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          _  __ _____ /   /  _  __ ________                     _  __ _____
_______ _ ________   /  _/_   _____     __/ _  __ ____    ________ ___    /__
\    _/__ _   .__/__/  /     \   ___/   __     /_  _\_  _ _/_  /__ /  /
_\_     /  \  |    / \___/ _/   |   \_ __\ /  \   __/_ \   __   / /  /___/
\______/    \_ ___/___\    \_________/     _/    \_____/  \__/   /____/   -M-
_  __ _______/ ____________________________\______/________ /___/_________  _

        [    w E ' r E   j U S T   s i C K   o F   i T   a L L  ]
_  __ ____________________________________________________________________  _
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 \    /                                                      - -  ---.
  \\ /  Hello folks. Sick  of  it  all  is a new group in the scene!.|
   \/ | The things we gonna do is supply the scene with intereresting|
      | things to read and look at. This is  answers to the most     | /\
      | asked questions about graffiti.  peace out bros!             / \\
      `---  - -                                                      /____\
_  __ ____________________________________________________________________  _

        [- q E S T i O N S  a B O U T  g R A F F i T I -] 

Why is this called "graffiti" when that other, stupid stuff is also called
graffiti...you know, the bathroom wall sayings and things? 

Schmoo: Graffiti, to me, is writing on the wall. I trace what writers do today
back to the Roman Empire, where the name graffiti first got applied to writing
on a wall. 

John: Here in Brazil, there is a special word for plain writing on the wall
("pichao"--untranslatable, but maybe "wall scribble" will do). Also we do a
lot of figurative painting without words at all, which some have called
"graffiti-murals." In general, any wall-painting done with little or no support,
not vinculated to an institution, illegal or not, gets called a "graffiti."
As the activity has expanded, new forms get lumped under the same word. Doesn't
seem to be much point anymore in insisting on a definition. There're just too
many possibilities. If a guy paints the same thing in the same place, for pay,
that he would have done for free, should it get another name? What should one 
call a very poetic, or philosophic, statement written on the bathroom door?
Isn't there a Bible story about some dude (Nebuchadnezzar?) reading the
"writing on the wall?" [susan: It supposedly said: mene, mene, tekel upharsin
 -- measured, measured and found wanting] Graffiti? Hell, he got it into the
Bible! Who knows what primitive graffitnik didnt get supper because he drew
a lopsided bison in the family cave? 


What is a "toy"? 

Schmoo: A novice, or unskilled writer. Anymore it's someone you don't like,
also. Kairos: A toy is, according to Subway Art , an inexperienced writer.
It is usually used to describe a writer who does not have a genuine interest
in the art. Defining "genuine interest" is not easy, but someone who is
"really" into the art will take the time to learn not only the ethics of
graffiti but also the skills involved. Graffiti is an art, and just like any
other art, it requires tons of practice and work. 


What is a "burner"? 

Schmoo: Originally referring to trains, a burner was a well-executed piece,
on a train. Today I hear it used in reference to any nice piece. 

Kairos: Just what the name implies. Usually this refers to pieces whose colors
leak emotion and vibes, but it is important to note even a piece in two colors
can burn if the colors are used skillfully. 


What is a "crew"? 

Schmoo: A group of writers that feel some sort of cohesion. The people you
get up with. Something like a club of writers. In its original form it was
the the writers that got up together. Anymore with crews that have members
across the country or even world, your crew has become your status symbol
as much as anything else. 

Kairos: In its most literal sense, it is a group of people who like to go
writing together. While a writer can be "down" with many crews, they usually
only explicitly write with a very select few. Crews are often composed of people
who have a great deal of mutual respect and trust in one another and work
towards some common goal. The benefits of a crew are clear: protection, tHE
pooling of ideas and supplies, and an identity. 

Crews are often national or international and as a result they can become a
status symbol. Crews like TWK, CBS, FC, and so forth, are all pretty well known
in the graffiti underground, and writers who are down with them get a lot of
respect and props. 

Celtic: A crew is supposed to be a group of people who are supposed to help
each other out. I guess you could compare it to a club where the members are
all supposed to respect and share secrets etc. with the other members -- of
course it doesn't always work like that. 


Why are painters called "writers"? 

Schmoo: Not all graffiti is done with paint. In the early years, especially,
graffiti was done with all kinds of things: Pilot Markers, home made markers,
mean streaks, etc. At its roots, modern graffiti is still about words and
writing words on surfaces. Therefore, all graffiti writers are just that,
writers. Not all writers are artists or painters, that's why we call ourselves
writers. 

