Burner.
click to enlarge.
Wednesday, February 29, 2012
Inca and crew
my homey Inca recently sent me this unseen joinup he rocked with his crew recently.
Burner.
click to enlarge.
Burner.
click to enlarge.
Thursday, February 23, 2012
The Americas Tour 2011 | PALMS, TUES and Ironlak BBQ Burners – Part 2.
from the series I'm doing for the Ironlak blog
When last I left you, the grizzled, chicken-wing munching Tuesy and his little sidekick Palms, were waving goodbye to LA in the early hours of a morn, and anticipating getting off the plane at the annual International Writers Convention, otherwise known as Art Basel.
Flying in over ocean, beach and palm trees, started to give a little buzz, and by the time we got scooped up from the airport by big Enue and were riding thru Miami, we were well and truly hyped for the event.
For those who have never had the opportunity to visit this annual event, or have yet to become cynical and jaded, Art Basel is an eye opening, inspiring, humbling and downright fucking cool experience. Entire blocks of a suburban neighbourhood are turned into canvasses and eager writers from around the world roll into town to paint, exhibit, catch up with old friends and meet new ones.
Ironlak had an exceptional presence that you would have all seen by now with a massive, killer wall dominated by a crazy Sofles character and burner pieces from the Family. Without humming the nuts too hard, to see Sofles paint on this scale is always incredible. The sheer volume of paint he manages to apply to the wall in the time frame is impressive enough, then you look at it conceptually and the level of detail and its downright unfathomable. He is in a very rare stratosphere for sure.
Getting a bunch of the Ironlak fam together in any one place and time is always an great time, and this was no exception, but there was jaw dropping art happening around every corner, and travelling around watching it go down is one of the best aspects of the whole event.
A lot of the Ironlak related stuff has been shown on this blog previously, so I thought I would show some of the other flicks I was impressed by.
A lot of the Ironlak related stuff has been shown on this blog previously, so I thought I would show some of the other flicks I was impressed by.
A word of advice if you plan to attend: If you want to paint a half decent legal spot, have your spot lined up well in advance. Most decent spots are long booked, and the ones that are free get snapped up real quick.
If, like us, you had a 3 namer spot promised to you by the 'curator' but he never turns up or lets you know where you can paint, you may find yourself frustrated and when that happens, you may find yourself in the dark at night with Geso and Much claiming a spot over the top of some street art.
On our final day in Miami, we met up with our mate Argenis, who splits his time between Miami and Ecaudor, and distributes Ironlak in his home country.
He was kind enough to take us out near his family home, to the Everglades for a airboat ride.
This was the kind of experience you just dont get elsewhere. Picture the most cliched, alligator swamp boat driving character you have ever seen on TV, and thought would be too over the top to be real....nah, they be real, and having one tell you bout gator tail soup and crack inbred jokes is a hell of an experience.
 |
| Look closely, you will see the gator chilling there. |
Big Tuesy kissed this little fella good bye, and we bailed straight to the airport with a buzz ready for the adventures that Chile would bring the next day.....
Lots more to come...
Wednesday, February 22, 2012
Mister - That That
Mister, wordsmith and one half of hip-hop group Passalacqua has just dropped a film clip to the track "That That" off his solo EP. Peep it.
Mister - That that from TONY KATAI on Vimeo.
Monday, February 20, 2012
Thursday, February 16, 2012
Tuesday, February 14, 2012
Park Jimin
Its not super often you hear genuine soul in voice anywhere these, but when I was showed these videsoof 14 year old Korean girl Park Jimin, I was pretty stunned, certainly did not see this coming..
Thursday, February 9, 2012
Palms x Smug - Gold Coast - 2012
I guess many people have seen this due to the exposure from the fine people at www.artillerymagazine.com and ironlak.com but being how its half my production I thought it really should get some shine on my own blog as well. so bam. here 'tis. What up Smuggo!
Wednesday, February 8, 2012
Tuesday, February 7, 2012
Mr Tape
A little hip-hop history for ya. Taking it all the way back to '91 with Mr Tape from Latvia. The dopeness!!
New Calendar Girl - Natalia Velez
It's been just a little too long since the last Calendar Girl, so we are bringing it back with a vengeance.
For the uninitiated, please get acquainted with Ms Natalia Velez, our Calendar Girl for February.
For the uninitiated, please get acquainted with Ms Natalia Velez, our Calendar Girl for February.
2012 Superbowl Commercial.
Most years its a lot of hype with a few good ones thrown in for good measure.
