KOMONO x Jean Michel Basquiat at The Seventh Letter Flagship Store and Gallery

May 30 2014 . 10:56am

Jean-Michel-Basquiat-x-Komono-The-Seventh-Letter1-1024x544

KOMONO x Jean Michel Basquiat
Friday, May 30 from 7- 10p
at
The Seventh Letter Flagship Store and Gallery
346 N. Fairfax Ave.
Los Angeles, California 90036

+ Share this post

MOCA TV | SAMO© Jean-Michel Basquiat – N.A.S.A. + Kool Kojak + Fab Five

November 01 2012 . 03:35am


For this film, rather than making a direct homage to Basquiat’s work, the filmmakers decided instead to try to re-create the world, which spawned SAMO. N.A.S.A. Is a DJ duo featuring Brazilian DJ, Ze Gonzales (aka DJ Zegon) and music producer Sam Spiegel (aka Squeak E. Clean), who are known for their collaborations with Kanye West, MIA, Santigold, David Byrne, Karen O and more. The duo came together with Brazilian-American producer Kool Kojak to collaborate on the track that also features legendary New York impresario Fab Five Freddy, who was recruited to do spoken word. A search for archival footage of New York from the era was undergone, then coupled with organic elements to add a sense of hand-made to the film. Animator Maya Erdelyi painstakingly painted and scratched hundreds of feet of vintage 16mm stock, which has been used as a visual bed for the film. Erdelyi and artist Alexis Ross did the SAMO/Fab Five Freddy texts and lettering by hand. Aaron Rose and filmmaker/animator Thomas McMahan then assembled of the final piece together in the edit.

A film by Aaron Rose and Thomas McMahan
Music by N.A.S.A. featuring Kool Kojak and Fab Five Freddy
Animations by Maya Erdelyi and Alexis Ross

Find out more at: moca.org

+ Share this post

New York Magazine confuses Phil Frost for Jean-Michel Basquiat

September 23 2011 . 09:56pm

Read article at: nymag.com

+ Share this post

R.I.P. Rammellzee

July 01 2010 . 03:13pm

Before MF Doom donned a metal mask, before Cypress Hill and the Beastie Boys conquered the adenoidal vocal and street art was bound in $100 books for sale at Taschen, Rammellzee was the original train-bombing, abstract-rapping outlaw.

He passed away last Sunday at 49, in his birthplace of Far Rockaway in Queens, N.Y., after a lengthy and undisclosed illness. The details of his death mirror those of his life: bathed in shadows and blocked behind bug-eyed ski goggles and robot-samurai battle gear.

There are people who know Rammellzee’s birth name, but even after his death, no one has publicly divulged it. He first came to attention in the Bronx of the mid-1970s, where he relocated "because that’s where the culture was coming from," he told Greg Tate in a definitive 2004 Wire feature. Rammellzee quickly fell in with the graffiti writers who rode the A train, including Phase 2, Peanut and others who achieved regional fame in the Carter-era chaos of the five boroughs.

It was the dawn of the Wild Style: B-Boys, DJs, MCs and graffiti bombers united to create hip-hop culture, immortalized in the twin testaments of hip-hop cinema — "Wild Style" and "Style Wars." Rammellzee factored into both, brandishing a sawed-off shotgun and rapping in the former and creating the theme song for the latter. The song in question, "Beat Bop," is widely considered the genesis of hip-hop’s avant garde — a sprawling end-to-end burner of eclectic instrumentation (electric guitar, violin, various types of percussion) and Rammellzee unleashing his oblique "Gangsta Duck" and "W.C. Field" raps.

Loosely strung together by a narrative of a pimp warning a young child about the perils of the streets, the 12-inch was "produced" by Jean-Michel Basquiat, who initially raised Rammellzee’s ire for accepting the graffiti art throne without ever having bombed a train car. The song was initially intended to be a battle rap between the two. However, Rammellzee famously claimed to have crumpled up Basquiat’s contribution, laughed at his inept lyrics and enlisted K-Rob instead. But Basquiat had the notoriety and the money — handling the cover art himself, and the limited-edition 500-copy run remains one of the most sought-after 12-inches in hip-hop history.

Opting for a monkish lifestyle, Rammellzee spent the next three decades largely holed up in his 2,000-square-foot Tribeca studio, painting, sculpting and creating futuristic body armor that made him look like a character from "Voltron." There were occasionally forays into the outside world: an appearance in Jim Jarmusch’s "Stranger Than Paradise" and a string of import-only releases on tiny Japanese and German labels. While hip-hop culture became big business, he rejected its commercialism, telling 149st that "we failed what could have been ‘Our’ culture … too much ‘mannerism’ not enough ‘burner’!!! Our futurism! We should have only stuck to doing the ‘letter’ and joined together to fight the light dwellers."

Interviews requests were frequent, but rarely granted, with Rammellzee preferring to hone his philosophy of gothic futurism in private. Embodying the notion that there is a thin line between tin-foil hat and genius, his conception of the universe often appeared as a byzantine tangle of conspiracy theories, arcane prophecies and mathematics. He viewed the graffiti writers as heirs to Medieval monks, destined to liberate the alphabet from standardization. He was obsessed with the notion of sonic sound wars and the historical struggles between the "letter" and the "number." Rammellzee fought chaos with chaos, creating his own strain of Afro-futurism, inhabiting a galaxy populated only by George Clinton, Sun Ra and Lee Perry. 

It remains unclear whether he was born 600 years too early or 600 years too late. We probably won’t know for another 60. But right now, it’s evident that no style was wilder than Rammellzee’s 

Jeff Weiss

+ Share this post