Kairos: Because that's what we do. The term "painter", by the way, is also
fairly common. Any word that describes the activity is appropriate, "writer"
just happens to be one of the most common and most logical. 
For more on terms and language, see the graffiti glossary 


Who is doing this graffiti? 

Schmoo: All kinds of people are doing it. It's always been that way. There
is no race that does it more than another, no age group can really be credited
with graf, and no socio-economic group is responsible, either. Graffiti is one
of the few movements that I have been involved in that includes people from
all backgrounds, with one goal in mind...Getting Up! 


Do women paint graffiti too? 

Schmoo: Definitely. There have been prolific female writers throughout modern
graffiti history, but not very many of them---come on women, express yourselves. 

Kairos: Yes, but they are admittedly rare. While there is no consensus on why
women do not play a larger role in the graffiti underground, the most accepted
explanation is the "danger factor": graffiti often involves going into
delapidated parts of the city at 3 or 4 in the morning. Also, many female
potential writers are scared away by the idea that most graffiti is done
by gangs and other misconceptions that lead them to believe that the culture
as a whole is a dangerous. (ha!) 

Celtic: There are a number of women writers that I know personally and I'm sure
that there are many I have never met. So basically there are enough in my city. 


Do younger graffiti writers' parents know what they're doing? 

Schmoo: In my case they didn't and don't know everything about what I do.
I have shown them legal pieces that I have done, and illegal things my friends
have done. I can't imagine that they don't know about it, but I don't think
they want to talk about it. Style Wars shows good examples of both types of
writers, those who tell their parents everything, and those who don't. 



Why are some of the graffiti paintings in Europe written in English? Is it
an American invasion? 

Schmoo: A lot of the original NYC subway writers got to go over to Europe early
in modern graffiti's inception. They took the established styles to Europe,
which included the use of English words. Modern graffiti comes from America, so
naturally if someone is going to start doing an American art form, they are
going to take a lot from what has already been done, which includes the use of
English words. 


Why are so many of the faces so unhappy looking? 

Schmoo: Most graffiti is done in the city. The city isn't the happiest
environment for an artist, especially if you have to sneak around to
express yourself and face fines and jail time for doing it. 

Celtic: It really is up to the artist who is doing the character at that
time. See if a writer is mad at something or happy for some reason chances
are it will come out in his art. 


What is the deal with all the big words? 

Schmoo: This gets tied back to our influences. Graf as we know it today
started by writing your name. As competition started getting fierce in New
York back in the early 70s a need to make your name bigger and bolder emerged.
Once everyone figured out that anyone could make their name big, style started
taking over. Another influence on graf, because it's in the city, is billboards
and store fronts. In many ways graffiti is just like advertising, and what do
you see in advertising?...big words. An even earlier influence is that of
illuminated manuscripts. The most prominent feature of those works are the
biggest and most detailed letters. 

Celtic: It happens because if someone does a nice piece that says say "arc"
someone else is going to want to show him or her up by doing a piece that says
"revoloution" or something like that. It's like I can do it bigger and
therefore better than you. 

                                                                         

There's this big mural thing on the wall by my house. Is that graffiti? I don't
think it was done illegally...What makes a piece graffiti? Style? Who did it?
Legality? Technique? Placement? Content? 

Schmoo: I don't personally consider legal murals pieces of graffiti. Legality
becomes an issue here for me. But I do consider legal yards places where
graffiti exists. Style doesn't necesarily mean that something is or isn't graf.
There are many writers who draw from all different styles of art in their pieces
on walls, who still write graf. 

Celtic: Can't say. If a writer thinks it's graf then it's graf. Like to me a
picture done in spray paint of say Andy Warhol isn't graffiti. I don't think I
could really describe what makes something graffiti but it just has to have
that flavor. I could tell you in a second if something is graffiti or not,
no problem. 

Cabal: I wouldn't call it graffiti, but I would rather see things like
seascapes or paintings of famous people, than have to look at a bare brick wall. 

                                                                                             

Misconceptions

                                                                                             

Is graffiti really illegal? 

Schmoo: Sometimes yes, sometimes no. There are many legal yards in all major 
cities. Some cities tolerate it more than others. 