Here are some of this years good ones.
Here are some of this years good ones.
Monday, February 6, 2012
Friday, February 3, 2012
Michael Miller interview on Artillery Magazine blog
Just got done reading this interview with iconic West Coast Hip-hop photographer Michael Miller at www.artillerymagazine.com.au
Their new blog is up and blazing with daily content updates, so if you haven't already, go, visit and add to your faves.
INTERVIEW 001 | MICHAEL MILLER for Artillery.
Interview by Luke Shirlaw exclusively for Artillery Magazine.
Artillery script handwritten by Michael Miller.
Photographs by Michael Miller, courtesy of Known Gallery and Michael Miller.
It’s pushing 11pm in Brisbane, Australia and here I am sitting and staring at my computer screen, attempting to weave together a series of words that will leave a vivid impression of the role that Michael Miller has played in capturing the explosion of the West Coast Hip Hop scene. After all it’s what his legacy deserves.
I was eight years old when Michael Miller photographed his first rapper; Arabian Prince in Los Angeles. At that time my closest exposure to hip hop music was Salt-n-Pepa’s ‘Push It’ via the compilation record; ‘88 The Winners’.
It wasn’t until my early to mid teens that I would come into contact with Michael’s photographs while starting to discover and collect the music of Cypress Hill, Snoop Doggy Dogg, 2pac and House of Pain. It was even later, as a grown-ass man in my thirties, that I would finally discover the man behind these iconic photographs was Michael Miller.
In the meantime, Miller was busy building an “expansive portfolio that includes over 300 major record covers, the most iconic supermodels of the ’90s and some of the biggest names in rap and jazz”.
With his book ‘West Coast Hip Hop | A History In Pictures’ hot off the press and an exhibition opening at Known Gallery in Los Angeles this Saturday night, I managed to pin Michael down for a quick interview before he jumped on a plane to San Francisco. –Luke Shirlaw.
You grew up in Santa Monica, Los Angeles around surfing/ skateboarding culture and were an avid listener of AM1580 KDAY, the radio station that brought prominence to the West Coast Hip Hop scene. Yet your introduction to photography was shooting fashion in Paris and Spain. It wasn’t until your return to LA in 1988 that you started to work with hip hop artists, seemingly completing a cycle that began during your teenage years. Now with the steady decline of the music business, the cycle of life has you back working on fashion and advertising. How much of this journey has been intentional, or incidental?
I think so much of it was by chance. I was lucky meeting certain people and being in the right place at the right time. I have always been a people person so I was always out meeting people and really open to new things. Optimism can take you a long way in life.
During those earlier days of your career in Europe, you were experimenting with your own version of cross-processing films – these techniques helping to create the aesthetic of your early music photographs. How has the advent of digital photography transformed your current work?
It hasn’t and I’m not a fan but it’s very useful for checking the lighting etc. So now it’s used for the clients to look at the computer screen. It’s great for that and shooting locations. It has its place.
What are your thoughts on today’s photography environment? A camera is in the pocket of just about every kid in America.
I was kind of bummed about that… My 16 year old – at the age of 14 – her friends were taking photos better than you would see in the magazines and a couple of them used my same camera…
But now I’m enjoying my iPhone and all its apps, just like a teenager.
In the promo video for your book, Paul Stuart says of you; “His style has had such an impact on people, but they don’t know his name”. Admittedly, I’m very familiar with your images of Tupac, Cypress Hill, House of Pain, Coolio, Warren G and Pantera because I grew up listening to those records, studying the images on the album covers. However, I’m not as familiar with you. Why has it taken this long for your work to be compiled into a book when these images essentially helped define a movement?
I sort of became a recluse without realizing that I had become a bit isolated. When you have kids you stop doing a lot of things, like going to clubs etc. My free time was filled with their sports and all the activities. I became very involved, which is a good thing. It probably didn’t help that my name is so common because you couldn’t find me on Google.
I’m sure you’d prefer to save most of the stories about the hip hop community for people to read in your book, so I’ll ask about Nick Cave. I’ve heard he is notorious for hating photographers? How was your experience with Nick, both on a personal level and when it came to shooting pictures of him?
Usually I bonded with artists that were notoriously difficult to work with.
I collected albums of old jazz, soul, anything obscure. That seemed to be an icebreaker; at least it was with Nick and Pantera. But he still wouldn’t take off his glasses.
