a t a l l of our strengths compliment one a n o t h e r. I t ’ s a l s o i m p o r t a n t t o h a ve g r e a t d e s i g n a n d H a n n i i s p e r f e c t f o r t h a t r o l e . M y ex p e r i e n c e i s m o r e w i t h s a l e s a n d m a rke t i n g w h i l e N a t e ’ s ex p e r t i s e i s with digital and licensing. No one is stepping on one another’s toes. LA is popping of f these days with a lot of crossover happening in the m u s i c s c e n e . I b e t i t ’s exc i t i n g t o be a par t of that. JA M I E : We c o m e f r o m t h a t wo r l d a n d i t m a ke s c o m p l e t e s e n s e t o u s . We ’r e c a r e f u l a b o u t w h a t we ’r e g o i n g a f t e r a n d h o p e t h a t we c a n c r e a t e a f a m i l y e nv i r o n m e n t w h e r e we c a n a l l g r ow t o g e t h e r. N AT E : W h a t I i m a g i n e d f o r u s f r o m day one is not only having a cool l a b e l b u t s o m e t h i n g t h a t wo u l d d e ve l o p b eyo n d t h e m u s i c .

If someone just looks at the All a h L a s , N i c k Wa t e r h o u s e a n d H a n n i t o g e t h e r t h ey m i g h t s a y that the ar tists on the label have a specific sound. Is that a goal? N AT E N E L S O N : N o , we l i ke ev e r y t h i n g a n d we wa n t t h e l a b e l t o r e f l e c t t h a t . W h e n we a l l j o i n e d f o r c e s we n eve r m a d e a n e f f o r t t o s t a y w i t h i n a ny p a r a m e t e r s . JA M I E : I t j u s t s o h a p p e n e d t h a t a f ew a r t i s t s h a d a c o m m o n s o u n d . We h a ve N o s a j T h i n g , R hye , Classix and a bunch of others who sound radically dif ferent f r o m o n e a n o t h e r. How are you defining how a label operates these days?

09

JA M I E : We ’r e i n t e r e s t e d i n s o m e t h i n g t h a t h a s l o n g ev i t y s o we ’ l l b e still hearing about them ten to fift e e n ye a r s f r o m n ow. N AT E : A l l t h e a r t i s t s a r e t a k i n g a c h a n c e o n t h e i r c r a f t a n d we l ove having the oppor tunity to connect with them.


I N N O VAT I V E L E I S U R E

I N N O VAT I V E L E I S U R E

H ow d o y o u a p p r o a c h e a c h p r o j e c t y o u w o r k o n f o r the label? Is it more of a collaborative ef for t with you steering the ship? E ve r y a r t i st i s d i f f e re nt a nd I t r y t o approac h eac h p ro j e ct wi t h t ha t i n mi nd . I no r ma l l y like t o sit wit h t he b a nd / a r t i st a nd si m p l y j u st b rainst or m ideas t o ge t he r. O nce we ge t t o a p l a ce where we all f eel go o d , t ha t ’ s whe n i t ’ s t i me t o ex p lore all t he possi b i l i t i e s. The re a re t i me s whe re I f e e l t here is a per f ect a r t i st o r d e si gne r t ha t ’ l l f i t t he p ro j ect and I’ll just act a s t he l i a so n b e t we e n t he m a nd t he band. Ot he r t i me s I f e e l l i ke I ’ l l b e a b l e t o help realiz e t he v i si o n o r co nce p t o f t he a r t i st myself. Eit her wa y, I l i ke t o b e i nvo l ve d eve r y st e p o f t he wa y. I’m here he re t o he l p t he a r t i st a t t a c h t he r i g ht visual element t o t he i r m u si c. I t ’ s so cr u ci a l t ha t bo t h, t he ar t and mu si c, ma ke s se nse t o ge t he r.

Can you give us some back stor y o n s o m e o f t h e a l b u m a r t y o u ’ ve designed?

Hanni, can you t ell me about your bac kground as an ar tist and how you came to be involved with Innovative Leisure? I st ar t ed out as a d e s ig n e r/ a r t d ire c t o r i n SF a b o u t twel ve year s ag o n ow. I wo r ke d a t a b u nc h o f d i f f e re nt agenci es a n d f re e la n c e d a t o n . T h e co mme rci a l wor k began t o f e e l a b it s o u l c r u s h in g , so I f o u nd my s el f do i ng s id e wo r k f o r f r ie n d ’s b a n ds a nd ska t ebo ard co m panie s ju s t t o ke e p my s e lf s a ne . I q u i c k l y st a r t ed wo r k i ng w it h Hu f , w h ic h a t t h e t ime wa s a new co m pany and b e g a n d e s ig n in g t - s h ir t s and gra p hi cs pre t t y regu l ar l y.

HANNI EL KHAT IB (“Dead Wrong ” 7”, “B uild. Destroy. Rebuild”. 7”, “ W ill The Guns Come Out” Full-L eng t h) T he visual concep t all came from an old ‘z ine I or ig inall y made f or t he album. It was f illed wit h old phot os of car wrec ks, bondag e g ir ls, bur ning houses and o t her trag ic and weird imag es. I decided t o t ake t he idea of crashed cars and span t hat over a f ew record covers. In t he end I f elt t he imag er y was t he per f ect matc h t o t he overall idea of my music on t his album.

NI C K WATE RH OUSE ( “ T i me ’ s A l l Gone” Full-leng t h) Thi s wa s o ne o f t ho se t i m e s whe re t he music itself d i ct a t e d t he v i su a l a e st he t i c. The ar t had t o g ive a no d t o t he p a st a nd re f e re nce t he t y pes of t hing s t hat i nsp i re d a nd i nf l u e nce d t he m u si c.