Kairos: By and large, yes. In the United States, graffiti is an illegal act but
there are still "legal walls" -- places where writers can go to do murals without
fear of being arrested. The limited number of legal walls leads to writers
constantly having to go over one another for space. This drives the better
writers away because they do not want to see their time-consuming works trashed
in only a matter of days. 

Laws vary in other countries. In general, it is illegal most everywhere,
although in Australia, graffiti is seen as a sport, of sorts, and there are
competitions sponsored by big-name companies. Please note that without the
permission of the wall's owner, it is illegal in Australia as well. 

Celtic: Yeah very illegal in most places, heavy fines, jail time etc...
Especially in major cities that think they have a graffiti problem. 

                                                                         

Why do officials paint over graffiti when all that does is make the wall clean
and ready for more? Isn't this an enormous waste of time and money? 

Schmoo: This is a question that needs to be asked of the officials. To a
graffiti writer, a blank wall in the city represents many more bad things
than any writing on it could. Blank walls are ugly and repressive. I think
this is one of the reasons that graffiti is so much more prevalant in the 
inner city than in the suburbs or rural areas. 

Kairos: It depends. If the painting over is done repeatedly and only a day 
or two after the graffiti went up, it tends to drive writers away. Writers
would rather have a spot that has a good payback for their risk, money and
time. On the other hand, if the painting over is sporadic and spaced-out,
writers will not be deterred. 

Celtic: They do it so as to keep the public happy. Many mayors think that
by doing this they are cleaning up the town. Looks real good on TV to see a
truck painting over graffiti but its just a PR stunt. The streets aren't any
safer because the walls are clean, it just looks that way. 

                                                                         

Isn't all that name writing in my neighborhood gang turf markings? 

Schmoo: Anymore, I would say that very little of it is. 

Kairos: No. While graffiti crews could be considered gangs, they are not
the kind that sell crack to 8-year olds and walk around with uzis. In large
cities there is probably a fair amount (maybe 10%) of "graffiti" that is
done by gangs, but it is very different in style (i.e., it has none) and
in message from the graffiti we speak of here. Gang graffiti is usually
done in poorer taste, and done strictly for marking terrain. 

Celtic: You just hit on probably the number one misconception. 

                                                                         

I like the art, but why do graffiti writers tag things all over town? Why
don't they just quit doing that since police and property owners hate it so
much? 

Schmoo: Many people have the urge to write their names places to commemorate
being there. People don't get upset when they hear stories of "Kilroy was
Here" or kids scratching in Janet + Joe on a tree. But somehow when writing
gets associated with the city, and kids from all races and backgrounds get
together to express themselves in some rebellious way right in the face of 
everyone, it gets associated with evil. Then officials feel the need to go 
over graffiti with plain flat paint. The thing that they don't understand is
that they are expressing themselves just as much as we are when we put our
name or crew up. Unfortunately they don't have the creativity that we do. 

Celtic: We do it to so we can get respect from other graf writers. Usually
it's the newer writers who tag all over. This is because they only know how
to write up and they are still learning how to write with skills -- it just
takes a while for the kids to learn, that's all. 



Why are they putting such good art on walls? Why don't they paint on canvas 
like other painters? If I brought them canvas, would they paint on it? 

Schmoo: Graffiti is meant to be a public display. When it is illegal it is
a political statement, whether the kid knows it who's doing it or not. I only
do canvases for people who ask me to and for friends. Graffiti has been put
on canvas for years, since the 70s. 

Celtic: We put it on the walls so we can see it all the time, on our way
to a friend's house or school, whatever. I know that there are many writers
who would put it on canvas for you, just gots to provide the means. 

                                                                         

How can graffiti artists stand to have their masterpieces painted over?
Why do they paint over someone else? 

Schmoo: When you become a writer, you know that your stuff won't last forever. 
It is just accepted that either society won't allow it, or other writers
won't. Battling and competition have been a part of graf since its inception.
The biggest part of graf is in the doing of it. The action of putting your 
expression on a wall for other people to see is what writing is all about.
On the same note, graffiti is a temporary art form, like improvisational
theatre. You take pictures of your pieces to remember them, and share them with
other writers, but you know that your piece soon will be gone. 