You were in the studio when Dr Dre recorded The Chronic – an album that lyrically caused a stir due to its “frightening” blend of “inner-city street gang scenarios”. Dre later stated, “it’s all entertainment”. Did you personally ever have any real exposure to gang lifestyle?
Going to Santa Monica High was different than some of my friend’s high schools. We didn’t have bussing so it was very multi-racial. I’d see my friends from some of the local gangs at the pier, movie theatres, just everywhere in Santa Monica. That was in the late ’70s. It seemed like everyone got along.
Tupac was already famous when you first photographed him in 1994, can you tell us something about your experience with him that is not documented in your book?
He had an interesting personality. He was really energetic and charismatic. Those traits probably helped elevate his celebrity. My wife dressed him and she said he had no colour limitations to the clothing; he almost wore anything unless it didn’t fit. Which shows a very confident person.
How do you feel about the state of West Coast Hip Hop today?
We need some new artists. It seems like The Dirty South took over. I can’t think of an artist recently that came out of the West Coast. I am sure there are a few; I should probably do my research.
Earlier influences of yours include: Peter Lindbergh, Paolo Roversi and Javier Vallhonrat. Which photographers inspire you today?
Sam Haskins, Paolo Roversi , Javier Vallhonrat and Annie Leibovitz’s early band photos for Rolling Stone were amazing.
The images in your book are 90% album covers, yet for the show at Known Gallery a majority have never been shown to the public before. Why was it important to show unseen work at Known?
[The artist/ label] chose a couple [of photos] for the album package and I would always move on to the next job and didn’t go back and look through the shoot to see if there were other images.
The partnership between hip hop and graffiti was popularised in the early 80s thanks to films from the East Coast such as Style Wars and Beat Street. Were you exposed to graffiti through your involvement in West Coast hip-hop?
A family of Italian boys moved in next door to me and started school with me. They were from NYC and they dressed different, [they were] graffiti [artists] and break-dancers. We listened to the same music but this was 1979/80 and they dressed different there. Graffiti was different on the West Coast. The kid my age was a really good artist. It was big, bold, and colourful. I was so into it.
As a photographer, the relationship and interaction you have with your subjects is vital. Pep Williams said you’re someone who can “kick it with the homies” which I’m sure is why you were so successful shooting hip hop heads. Given the diversity of clients you’ve had, how do you approach different subjects? Does your approach differ between shooting; Ice Cube, Angelina Jolie, Pantera or a young unknown skater?
I just act with instinct so when you’re with new people it was trying to find something in common, in our conversations. Usually it was successful.
No doubt with this diversity of subjects, you’re dealing with many different personality types and egos, so things aren’t always gonna run smoothly. Can you share any of the horror stories with us?
Honestly it’s hard for me to think of one situation where the artist did anything dramatic. Usually it was someone in my crew, assistant, make-up artist etc. that pissed me off. In general every artist came to a shoot like it was a root canal at the dentist. So it was my job to distract and convince them that it was going to be quick and easy. Then I would proceed to say, “just one more set up”, about ten more times throughout the day.
Where is your favourite place on this earth?
The Amalfi Coast of Italy, although there is no surf, it’s incredibly beautiful with amazing food. Those two combined are rare.
Where would you like to travel to next, somewhere you haven’t been before?
Bali. I’ve been wanting to go for a long time.
Thanks very much for your time Michael; let’s finish up lightly with a couple of quick personal questions:
What did you have for breakfast?
I’m in to juicing and whatever my wife cooks me.
Would you punch a ghost?
I have yet to be convinced there are ghosts and I’ve lived in some very old houses.
What’s the most recently added album to your music collection?
Die Antwoord.
What’s next?
Tomorrow I am going to San Francisco to shoot for Ferrari magazine.
After that the projects I am working on are not set in stone yet so I don’t want to jinx them.
Thanks again and all the best for your opening on Saturday.
Thank you, this was fun!
Michael Miller’s ‘West Coast Hip Hop | A History in Pictures‘ opens this Saturday 4th February at Known Gallery Los Angeles. The book of the same name is available now through Over The Edge Books.
Visit:
michaelmillerphotography.com
knowngallery.com
overtheedgebooks.com
Their new blog is up and blazing with daily content updates, so if you haven't already, go, visit and add to your faves.
INTERVIEW 001 | MICHAEL MILLER for Artillery.
Interview by Luke Shirlaw exclusively for Artillery Magazine.
Artillery script handwritten by Michael Miller.
Photographs by Michael Miller, courtesy of Known Gallery and Michael Miller.