A r e t h e r e a ny a r t d i r e c t o r s o r a r t i s t s d i r e c t l y a s s o c i ate with music whose careers you admire? I reall y li ke t h e wor k of S t or m T h or ger s on an d h i s desig n col l ec ti ve, H i pgn os i s . I n di vi du al l y an d as a g roup t hey des i gn ed s om e of t h e m os t i n f l u en ti al an d classic al bu m s t o h a ve ever c om e ou t. I al s o real l y admire t h e wor k of B l u e N o t e rec ords . T h at i s t h e bes t exam ple of t h e power of s t a y i n g tr u e t o on e s i n gu l ar visual aes t h e ti c.

A f t er abo u t a ye a r o f t h a t , I ju m p e d o n b o a rd wi t h HUF and s t ar t e d t o h e lp t h e m d eve lo p a fu l l cl o t h ing l i ne t o s upp o r t t h e ir s h o p s / b ra n d . I b e ca me cre at i ve di rect or a n d c o n t in u e d t h a t f o r a b o u t si x ye a r s. A bout t wo and a h a lf ye a rs a g o I e n d e d u p ho o ki ng up w i t h J am i e a n d N a t e b e ca u s e t h ey we re i nt e re st e d in s i gni ng m e a s a m u s ic ia n a n d wa n t e d t o p u t my ful l l engt h out . As h e s a y s , I m e t J a m ie t h ro u gh so me mut u al f r i ends a n d it ju s t s e e m e d like a g o o d f i t a nd t he r i ght t hi ng f o r m e .

What limitations do you put on yourself as a crea t i ve d i r e c t o r, e s p e c i a l l y w i t h r e g a r d t o t h e l a b e l ?

RHYE (“Open” 12”)

I tr y no t t o l i m i t my s el f t o any t h i n g I do c reati vel y. I t hink t hat keepi n g an open m i n d i s w h at m akes peo ple succes s f u l . H owever, I al wa y s r u n al l t h e wor k we put out t h rou gh t h e I n n ovat e Lei s u re f i l t er t o s ee i f i t holds up agai n s t ou r aes t h e ti c as a bran d an d l abel .

T he idea was t o g ive t he ar twor k a delicat e and androg y nous look and f eel. We went wit h a ver y pho t o dr iven cover t hat f ocuses on t he body and por tra y s it as somewhat of a landscape.

From t here, I b e c am e re a ll y invo l ve d wi t h my own ar t and pac kag in g a n d s t a r t e d t o ex p re ss i nt e re st i n hel pi ng o u t w i t h s o m e o f t h e o t h e r a r t is t s o n t he l a be l . I gu es s t h a t s o r t o f n a t u ra ll y evo l ve d i nt o t he idea of par t ner in g u p a n d b e c o m in g t h e a r t d i re ct o r of t he l abel .

T E X T  :  D U S T I N A . B E AT T Y 10

11


BRAD ELTERMAN

Jo ey Ram o n e

“YOU AND EYE”


In

many

circles,

photographer

Brad

Elterman

is

as

integral to the old Sunset Strip scene as Joan Jett, The Runaways and even 80s hair metal bands. For years, he was the conduit between the private and public eyes D u ran D u ran

with

a

bright

smile,

signature

hair

and

a

disarming

personality that created a kinship between he and his subjects. Chances are, if you flipped through the pages of music, pop-culture and even gossip mags in the 70s

and

80s

signature his

you

snaps.

cameras

and

were

sure

After hit

a

the

to

long

land

on

hiatus,

streets

with

one

of

he

dusted

an

enthusiasm

just as infectious now as it was back then.

Brad & Kar i

TEXT: DUSTIN A. BEATTY

Brad’s off


B R A D E LT E R M A N

Po p - cu l t u re wi se , no . La na D e l Rey is pre tty cool but t he re a re n ’ t a ny p a ra l l e l s b e t we e n her and Joan Je t. I n t he 70s t he re wa s a sce ne , a v i be. You could g o o u t a nd know eve r yb o d y. I k i nd o f f eel t he same wa y now b e ca u se we ha ve t hi s ca b l e t h at g oes int o our ho u se . “A nyt hi ng i s p o ssi b l e ,” a s F itz g erald would sa y. I ge t t he f e e l i ng t ha t eve r yo ne i nvo l ved in pop-culture t o d a y ha s a ni ne t o f i ve d a y j o b o r t hey live wit h t heir p a re nt s.

my last nig ht I was dining up on 82nd and in walks Olivier. We me t, he kissed my hand and now we ’re ver y g ood fr iends. Yo u n o t o n l y h a v e t h i s o u t - a n d - a b o u t w a y o f l i f e about you in common but the way that you publically display that experience on the web. Well, one of t he main t hing s Olivier and I ha ve in common is t he wa y we embrace t he Int er ne t. I alwa y s want ed people t o see my wor k as a mini Associat ed Press. The ag ency I ran in 1980 was ver y expensive and labor ious t o r un; in f act, I had my own process ing mac hines t o crank out all t hese pho t os.

Yo u sa i d so me t hi ng t ha t wa s i nt e resting when we b o nd e d a t Co a c he l l a . I t hi nk yo u mentioned t hat corp o ra t e A me r i ca i s re a l l y p a yi ng att ention t o what we ’re d o i ng, e sp e ci a l l y i f yo u ’re a g ood pho t og ra p he r o r a p o p u l a r b l o gge r. They a l l want a piece of yo u . Tha t ’ s why t hey e mb ra ce a l l t h ese f estivals and yo u t h- o r i e nt e d eve nt s

Le nno n - Ring o - Yo ko

A r e y o u n o t i c i n g a n y p a r a l l e l s b e t w e e n 197 0 s L A a n d 2 012 L A ?