Kairos: It is an unfortunate fact of life. It is tolerated because there is
no choice but to tolerate it. Thankfully, most artists take pictures of their
finer works, so they are gone but not lost forever. There are many reasons
writers paint over each other, with varying levels of legitimacy. In short,
ideally this should never happen, but the world is far from ideal. In general,
writers go over other writers because of an ongoing feud, either between
writers or between rivaling crews. Most "serious" writers see this as childish
and make many efforts to distance themselves and their work from this
self-defeating activity. Other common reasons are far less idiotic; sometimes
the original artist feels that the work is embarrassing and detrimental to his
image, or often there just isn't enough space on a highly visible or very
popular wall. 

Celtic: WE HATE IT SO MUCH. So much trouble happens or has the propensity to
happen if someone paints over another person. People have been beat up, beaten
with bats, had houses broken into, gotten hit by cars, well you get the idea.
Writers hate getting written over -- it's the worst thing to have someone write
over you -- it means they didn't respect your art. I'd say writing over 
someone else is the biggest cause of conflict in the graffiti community. 

Susan: Many graffiti writers try for permanence by placing their work in
a hard-to-reach spot or by using materials that resist buffing. Unfortunately,
much of the best graffiti art does get painted over sooner or later. 

                                                                         

Would anybody still do graffiti if it were legalized, or if special legal
walls were given to the artists to paint on? 

Schmoo: Legal yards are often the most active yards in cities. Many of the
more serious writers end up taking all of their writing to the legal yards
and walls. 

Kairos: Most of the serious writers would love for graffiti to be legalized.
However, since this is not going to happen it is basically a moot point.
There are a fair number of legal walls and they are used to death, so it
is quite clear that legalizing graffiti will not change much. 

Celtic: Yeah, just cause its fun to do. Well I know I would at least. 

Cabal:That is definitely a yes! It would make it so much less nerve racking,
you wouldn't have to worry about the man then. (of course a little adrenaline
rush now and then doesn't hurt) =:) 

Susan: Plenty of "hard core" graffiti writers think that graffiti is illegal
by definition. They are not interested in having their work sanctioned by
society, particularly if that would lead to commercial exploitation of the art
form. It is nonetheless true that some of the most detailed and intricate
pieces are done on legal walls, where writers can work undisturbed. 

                                                                         

This stuff is great! Why aren't they selling it? 

Schmoo: A lot of writers wouldn't sell their work. You don't get into graffiti
to make money, in fact you know you are going to lose money in the long run
(through paint, supplies and fines). But some writers sell their stuff all
of the time. It's just a matter of hooking up with a writer that will do it. 

Kairos: They are, kind of : -) Most of the stuff that has really been
commercialized is not very good, because many writers feel that it is a breach
of integrity to do this sort of stuff for profit. In recent years the media
has been making the graffiti culture more and more in vogue and there has been
an inundation of wanna-be graffiti artists who are often no more than comic
-book artists with spare time. Graffiti is a highly individualistic thing.
Having 2 billion shirts that all look the same really does not reflect the
vibe of the culture very well. It is also important to note that graffiti
is a large-scale artform that often does not shrink well onto a small 
workspace like a T-shirt or poster. 

Celtic: I'll sell it, I mean I went through plenty of hard times for it
why shouldn't I get rewarded eventually? 

Susan: Many graffiti writers do sign painting and airbrush work on the side.
Also, many go on to be fine artists, graphic designers, cartoonists, tattoo
artists, architects, and animators. Graffiti artists have skills that
translate well into any kind of drawing and design work. Plenty of writers
have done canvases and had art shows, all over the world. 

                                                                         

How could I buy some if I wanted to? 

Schmoo: Talk to me and my crew! : ) 

Kairos: Try skate shops (places where skateboarders get their equipment) or
hip-hop stores. Be forewarned that it may not be very good. 

Celtic: Just ask someone in the graffiti life. They had better be able to put
you in touch with someone or they aren't worth much at all. 

                                                                                             

How

                                                                                             

Do they paint in the dark? 

Schmoo: Sometimes a certain piece requires the cover of darkness, but there are
plenty of pieces done during the daylight hours. 

Kairos: Most artists must paint in the "dark" to avoid being seen. However,
there are exceptions. Some spots like underpasses are too dark at night, and
then artists usually wait until just before dawn so they can see to do detail
work later on in the piece. 

Celtic: Its usually not that dark just because of streetlights or whatever
else. If you live in the city you know it never really gets super dark. 

                                                                         

Is it all done with spray paint? 