It’s pushing 11pm in Brisbane, Australia and here I am sitting and staring at my computer screen, attempting to weave together a series of words that will leave a vivid impression of the role that Michael Miller has played in capturing the explosion of the West Coast Hip Hop scene. After all it’s what his legacy deserves.
I was eight years old when Michael Miller photographed his first rapper; Arabian Prince in Los Angeles. At that time my closest exposure to hip hop music was Salt-n-Pepa’s ‘Push It’ via the compilation record; ‘88 The Winners’.
It wasn’t until my early to mid teens that I would come into contact with Michael’s photographs while starting to discover and collect the music of Cypress Hill, Snoop Doggy Dogg, 2pac and House of Pain. It was even later, as a grown-ass man in my thirties, that I would finally discover the man behind these iconic photographs was Michael Miller.
In the meantime, Miller was busy building an “expansive portfolio that includes over 300 major record covers, the most iconic supermodels of the ’90s and some of the biggest names in rap and jazz”.
With his book ‘West Coast Hip Hop | A History In Pictures’ hot off the press and an exhibition opening at Known Gallery in Los Angeles this Saturday night, I managed to pin Michael down for a quick interview before he jumped on a plane to San Francisco. –Luke Shirlaw.
You grew up in Santa Monica, Los Angeles around surfing/ skateboarding culture and were an avid listener of AM1580 KDAY, the radio station that brought prominence to the West Coast Hip Hop scene. Yet your introduction to photography was shooting fashion in Paris and Spain. It wasn’t until your return to LA in 1988 that you started to work with hip hop artists, seemingly completing a cycle that began during your teenage years. Now with the steady decline of the music business, the cycle of life has you back working on fashion and advertising. How much of this journey has been intentional, or incidental?
I think so much of it was by chance. I was lucky meeting certain people and being in the right place at the right time. I have always been a people person so I was always out meeting people and really open to new things. Optimism can take you a long way in life.
During those earlier days of your career in Europe, you were experimenting with your own version of cross-processing films – these techniques helping to create the aesthetic of your early music photographs. How has the advent of digital photography transformed your current work?
It hasn’t and I’m not a fan but it’s very useful for checking the lighting etc. So now it’s used for the clients to look at the computer screen. It’s great for that and shooting locations. It has its place.
What are your thoughts on today’s photography environment? A camera is in the pocket of just about every kid in America.
I was kind of bummed about that… My 16 year old – at the age of 14 – her friends were taking photos better than you would see in the magazines and a couple of them used my same camera…
But now I’m enjoying my iPhone and all its apps, just like a teenager.
In the promo video for your book, Paul Stuart says of you; “His style has had such an impact on people, but they don’t know his name”. Admittedly, I’m very familiar with your images of Tupac, Cypress Hill, House of Pain, Coolio, Warren G and Pantera because I grew up listening to those records, studying the images on the album covers. However, I’m not as familiar with you. Why has it taken this long for your work to be compiled into a book when these images essentially helped define a movement?
I sort of became a recluse without realizing that I had become a bit isolated. When you have kids you stop doing a lot of things, like going to clubs etc. My free time was filled with their sports and all the activities. I became very involved, which is a good thing. It probably didn’t help that my name is so common because you couldn’t find me on Google.
I’m sure you’d prefer to save most of the stories about the hip hop community for people to read in your book, so I’ll ask about Nick Cave. I’ve heard he is notorious for hating photographers? How was your experience with Nick, both on a personal level and when it came to shooting pictures of him?
Usually I bonded with artists that were notoriously difficult to work with.
I collected albums of old jazz, soul, anything obscure. That seemed to be an icebreaker; at least it was with Nick and Pantera. But he still wouldn’t take off his glasses.
You were in the studio when Dr Dre recorded The Chronic – an album that lyrically caused a stir due to its “frightening” blend of “inner-city street gang scenarios”. Dre later stated, “it’s all entertainment”. Did you personally ever have any real exposure to gang lifestyle?
Going to Santa Monica High was different than some of my friend’s high schools. We didn’t have bussing so it was very multi-racial. I’d see my friends from some of the local gangs at the pier, movie theatres, just everywhere in Santa Monica. That was in the late ’70s. It seemed like everyone got along.
Tupac was already famous when you first photographed him in 1994, can you tell us something about your experience with him that is not documented in your book?
He had an interesting personality. He was really energetic and charismatic. Those traits probably helped elevate his celebrity. My wife dressed him and she said he had no colour limitations to the clothing; he almost wore anything unless it didn’t fit. Which shows a very confident person.