B R A D E LT E R M A N

Yo u ’ v e m e n t i o n e d P u r p l e a s b e i n g o n e o f t h e b e s t brands on the Internet. How did your relationship with Olivier Zahm start? Where are you training your eyes these days? I see you just about ever ywhere. I go t o a l o t of p a r t ie s bu t t h e re ’s n o m o ney i n i t . I l ove t o ge t ou t a n d g e t t h e c o n t e n t e s p eci a l l y whe n my s ho t s end u p o n P u r p le D ia r y. I ’d ra t he r b e o n t here t han i n T i m e M a g a z in e . I a m d o in g p ho t o s se s sio ns agai n t o o . M y p h o t o s a n d ca m e ra s we re i n st o rag e f o r abo u t t wo d e ca d e s . Yo u can ’ t bu i l d a b ra n d s it t in g a t h o m e i n fro nt o f t he com pu t er. Yo u ’ ve g o t t o m e e t p e o p le a nd ha ve yo ur s ho t s on t h e I n t e r n e t wh e re yo u r f a ns wi l l re blog t hem . I ’ m ve r y a ct ive o n Tu m b lr a nd t ha t he l p s me ge t a l o t o f my wo r k o u t t h e re b u t I ’d l ove t o eve n sh o o t f o r U r ban Ou t f it t e rs . I see a l o t of t h e s e h ip s t e r k id s w h o lo o k so co o l a nd ha ve t hi s q u i e t e le g a n c e t o t h e m . I f e e l like t ho se a re t he peopl e rom a n t iciz in g t h e 7 0 s .

Whe n t he p ro o fs f o r my b o o k we re g oing bac k and f o r t h b e t we e n L A a nd A si a I ha d an extra se t I want e d t o se nd t o a m a ga zi ne . I wa s t r ying t o f ig ure out who I sho u l d se nd t he m t o : Fre nc h Vog ue, It alian Vo gu e , A me r i ca n Vo gu e , Po p u l a r Pho t og raphy. I just l ove t he Pu r p l e b ra nd so mu c h t ha t sending t hem t o Ol i v i e r wa s t he o bv i o u s c ho i ce . H e ’ s like t he moder n d a y H u gh H e fne r a nd whe n I wa s g rowing up we all wa nt e d t o b e l i ke H e f. N ow, we al l want t o be like Ol i v i e r ! I f e e l l i ke yo u ng p e o p l e t o d a y l i ve t heir lives vicari o u sl y t hro u gh t he Pu r p l e D i a r y. He ’s tra veling all ove r t he wo r l d me e t i ng t he se i ncredibl y f ascinating p e o p l e —sl i p p i ng i n a nd o u t o f t he se cities. H e e nd e d u p p u t t i ng t he p ho t o s i n t he Nig ht section o f t he ma ga zi ne . I t he n t ra ve l e d t o N ew Yor k t o g o t o t hi s i ncre d i b l e p a r t y a t The S t a ndard where I was ho p i ng t o me e t hi m b u t t hi ngs we re just craz y. S o on

I t h i n k b a c k a t 197 7, 197 8 w h e n I f i r s t w e n t t o Europe with a suitcase of transparencies to tr y to sell my work to all these magazines. The rumor was that there was a lot of money t o be made in Europe. Eventually I got connections with Bravo magazine in Ger many, anot her in Aus tralia, Pos ter magazine in S t oc kholm and Pop Phot o Magazine in Holland. Ever yone paid a lot of money for my work and I had t o make fif t een sets of ever ything. For me, it was not only about my love of the s t r e e t b u t a b o u t m a k i n g m o n e y. I s a w o n J e n n y Lens Facebook the other day a post that read: “Brad Elterman always told me to dress right and t ake phot os of bands t hat were commercial.” She would only t ake phot os of punk bands and musicians whose stuf f she was into. I had a beautiful, ostentatious lifestyle for a nineteen year-old kid. I loved it!

M a r k M o t he r sb au gh

B rad & D e bbi Har r y

L A i s t he b e st p l a ce i n t he wo r l d t o live. I g rew up he re b u t I ’ ve t ra ve l e d ex t e nsi ve l y a ll over t he wor ld. I t ’ s so co mf o r t a b l e he re .

B rad & O li ve r Z ahm

Why do you choose to call Los Angeles home?


B R A D E LT E R M A N

Yo u l o v e d e v e r y t h i n g y o u w e r e s h o o t i n g t h o u g h . Yeah, but when t he whole music t hing pe t ered out I was f orced t o shoo t t he Osmonds, t he B a y City Roll ers, S ean Cassidy. When t hat pe t ered out I was t ak ing pictures of Dic k Van Patt en, B ill y Cr y st al and all t hese T V st ars f or Amer ican and European mag a z ines. S hoo ting t hem was how I sur vived but hose pho t os didn ’ t make my book . The industr y was changing right in front of you. All of t his happened r ig ht in front of my eyes. I watc hed all t hese enor mous com panies disappeared over nig ht. N ow wit h t he Int er ne t you don ’ t wait f or a sixt een pag e st or y about t he Oscars t o come out. B y t he time you see t he pho t os in pr int t hey ’re old news. I also f eel like t here aren ’ t any icons any more. Icons are now creat ed in an att or ney ’s of f ice in B ever l y Hills and t hey ’re all par t of t his old boy ne twor k . There aren ’ t any more B ob Dy lans, no more El vis’s, none of it.

Va l l ey G i r l s

I still love t he process, it ’s just t he boz os in t hat in dustr y are annoy ing and t heir contr ibution t o t he de mise of a once g reat pho t o business. I st ar t ed B uz z Fo t o wit h a business par tner seven years ag o wit h a dream of “Paparaz z i As An Ar t For m”. We did an ex hibition on Melrose and g o t t ons of press. We tur ned down 90 percent of t he pho t og raphers who want ed t o wor k f or us because t hey did no t underst and t he “ar t f or m”. They were all dr iven by t he f ast buc k , whic h has t he po t ential f or disast er in t hat industr y. A t t he end of t he da y, B uz z Fo t o g o t t ons of press, but no one else g a ve a shit about our vision. T he business continues and is prof it able, but f or me personall y, what keeps me g oing is t aking my own pho t og raphs, t he wa y I want t o t ake t hem and wit h t he subjects of my c hoice. I t hink my f ollowers appreciat e t hat and I’m ha ving a blast doing my own t hing . What ’s it like being out and about now versus how things were in the 70s? I’m ha ving a blast! Young people will see me at a par ty and ask , “Are you B rad? I love your pho t os.” I love t hat. Also, it ’s cool t o g o speak at Ar t Cent er, U CL A and places in Tokyo and London

Jo an J e t t

What about Buzz Foto? What are your feelings about the agency industr y?