Schmoo: Markers and enamel paint are used. Rollered throw-ups aren't uncommon.
But tradition is a big part of graffiti. If you don't respect the roots of
graffiti you are looked down upon. I think that's why the spray can has remained
the tool to use in writing. 

Kairos: In general, yes. There are artists who combine paint markers and brushes,
but with very few exceptions it is all done with spray paint. 

                                                                         

How do they do that with spray paint? 

Schmoo: Practice, more than anything else, practice. There are specialized
tips to put on the cans for wide or narrow spray that help. Writers get to know
the brands of spray paint very well, which helps them determine what kind will
work better in different situations. 

Kairos: That is probably the single most important question : -) There is no
definitive answer here; in essence, it is a combination of experience, tools
and skill. Most artists have a large array of nozzles to use which give a wide
variety of different line widths at an assortment of paint pressures. Acquiring
these nozzles is a long and arduous task and is an art in itself. (No self
-respecting artist would ever use the disgusting "black death" nozzle that
comes native to a standard Krylon can!) Beyond that, acquiring long-since
-discontinued colors and mixing colors are all tangible techniques artists use
to differentiate themselves from the casual "wanna-be-hardcore" tagbangers
who run rampant through the city streets. Like any art, there is no substitute
for experience.. spray-painting takes incredibly good hand-eye coordination
and fast decision making; one delay can cause a drip that can screw up hours
of hard work. 

Celtic: It's a secret. ; ) 

                                                                         

What about paint fumes? Is that why they work outdooors? 

Schmoo: Many writers wear masks when they paint indoors. 

Kairos: Paint fumes are always a problem. While I don't know of any major
studies that have been done linking paint fumes to any serious illnesses, it
is obvious that anything breathed repeatedly into the lungs, especially paint
particles, should be avoided. Most artists do not spend enough time around
paint for prolonged periods of time for this to really be a problem, but in
situations where it is, most that I know wear masks (which can be purchased
at most any hardware store). It is important to note that a lot of artists
work indoors (either in their basements or inside abandoned buildings), but
since it is unseen it is also unknown. 

Celtic: We work outdoors because more people will see our stuff outdoors than
inside. Also it would be a lot harder to sneak inside somplace to paint it.
The paint fumes... well it's not uncommon to be sneezing purple (or whatever
color) after really painting up an underground train stop. 

                                                                         

Do they use stencils? 

Schmoo: This would be about the worst thing one could do. Once again tradition
plays a big part in graffiti. Although one could get perfectly straight lines
using a stencil, that writer would never gain any respect from the community
as a whole
for using one. 

Kairos: In general, no. Stencils in graffiti art are analogous to tracing
paper in pad+pen art, that is, if the artist is not good enough to make it on
his own then he should practice some more before trying to impress. However,
some artists certainly do use some aids like tape to keep lines neat and tight
(I might add that I see this as a cop-out). 

Celtic: Stencils are bad. If someone gets caught using stencils and it gets
around, that writer loses a lot of respect in the graf community. It's like
cheating. 

                                                                         

How big are the paintings? 

Schmoo: Most pieces are probably between 6 and 15 feet wide and as tall as the
writer can reach or as the wall allows. Ladders are used on bigger pieces,
which are as big as any mural that has been done. 

Kairos: It varies. Usually about as big as space and time permits : -) Most
pieces will range in size from around 10 x 10 feet to 60 x 60 feet. Larger
 pieces tend to be commissioned by the city. 

                                                                         

How much paint does it take to do a big piece? 

Schmoo: For a big piece, it can take 20-30 cans of spray paint. Supposedly it
takes about 30 cans to do a top-to-bottom whole car on a New York subway line. 

Kairos: Well, it really depends on what kind of piece is being done. Think of
it this way: how many pieces of wood does it take to make a big chair? It
depends how ornate its design is, how many possibilities there are for
mistakes, the conditions when making it, and the tools available to the
creator. In general, a standard piece (about 15 x 8 feet) will take 15-20
colors, so artists must get at least that many cans of paint, whether or not
they're all used up when done. Also, basic colors like black and white tend
to run out quickly, so most artists will bring 3-4 cans of each. 

                                                                         

How much time does it take to do a big piece? 

Schmoo: Some of the larger pieces that are done take days to complete. If it
is an illegal piece that means sneaking back to the same spot night after
night, which adds even more danger of being caught. On the other hand, I have
been with writers who can bomb a wild style in about 20 minutes to a half-hour.
Many large pieces take hours. Throw-ups take minutes, tags take seconds. 