How do you feel about the state of West Coast Hip Hop today?
We need some new artists. It seems like The Dirty South took over. I can’t think of an artist recently that came out of the West Coast. I am sure there are a few; I should probably do my research.
Earlier influences of yours include: Peter Lindbergh, Paolo Roversi and Javier Vallhonrat. Which photographers inspire you today?
Sam Haskins, Paolo Roversi , Javier Vallhonrat and Annie Leibovitz’s early band photos for Rolling Stone were amazing.
The images in your book are 90% album covers, yet for the show at Known Gallery a majority have never been shown to the public before. Why was it important to show unseen work at Known?
[The artist/ label] chose a couple [of photos] for the album package and I would always move on to the next job and didn’t go back and look through the shoot to see if there were other images.
The partnership between hip hop and graffiti was popularised in the early 80s thanks to films from the East Coast such as Style Wars and Beat Street. Were you exposed to graffiti through your involvement in West Coast hip-hop?
A family of Italian boys moved in next door to me and started school with me. They were from NYC and they dressed different, [they were] graffiti [artists] and break-dancers. We listened to the same music but this was 1979/80 and they dressed different there. Graffiti was different on the West Coast. The kid my age was a really good artist. It was big, bold, and colourful. I was so into it.
As a photographer, the relationship and interaction you have with your subjects is vital. Pep Williams said you’re someone who can “kick it with the homies” which I’m sure is why you were so successful shooting hip hop heads. Given the diversity of clients you’ve had, how do you approach different subjects? Does your approach differ between shooting; Ice Cube, Angelina Jolie, Pantera or a young unknown skater?
I just act with instinct so when you’re with new people it was trying to find something in common, in our conversations. Usually it was successful.
No doubt with this diversity of subjects, you’re dealing with many different personality types and egos, so things aren’t always gonna run smoothly. Can you share any of the horror stories with us?
Honestly it’s hard for me to think of one situation where the artist did anything dramatic. Usually it was someone in my crew, assistant, make-up artist etc. that pissed me off. In general every artist came to a shoot like it was a root canal at the dentist. So it was my job to distract and convince them that it was going to be quick and easy. Then I would proceed to say, “just one more set up”, about ten more times throughout the day.
Where is your favourite place on this earth?
The Amalfi Coast of Italy, although there is no surf, it’s incredibly beautiful with amazing food. Those two combined are rare.
Where would you like to travel to next, somewhere you haven’t been before?
Bali. I’ve been wanting to go for a long time.
Thanks very much for your time Michael; let’s finish up lightly with a couple of quick personal questions:
What did you have for breakfast?
I’m in to juicing and whatever my wife cooks me.
Would you punch a ghost?
I have yet to be convinced there are ghosts and I’ve lived in some very old houses.
What’s the most recently added album to your music collection?
Die Antwoord.
What’s next?
Tomorrow I am going to San Francisco to shoot for Ferrari magazine.
After that the projects I am working on are not set in stone yet so I don’t want to jinx them.
Thanks again and all the best for your opening on Saturday.
Thank you, this was fun!
Michael Miller’s ‘West Coast Hip Hop | A History in Pictures‘ opens this Saturday 4th February at Known Gallery Los Angeles. The book of the same name is available now through Over The Edge Books.
Visit:
michaelmillerphotography.com
knowngallery.com
overtheedgebooks.com
Student v Teacher battle.
I'm not usually a fan of these no beat 'rap' battles, without beats to demonstrate your flow its more like a standup comedy battle, but this one between a 17 year old battle emcee and a middle aged English teacher and poet was worth a look for sure.
Thursday, February 2, 2012
Beating The Habit
A little preview for "Beating The Habit" a mockumentary our homie and all round nice guy Tom Thum knocked up for The Adelaide Fringe Festival which is coming up at the end of this month.
Impossible Pool Trickshots
This mofo is like the rain man of pool trick shots. I'm pretty sure he sold his soul to the devil for mad skills like this or it's all he does and has never been laid before. The later seems like the most plausible answer.
Wednesday, February 1, 2012
Showin' Love
From the Ironlak blog:
PALMS and SMUG – Brisbane, Australia.
Ex-pat Aussie SMUG ONE took time out from his recent family visit back to Australia to fly up to Brisbane to spend some time painting with PALMS.
Some grand plans were brought to a halt due to some typical Queensland torrential rain, but the guys managed to put together a couple of great collabs. Here’s one from the Gold Coast.
Stay tuned.
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