I i n t e r v i ewe d p h o t o g ra p h e r, Pa u l J a s m i n o n c e and he mentioned the idea that we’re living in a culture of the ‘whore’ where people will do just about anything for attention. I f eel like t h e wom en I s h oo t h a ve t o h a ve on e t h i n g i n common an d i t ’ s t h i s es s en ce of c ool n es s . Al s o, rap por t is all abou t tr u s t— n o on e i s com i n g on t o anyon e. Yo u w e r e s u c h a p a r t o f t h e c u l t u r a l f a b r i c b a c k then and are still t o this day so I imagine it ’s all about trust to get the access you want. B ac k t hen i t was al l abou t tr u s t becau s e peopl e were shoving s o m u c h s h i t u p t h ei r n os es . M y l i ps are sealed!


B R A D E LT E R M A N

B R A D E LT E R M A N

Any good recent stories? I re ce nt l y sp o ke wit h B r yan Fer r y. I neve r p ho t o graphed Roxy Music but I sa w t he m ear l y on and I pho t o gra p he d hi m ear l y in 1975 at a Rod S t ewa r t p a r t y. He and I g o t t o t alking a t a n a r t show he was ha ving f or t he a l b u m cove r s and I asked him about ‘ Co u nt r y Li f e ’ and if it was sho t in a st u di o . H e t old me it was sho t in so m e b a c k ya rd! I asked him if he f elt l i ke i m a ge s l i ke t hat inspire people l i ke Ju e r ge n Teller. He said, “Ma y be b u t I f e e l l i ke i t inspired ever y body !” [l a u ght e r ] H e is so cool—t he ultimat e p o p st a r.

F or m ore of Brad’s im ag es v is it BradEl t er m an. com BradEl t er m an. tu m bl r. com

So you’ll maintain the spontaneous, Brad Elterman style? Yeah bu t I adm ire h ow p h o t o g ra p h e rs like H el m ut N ewt o n wo r k I wa s wa t c h ing t hes e ol d v id e o s o f h im a n d h e ’s direct i ng ever y t h in g s o m u c h t h a t it ’s alm o s t l i ke he wa s m o ld in g a p ie ce o f cla y. “ Do t hi s . P u t yo u r b u t t u p . Ho ld t he ci gare t t e l i ke t h is .” He wo u ld ju s t t a ke one or t wo f ra m e s a n d h e h a d hi s s ho t .

N o , no t re a l l y. I sp e nd a l i t t l e b i t o f t im e o n Bu zz Fo t o b u t i t ki nd o f r u ns it se l f. Mo st o f my d a ys a re sp e nd t r yi ng t o f i nd o u t wha t t o sho o t a nd s t a yi ng o n t o p o f news so I ca n f i g u re o u t wha t p a r t y t o sho o t . I ’ m ve r y d e d i ca t e d t o ge t t i ng my p ho t o s o u t f ast .

Yo u ’ r e a l s o k n o w f o r n o t i c i n g i d i o syncrasies about your subjects and captioning their coolness. I f e e l l i ke you eit her ha ve it or yo u d o n ’ t . N o one can g o t o “cool sc ho o l .”

I ’ ve b e e n p re p a r i ng f o r t hi s ex hi b i t io n i n Ba se l , whi c h ha s b e e n a l o ng t im e i n t he ma ki ng. I a l so ha ve a n ex hi b i t e nt i t l e d Fa ct o r y 7 7 o p e ni ng J une 21 a t Kana Ma ngl a p u s i n Ve n ic e . I t r u ns a l l su m m e r. Yo u a l s o w o r k w i t h J o n a t h a n o v e r at Lead Apron, right?

I always understood that you were on the inside a n d s o m e o n e l i ke Ro n G a l l e l a w a s o n t h e p e r i p h e r y. Ron was alwa y s on t he outside; in f act, I ha ve a f amous pho t o of him wit h a t ape measure next t o Jac kie O. S he had a restraining order ag ainst him. We ’d g o t o t hese par ties, eat, dr ink and ha ve a g reat time and we ’d g o outside and t here was Ron on t he sidewalk wit h his camera. Nine times out of t en t he picture People mag az ine would r un was Ron ’s. He was so alive. Wh at is your all-t im e f a vor it e ph o t o? Meeting Bob Dylan. I was so shy and ner vous.

Yea h, Jo na t ha n i s a n i ncre d i bl e d e a l e r ! H e ’ s a m a zi ng. H e se l l s t o so me heavy-duty people

D o you h a ve a reverenc e f or a spec if ic t im e per iod you wish you c ould h a ve ph o t og raph ed ? N o t r e a l l y. I w a s t h e r e i n 19 7 7. I t w a s t h e p e a k o f all of what I was into. Thank god I had a camera with me.

B ob D y la n - Rod n ey Bin ge n h e im e r

Mo s t o f t he s t u f f I s e n d t o P u r p le D i ar y i s al l bl ac k a n d w h it e ; I ’m ju s t s o dra w n t o i t . I l ove t h e I m p o s s ib le Pro j e ct bl ac k and w h it e f ilm . I ’m ke e p in g my o p t i o ns o pe n b u t I ’ ve h a d f r ie n d s t e l l m e t o keep eve r y t h in g t h e wa y I did i t i n t he 7 0 s .

There’s probably no typical day -inthe-life of Brad Elterman is there?

M ic ha e l Ja c ks o n

Stylistically, I assume you were s h o o t i n g Ko d a c h r o m e a n d T r i - X back in the 70s but recently I’ve seen some Polaroid and ot her f ormats in your work. Are you experimenting more with what you shoot because your work is so subjectspecific?