Kairos: Once again, it depends on the situation. In general, somewhere
between 5-10 hours, although it's not rare for it to take days (nights)
of work. 

Celtic: Well a normal piece can be done by one person with a little help in
about 3 hours. Most of the big pieces are done by more than one person, so
 it's a combined effort that cuts down on time. 

                                                                         

Do graffiti artists paint alone or in groups? 

Schmoo: It depends. Most of the time you paint with one person or a couple
of people, when bombing. The more people you bring, the more likely it is 
hat someone will get caught. 

Kairos: Often, artists who are going to piece bring 1-3 people with them to
keep them company and paint as well. Sometimes the other people will be 
brought along just to watch out for law enforcement or gang activity. 

Celtic: Most writers go with one or 2 trusted people to help look out or fill
in the piece. The biggest group I've ever painted with was about 8 people.
 I've also painted by myself but it's real nerve-wracking. 

                                                                         

How do you join a crew? Is it a secret club with a special initiation? 

Kairos: That is a complex and varied question. In short: yes, most crews are
secret clubs; no, they do not have special initiations. Usually an artist
gets admitted to a crew through luck and skill... that is, if someone of
influence in that crew really likes whatever a certain artist is doing and
thinks that the artist would be good to have his crew connected with, he will
put the artist "down" with his crew. Crews are kind of like rankings...
the underground knows all about which crews run the best shit and tend to
have the best artists, so it's almost like a degree for graffiti. 

Cabal: I've seen a few crews that do use an initiation, but it's usually
nothing more than doing a good piece in a sketchy area (i.e., somewhere
open or where you have to work to get to the spot). 

                                                                         

How do big crews know who's in them? 

Schmoo: Some of the biggest crews probably don't know everyone who is in them.
But graffiti writers have thousands of names, tags and crews names stored in
their heads. 

Kairos: Often they don't. This is not usually a problem though, big crews
(in terms of number of members) often let just about anyone in and hence
have a limited amount of respect in the culture as a whole. 

Celtic: It's just like a club. There can be sub-leaders or whatever you
want to call them that control certain sections or keep the crew tight. 

                                                                         

Does the paint pollute the ground when it washes off? 

Schmoo: It doesn't get washed off, it gets painted over. 

Kairos: As far as I know, it does not. No major brand of paint is toxic to
people or animals, and since there is usually rampant plant growth around
"piecing galleries" it would lead me to the conclusion that it really doesn't
bother our chlorophyll friends either : -) 

                                                                         

Isn't it hard to carry all that paint around? 

Schmoo: That's why writers wear such baggy clothes and carry backpacks. 

Kairos: Sometimes, yes. Courier bags (the bags mailmen use) tend to hold
about 15-20 cans seated vertically so they don't rattle. While it is
uncomfortable to wear, it is necessary. For larger productions, an artist may
only bring the colors necessary to complete a step and then bring the rest
another day. 

                                                                                             

Where

                                                                                             

Why don't I see any in my city? Where is it? 

Schmoo: If you want to see more of it, set up a legal yard in your city;
plenty of writers will come by. You have to find writers and get them to trust
you to find out where graffiti is in your town...it is almost guaranteed there
is some, wherever
you live. 

Susan: Always look out the window when you're riding trains. Also, warehouse
districts and abandoned buildings are graffiti zones. If you just can't find
it, ask some kids. 

                                                                         

Why don't you put up maps on how to get to these places so other people can see
the art in person? 

Schmoo: The cops would be some of the first people to find out about a spot,
which of course would screw everything up. 

                                                                                             

History

                                                                                             

What is hip-hop? 

Schmoo: Hip-hop is a movement based around Rap music, breaking and graffiti.
It was started in NYC in the early 70s. Each of the art forms has different
roots, coming from different cultures. The culture still exists today, it's
just not in the mass media like it was during the 80s. 

                                                                         

Who are some hip-hop artists? 

Schmoo: Rappers: Run-DMC, Ice Cube, Public Enemy, KRS-One (Boogie Down
Productions). Crazy Legs is the most famous breaker of all time. Naming the
most famous writers would be impossible. 

                                                                         

Who is Vaughn Bode? 

Susan: Vaughn Bode was a comix artist who became famous in the 1960s.
He created "Deadbone," "Junkwaffel," and " Cheech Wizard." His characters
often appear in graffiti art. Several collections of his are available from 

Fantagraphics Books, 7563 Lake City Way NE, Seattle WA, 98115, USA. 