Pro b a b l y H a l ey Dahl from t he band Sl o p py Ja ne . S he ’s a t eenag e g ir l who se nt m e some messag es asking me t o p ho t o graph her band. I went t o d ownt own L A and sho t her and her b a nd . They b l ew me a wa y. T here is no d o u b t i n my mind t hat t his g ir l is go i ng t o ma ke it Ram o ne s

Mo do nna

Who is your current Cherie Currie?


Br i an W il so n


THE ALL AH-L AS VISUAL TOUR DIARY

THE ALLAH-LAS VISUAL TOUR DIARY These days, you can’t really go anywhere without catching

a

nod

to

the

past

and

for

good

reason,

classic

is cool. It makes perfect sense that the guys in the Allah-Las tip their hats to 60s and 70s surf culture when all elements of the sport distilled down to a look that amplified the lifestyle. To call them a throwback band wouldn’t be fair, as they have a style and sound all

their

own

modernized

for

the

current

culture

of

cool cats who might look to the past for inspiration but who are always living in the present. Keep an eye for

these

guys

as

they

breeze

through

your

town

support of new music out on Innovative Leisure.

ALL PHOTOS: The Allah-las

in


THE ALL AH-L AS VISUAL TOUR DIARY

THE ALL AH-L AS VISUAL TOUR DIARY


THE ALL AH-L AS VISUAL TOUR DIARY

THE ALL AH-L AS VISUAL TOUR DIARY


THE ALL AH-L AS VISUAL TOUR DIARY

THE ALL AH-L AS VISUAL TOUR DIARY


THE GENERIC MAN FOR COMME DES GARÇONS SHIRT SPRING 2013


Q&A WITH SHADI DAVID PEREZ

Where were you born and raised? S pent t he f irst par t of my c hildhood in t he B ronx. The second par t of my c hildhood I spent in Little It al y, on Mo tt S tree t and Pr ince. T hat was my Manhatt an upbr ing ing . . . 17 and hig her. I’m sadl y just a N ew Yor ker and I g e t a lo t of shit f or it. I ha ven ’ t f ound a place t hat I like more t han N ew Yor k ye t. I’ ve never lef t N ew Yor k f or long er t han t hree weeks. I’ ve been t o a lo t of places, but I’ ve never been g one t hat long .

Born and raised in the Bronx, Shadi David Perez has long been a fixture in the New York City scene, particularly in the downtown Manhattan neighborhoods. He cut his teeth

as

a

motivated

photographer’s

assistant,

bounc-

What kind of stuf f did you get into when you were growing up?

ing around the metropolis and the globe on big-budget

What ’s funny is DJ’ing was a big par t of my c hild hood from ‘79 t o ‘83, ‘84. I was par t of a DJ crew

shoots. Thanks in part to his deep-rooted connections to

Chlo e S ev ig ny

the city, Shadi found himself story-boarding, directing, and producing music videos for bands like Cypress Hill, the Beastie Boys, and House of Pain in the 90s. Simulta-

called Forc e of Fou r. We u s ed t o s t eal ou r paren ts ’ tur nt able s an d am pl i f i er s an d s peaker s an d s crou n ge up a sy s t em . We were al l tr y i n g t o DJ an d s cratc h , but we di dn ’ t h a ve good tu r n t abl es - we h ad t h es e Pioneer SLB - 1s , an d t h e “B ” was f or “bel t- dr i ve.” I f you weren ’ t c aref u l , t h e bel t wou l d f al l of f , w h i c h was fr ustrati n g t o DJ w i t h . You cou l dn ’ t bac k s pi n or scratc h. We u s ed t o do s wee t 16s [ an d t h at s or t of t hing ]. We h ad, l i ke, t h e s weats h i r ts w i t h t h e go t h i c iron-on le tt er s . T h at was a bi g par t of my c h i l dh ood, knowing al l t h e break beats an d h an gi n g ou t w i t h t h e older g uy s . B u t I l ef t t h at f or a l on g ti m e. . . bu t s t ar ted DJ’in g agai n over t h e pas t f ew year s .

neously, he began working for the legendary streetwear company, Supreme, which helped him establish himself as an on-demand editorial photographer. Here, we talk with the man about growing up, finding photography, and arriving at where he is now.

TEXT: NIK MERCER

Br u ce We b e r

PHOTOS: SHADI DAVID PEREZ

My t een age year s were i n t h e ear l y 80s , an d t h e big g est t h i n gs were rol l er s kati n g an d h i p- h op. T h ere were a lo t of rol l er r i n k s [ i n t h e B ron x ] . T h e k i ds wen t in t he mor n i n g, t h e t een ager s i n t h e af t er n oon , an d t he adults at n i gh t, bec au s e t h ey s er ved l i q u or. T h ere weren ’ t a l o t of di s c os - t h at was m ore of a M an h att an t hing - bu t rol l er s kati n g r i n k s were ever y w h ere. It had a bi g i m pact on N ew Yor k C i ty n i gh tl i f e! Som e of t he t ou gh es t gu y s I k n ew i n t h e B ron x were badass roller s kat er s .


S H A D I D AV I D P E R E Z

How’d you s t ar t getting int o photography? It came a bo u t du r i ng t h e la s t ye a r o f h ig h s c hool. I go t k i c ked o u t o f C a t h o lic S c h o o l a n d [trans f er red t o ] Ad la i S t eve n s o n . S o , d u r ing t ha t l as t year o f h ig h s c h o o l, I g o t a lo t more creat i ve... it wa s like , O h , I ca n t ake an arc hi t ect u re c la s s a n d a n a r t cl ass. A t C at ho l i c S c h o o l, I wa s n ’ t m o t i va t e d t o do any t hi ng b u t p la y s p o r t s . A t p u blic sc hool , f o r t hat o n e ye a r, I s t a r t e d t a king pic t ures . I m ean , my d a d h a d a L e i ca , and I rem em ber hi m a lwa y s t a k in g p ic tures... bu t w hat I di s c ove re d is t h a t g ir ls like be ing pho t o graphe d . I t wa s ve r y e a s y t o break t he i ce [ w i t h my c a m e ra ] . “ Hey, ca n I t ake yo u r po r t ra it ” wa s like s a y in g , “Hey, can we m ee t u p a g a in ?” T h a t s a id , t h ese we re peo pl e w ho s e p o r t ra it s I a ct u a l l y want ed t o t ake. I f in d a lo t o f p e op l e and I’m l i ke, H ey, I wa n t t o d o cu m e n t [you]. Or t hey ’re f am o u s a n d I ’m like , Hey, can I t ake yo u r p o r t ra it ? I think you show the true test of time when you’re able t o translat e a hobbyist int erest int o something that ’s actually a job, which you’ve done with flying colors.

Ye ah, i t ’ s l i ke Ja me s Mu r p hy sa i d : “ Why d i d we st a r t m a k i ng re co rd s? Be ca u se no b o d y wa s m a ki ng re co rd s we l i ke d . Why d i d we st a r t t h rowi ng p a r t i e s? Be ca u se t he re we re n ’ t a ny we wa nt e d t o go t o , so we ma d e o u r own.” T h e re wa s a vo i d , so i t wa s l i ke , We l l , i f i t ’ s n o t b e i ng f i l l e d , why d o n ’ t we d o i t ? I wa nt e d t o b e cre a t i ve , b u t I wa sn ’ t t ha t g o o d o f a p a i nt e r... I t r i e d d o i ng gra f f i t i , b u t I s u c ke d . I wa s go o d a t co pyi ng o t he r p e o p l e , b u t [t ha t wa s i t ]. I re m e mb e r u si ng my gi r l f r ie nd a s a gu i ne a p i g [o nce ]. I wa nt e d t o d o b la c kl i ght p ho t o s, so I sp ra y - p a i nt e d my gi r l w it h D a yG l o p ai nt , a nd [t he pho t o s] l o o ke d a m azi ng. E xce p t we wo ke u p i n t he m o r ni ng, a n d she wa s co m p l e t e l y cove re d i n t hi s ye l l ow a n d o ra nge p a i nt , a nd she [co u l d n ’ t ] wa sh i t o f f . I ha d a m o t o rcycl e a nd a ca n o f ga so l i ne , s o I st a r t e d u si ng t ha t t o ge t t he p a i nt o f f. I re me b e r t hi nki ng, O h my go d , t hi s gi r l ’ s go i ng t o ha ve sk i n ca nce r i n 10 ye a r s. H ow did p ho t og rap hy be come more a se r ious pu r suit of your s? We ll , I d i d n ’ t re a l i ze yo u co u l d ma ke m o ney w it h p ho t o gra p hy. I t r i e d wo r ki ng a t a n a d a g ency, i n t he a cco u nt i ng d e p a r t m e nt , a nd

D o you t h ink t h ose exper ienc es pred isposed you t o perc eive ph o t og raphy -as-wor k in a c er t ain ligh t ? T he lif esty le appealed t o me because it was a job where I’d g o of f on t en-da y -long tr ips and no t spend any money in N ew Yor k . Go t o Miami or t he sout h of France or some t hing . Come bac k , g e t a nice, big c hec k , and no t spend any of t hat in N ew Yor k . All of a sudden, I had. . . sa ved all t his money and was like, Fuc k .. . t his is pre tty cool! I liked t he idea of 10 da y s on, 10 da y s of f. To t his da y, I ha ve trouble wit h t he no tion of a “real” job. I ha ven ’ t had one since t he lat e 80s. T he idea t hat I could wor k reall y hard f or shor t per iods of time and t hen ha ve some t o my self re all y appealed t o me.

make it if I go t i t. Som eh ow, I was abl e t o convi n ce C ol u m bi a Records an d C y pres s H i l l t o gi ve m e $10, 000 t o m ake “H ow I Could Jus t Ki l l A M an .” T h ey weren ’ t even goi n g t o m ake a video f or t h e s on g- t h ey di dn ’ t t h i n k M T V wou l d r u n a vi deo f or a song [wit h t h at ti tl e] . I actu al l y go t a j ob f or an o t h er di rect or at t he com pany bec au s e t h ey s a w s om e of h i s wor k . .. s o h e go t a Cy press Hi l l vi deo, t oo. T h ey k i n d of ga ve m e my $10, 000 as an exper im en t. Af t er t h at, I [ s t ar t ed doi n g m u s i c vi deos ] , l i ke House of Pai n ’ s “Ju m p Arou n d,” B eas ti e B oy s ’ “G rati tu de,” B rand N ubi an .. . I j u s t s t ar t ed doi n g t h em , on e af t er an o t h er.

What k ind of s t uf f d id you d o wit h t hem ?

Did you ha ve any personal connections t o other groups, like t he Beas tie Boys?

Ce l e b r ity por traits. .. Ken N a ho u m was like t hat. T he kind o f gu y who walked int o a room wi t h sung lasses on and is like, Whe re t he fuc k’s my cof f ee, Sha d i ? Hang ing out wit h, like, H owa rd S t er n, smoking cig ars. H e wa s dating t hat g ir l from Be t t y Blue, [B éatr ice Dalle]. H e wa s all about celebr ities.. . l i ke , I want t he same mo t orcycl e as Mic key Rour ke. I was hi s l i t t le hitman. We ’d do jobs f o r, l i ke, Mer it Cig are tt es or Fo l ge r s Cof f ee or Piz B uin sun t a n l o t ion. We ’d do reall y cool sho o t s. Once, we were in N ew Or l e a n s, and we had t his villa wi t h a pool in t he cent er. He ’d gi ve u s f our or f ive hundred d o l l a r s a nig ht and t ell us t o g o b u y cra wf ish and c ham pag ne so we could t hrow a par ty af t e r t he shoo t.