His estate has original works for sale too: 
Bode Productions, PO Box 10143, N. Berkeley, CA 94709, USA. 

Bode is best known for his Dead End Kid mysticism, social satire, sexual humor,
licentious lizards, and buxom female characters. Here's a tribute page for
your enjoyment. 

                                                                         

What is Japanese anime? 

Celtic: Real trippy cartoons! They are usually real dark or involve some
kind of super fighting. The cartoons are real weird especially since I can't
understand what they are saying and all I can ever figure out is what girl
is with what guy and who is beating up who. 

Susan: Check out this FAQ to find out. Graffiti artists sometimes borrow
characters (this one's by Keen in Atlanta) from Japanese animation, also known
as "anime", and "manga", which is a Japanese artform with roots in Ukiyo-e
wood prints
and other traditional art, whose characters and styles are often used in anime.
You can find out more by reading the newsgroups rec.arts.anime and rec.arts
.manga on USENet and by looking at the Anime and Manga Resources List. 

                                                                         

Isn't this kind of like comic-book art? 

Celtic: Except it's on the walls and involves letters and words much more than
any comic book. 
Susan: Well, sometimes, yes. Graffiti borrows from a lot of artistic traditions.
Like hip-hop, graffiti art "samples" all kinds of images and brings them together
in new ways. There are strong echoes of advertising styles, tattoo art, and
many other genres in graffiti, as well.

                                                                         

What are illuminated manuscripts? Do graffiti artists really know about that stuff? 

Schmoo: Living in Los Angeles, I've had the chance to see one of the best private
collections of illuminated manuscripts at the Getty Museum. Not all graffiti
writers know that kind of history, but if you showed it to them, they would be
able to see the correlation. 

Susan: I've seen a gallery-issued book on graffiti art, written by Delta and
others in Amsterdam. Delta explains at length the relationship between letter
styles in graffiti and those in ancient manuscripts. 

                                                                         

Isn't this something that started on the trains in New York? 

Schmoo: Kind of, kind of not. The use of spray cans to make large pieces on
the sides of subway cars led to what we have today, but the roots go back much
farther to all kinds of street art and political scribbles from around the world. 

Celtic: I think that modern "artistic" graf did start in New York. I don't think
I'm just scrawling my name somewhere like a kid with a crayon. 

                                                                         

When did all this start happening? 

Schmoo: New York City graffiti as we know it today started in the early 70s by
a kid who wrote Taki 183. His story has been documented in many different places. 

                                                                                             

Graffiti on the Internet

                                                                                             

Why put graffiti on the Internet at all? 

Celtic: So people can see it! If you say it's not useful or something, then
at the moment most of the Internet would be objectionable to you. 

Susan: Graffiti art is something lots of people around the world never see,
while some of us get to see it all the time. I thought it would be interesting
to show what I've seen and have others contribute their photos too. Now we can
compare styles while we preserve great art. Every few days graffiti
masterpieces disappear under a fresh coat of paint. If no one preserves it with
photos, it's gone forever. If those photos never get shown, or they deteriorate
over time, they aren't doing their job very well as a documentary record. 

Graffiti is a natural for the Internet. On the net, information wants to be
free; on the walls, graffiti wants to be free. Graffiti tries to reach as
many people as possible, we're just helping it out a little. 

                                                                         

How do graffiti writers feel about you putting pictures of their work up on
the net? How could you ask their permission if they're so hard to find? 

Celtic: We like it cause more people can see what we've been doing. 

Susan: So far, no complaints. When we can ask permission, we do. If anyone
asks to have their work removed from the gallery, we will. Technically, the
images in photographs belong to the photographer who took them, but no one
is trying to capitalize on anyone else's art here, so we remain faithful to
the graffiti philosophy that art can be free for everyone to make and enjoy. 

                                                                         

Are there any books on graffiti? Videos? 

Susan: Sure there are. Check out the bibliography and the video list. To see
more graffiti, you can subscribe to graffiti magazines. 

                                                                         

Don't people steal the pictures from the WWW gallery? / Can I have some 
pictures? 

Susan: Graffiti in Art Crimes is free for your enjoyment, but you can't use
it for commercial purposes. If you want to reprint it for any reason, or
you're not sure if you need permission to do something with it, please check
with me or Brett. 
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