N o, I didn ’ t k n ow t h em . A l o t of my dow n t ow n f r i en ds k n ew t hem. . . or a gi r l h ad s l ep t w i t h on e or w h at ever. Ever y body had a conn ec ti on , bu t. .. w h en I was l i vi n g i n t h e B ron x , I h at ed t he B eastie B oy s . I res en t ed t h e f ac t t h at s om ebody wou l d c om pare me t o on e of t h em . T h ey u s ed t o cal l m e Wh i t e B oy Da vi d because nobody t h ou gh t I was P u er t o R i can . An d i f I dres s ed like someo n e w h o di dn ’ t l i ve i n t h e B ron x , t h ey ’d be l i ke, Oh , you look li ke on e of t h e B eas ti e B oy s . I m e t t h em al l f or t h e f irst time in N ew Z eal an d, w h i c h i s w h ere we di d t h e vi deo. T hey t hough t I was s om e grou pi e [ at f i r s t] .

V in ce nt G a llo

We s Ande r s o n

t he n I was at rest aurants and b i ke m esseng er ing .. . and t hen I st a r t ed dating [ t he woman who b ecame] my son ’s mo t her. She was study ing pho t og raphy a t NY U , whic h I’d never done. She wor ked f or a f ew people he re a nd t here. Then t his Frenc h p ho t o grapher named Randall Me sd o n moved t o N ew Yor k , a nd I had alwa y s considered myse l f a downt own f ixture, I knew all t he locations and all t he se people. He needed some o ne who could be his assist ant, so I st ar t ed wor king wit h him. I wa s also wor king wit h a g uy na me d Ken N ahoum. One of t ho se st or ies where, like, you st a r t by sweeping t he f loor, t he n you become f our t h pho t o a ssist ant, t hen t hird, t hen se co nd , t hen f irst. S o, t hese t wo p h o t og raphers, I came up l e a r ni ng by doing wit h t hem.

Jo se Pa r l a

S H A D I D AV I D P E R E Z

What was your firs t gig on your own? Professionally, t hat is.

So you were also reall y involved with the whole skat e thing, wit h Supreme and SSUR and all.

When I was a pho t o assist ant, I f ound my self in Par is, and I caug ht a Cy press Hill show. I had been wor king as a PA I’d st ar t ed wor king on video jobs, [ whic h broug ht me] t o Par is. I was a direct or ’s assist ant and personal assist ant. .. so I had t he idea of direct or in my mind. S o, when I sa w Cy press Hill, I st ar t ed dra wing my ideas f or a video f or “How I Could Just Kill A Man.” When I g o t bac k t o N ew Yor k , I [ want ed t o g e t it made] . I knew somebody at Co lumbia Records. . . I knew somebody at t he production company I wor ked wit h. .. I knew a g ir l who was dating one of t he members of Cy press Hill. I st ar t ed pitc hing t he idea t o ever yone. B arel y had a pho t o por tf olio, didn ’ t ha ve a video por tf olio. . . but I had a reall y strong concep t, and t he video production com pany I wor ked f or t old me t hey ’d

Yeah, I knew Jam es Jebbi a f rom my ear l y da y s of l i vi n g dow nt own. I knew h i m bef ore h e even h ad U n i on , h i s f i r s t s t ore. It was on Spr i n g S tree t, be tween W. B roadwa y an d T h om p son, on t he s ou t h s i de. I t was t h e f i r s t s tree twear apparel s t ore in downt ow n . . . t h ey h ad, l i ke, S tü s s y an d T h e Du f f er Of S t. Georg e an d a l o t of h ard- t o- ge t bran ds . You wan t ed t o wear ever y t hing t h at was i n t h at s t ore. From t h ere, h e bou gh t i n t o S tüssy and even tu al l y open ed u p Su prem e. Wh en h e open ed [ S upreme] , on e of t h e f i r s t t h i n gs h e as ked m e t o do was ph o t og raph t h e s t ore. I bec am e a f i x tu re at t h e s t ore- i t was on Laf a ye tt e an d I l i ved on M o tt. I s t ar t ed doi n g t h e ads , an d t h en James g a ve m e a s tu di o i n t h e bas em en t s i n ce i t was em p ty. I t was kind of l i ke tradi n g pi c tu res f or a s tu di o. A l o t of peopl e


S H A D I D AV I D P E R E Z

What drew you t o Japan? Wel l , i t was t he o n e p la c e I wa s g o ing t o m ore t h a n a ny o t h e r in t h e wo r l d, m ore t h a n L .A . o r Pa r is . I had a real l y go o d f o u n d a t io n t h e re , great f r i ends , I k n ew t h e c it y. Act u all y, t he N ew Yo r k T im e s h ire d m e be caus e t hey n e e d e d t o d o in t e rview s w i t h [ N o b u yo s h i] Ara k i, [ Ta ka s hi ] Mu rakami, a n d R in ko Kik u c h i, an d t hey neede d s o m e o n e wh o re a l l y k new how t o d o p ro d u c t io n t h e re . I was l i ke, Wel l, I ’m yo u r g u y ! It ’s int eres ting how tight t he Japanese scene has been wit h New Yor k City, especiall y in t er ms of music and s treetwear culture. Yeah, I f eel l i ke , f o r a lo n g t im e , J apa n was s or t o f c o py in g t h e U.S . , an d t hen t he s ca le t ip p e d . N ow, ever y A m er i can k id is lo o k in g f o r wh at ’ s com i ng o u t o f t h e re .

Oh ! Bi l l i o na i re Boys Cl u b ! H ow co ul d I f o r ge t t ha t ? I ’ ve d o ne so m a ny sho o t s wi t h BBC/ I ce Cre a m , in To kyo a nd he re . I d i d a co u p l e s h o o t s i n Ja p a n, wi t h Ni go a nd Pha rre ll a nd t he Te r i ya k i Boys, a nd t ha t wa s a no t he r b ra nd t ha t I d i d a shi t lo a d o f wo r k wi t h. I knew t he p e o p l e f ro m A Ba t hi ng A p e a nd t he Pha r re l l p e o p l e ... a nd t ha t wa s k i nd o f co o l ; n o t f e e l i ng l i ke a n o u t si d e r i n Ja p a n, b u t a n i nsi d e r, l i ke I wa s Ja p a ne se a lre a d y. I we nt b a c k [t o Ja p a n] i n Oct o b e r. I h a d n ’ t b e e n i n t wo ye a r s, a nd i t wa s k i nd o f we i rd . A l o t o f t hi ngs h a d c ha nge d i n [t ha t sp a n o f t i m e ]. Als o, a t t ha t t i me , p e o p l e we re j u st s t a r t i ng t o co m e b a c k o u t a f t e r t he t s u na m i a nd e a r t hq u a ke , so I ca m e t o tr y a nd ge t a f i nge r o n t he p u l se o f t he ci t y. I a l so we nt t o t he Se nd a i a rea , a nd t ha t wa s a b i t o f a wa keu p ca l l . I t wa s ve r y re m i ni sce nt t o h ow N ew Yo r k wa s a f t e r 9/ 11. I wa s a bi t b l own a wa y. I f o u nd a gu i d e wh o t o o k m e [no r t h t o Se nd a i ], a nd we st o p p e d i n Fu k u shi ma , a b o u t 60 m ile s a wa y fro m [t he nu cl e a r re a c t o rs t ha t me l t e d d own].

Woah, you’re working on a featurelength film? Ye a h, a b o u t my yout h in t he B ronx, i n t he e a r l y d a ys. It ’s one of t hose t hi ngs t ha t I ’ ve b e en futz ing around wi t h f o r so l o ng. I’m g iving my self u nt i l Se p t e mb e r t o ha ve a reall y st ro ng scre e n p l a y. T hat ’s my baby.

Ji m J ar m u sc h

Just bei ng i nvol ve d w it h t h e m g o t m e a lo t of at t ent i o n . A lo t o f J a p a n e s e brands l i ked t h e s t u f f I wa s d o in g . I di d a l o t of S u p re m e s t u f f in J a pa n, and t hat h e lp e d m e e s t a b lis h a rel at i o ns hi p w it h B e d w in in To k yo , an d t hat ’ s bee n a b ig b ra n d I ’ ve be en t i ght w i t h. I ’m f o rg e t t in g a lo t of brands ... but , ye a h , p e o p le h a ve alwa y s been l i ke , Oh , S h a d i d id a lo t of ear l y ads f o r S u p re m e , [ w h ic h pe opl e f i nd t o b e c o o l] .

D MC

Did t he Supreme s tuf f lead t o ot her wor k?

Ever y t hing ’s suc h a blur. Go ing t o S endai and documenting ever y t hing coming bac k t o normal. . . being t here and f eeling t he environment [ was reward ing ] . I f elt like a pho t ojour nalist or document ar ian. Doing f ashion and all t his tr ivial bullshit is one t hing , but exper iencing t he loss t hat Japan did [was ano t her] . Going out t here, t aking t hat little tr ip, it made me f eel like a pho t ojour nalist, and I want t o do more projects like t hat ; I want t o do more stuf f t hat has more meaning t han clo t hing and sneakers and blog s. It put a lo t of t hing s in perspective.

Phare l l W il li am s

I d o n ’ t wa nt t o sa y I st opped di re ct i ng, b u t I st o pped ag g ressivel y d i re ct i ng mu si c videos and f ilms. N ow I ’ m p u shi ng my wa y bac k in. I d i d t hi s sho r t f ilm wit h Casio’s Ba by - G a nd Le a h McS weeney [t he f o u nd e r a nd owner of Mar r ied t o t he Mo b ]. We t o ok t he whole bud ge t a nd we nt t o Par is t o make a wi l d f a shi o n v i d e o out t here. I also st a r t e d wo r ki ng wit h Nike+ on t he Fu e l Ba nd ca m p a i gn. And I’m tr y ing t o f i ni sh wr i t i ng my movie t his sum m e r.

What was one of your favor it e projects you’ve wor ked on over t he pas t two, t hree years?

I g o t a random email from a prof essor in N ew Zealand who had come across one of t he pho t os [ I’d sho t in S endai]. S he want ed t o know if she could use it f or a publication t hat had t o do wit h arc hit ecture and natural disast ers, and education on t hat level. I was like, Yeah I’d be more t han honored t o submit my pho t o f or educational reasons! It ’s g oing t o do some g ood!

Rae K wo n

What else are you wor king on?

Sa rah M c Swe e n ey

ca m e i n and o u t o f t h e re - t h e re ’s re all y ear l y pi ct u re s o f a s k in ny J a y - Z in a w i f e-beat e r, b e f o re h e b e c a m e a h ous ehol d nam e . I g o t a lo t o f p o rtrai t s t here. I t wa s a p la c e t o g e t a wa y and t o h a ve la t e - n ig h t d r in king par t i es .

S H A D I D AV I D P E R E Z


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01- Chris Johanson slangin’ zines and prints at LA Art Book Fair

07- Steve Ternosky. and Will aka The Gaslamp Killer behind the scenes of the Obey

02- Steve Harrington Steve Ternosky and artist Tim Biskup @ Insideout Opening Night

Disciplines video

03- Jaques Renault in the Dom with his record collection

08- OBEY Spring 2013 collection at Project Las Vegas

04- Superhumanoids post soundcheck at The Echo

09- Neil Schield wearing the Klein at Origami

05- Poolside rocking the Borstal

10- Dustin A. Beatty and photographer Brad Elterman

06- Dustin A. Beatty and Gareth Stehr behind the scenes of the Obey Disciplines video


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Spencer Hart x The Generic Man at Spencer Hart 62/64 Brook Street London

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This Page: 01- NO playing at Echo Park Rising 02- Up close for Desaparecidos at FYF 03- On stage for Simian Mobile Disco 04- Dinner with Greg Chapman and Mark McNairy in Florence 05- N. Hoolywood collab at their NYFW presentation 06- Local Natives in store at Origami Vinyl


GENERIC SURPLUS X N O N N AT I V E X SOPHNET

Made in Japan - Japan Exclusive


Generic Manifesto: Volume 3 (Spring 2013)