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BONEYARDS IS TERRITO MARKED. AT THE TAIL E CLIFF-FACED PENINSUL SECRET SURF SPOTS, B LAST OF THEM BEFORE WAY TO BREAKWATER A YARDS IS AN IN-BETWEE RAGGED BORDERLAND ISOLATIONIST HARBOR SAN PEDRO AND THE 24 FUELED MACHINERY OF LOS ANGELES.
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BONEYARDS IS FAR, FAR CONTEMPORARY CARICA CULTURE. NO SOULLESS WAGON IN THE PARKING MIMICS THE DECONSTRU CLASSIC LOS ANGELES G ENDLESS NARRATIVE OF DISPUTE, ETCHED AND T AND THE LAYERING POWE ING AN INSIDER LEXICON LY DRAWN BETWEEN THO THOSE WHO ARE OUTSID IS NIHILISTIC, VEILING THR AN AESTHETIC THAT EMB THE CLASSIC ICON OF TH
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AWAY FROM ATURE OF SURF S DAY-GLO, NO WOODY LOT. SURFER GRAFFITI UCTED OLD ENGLISH OF GRAFFITI, TRACING AN TERRITORY, PRIDE AND THEN ERASED BY TIME ER OF HISTORY. EMBRACN, A LINE IS DELIBERATEOSE WHO BELONG AND DE. THE ICONOGRAPHY REAT AND REVELING IN BRACES PIRACY AND HE AMERICAN REBEL.
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INTERVIEW LOCATION : Neighborhood Offices- Tokyo, Japan DISCUSSION: Paul Mittleman, Takishin, Tonomori Tanaka (RIP), Rob Abeyta, Jr.
PAUL MITTLEMAN: So when did you start Neighborhood?
PM: It is really hard to explain Neighborhood’s clothing.
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PM: But now in 2008, there isn’t much residential left?
In America, when you would normally think of motorcycle, it’s either more Euro or Rockabilly. But for the Neighborhood look
TAKISHIN: ‘94 in Harajuku.
it is more mechanic, workwear. Like you said, when people think of motorcycle its leather jacket, but Neighborhood’s look is kinder looking.
PM: And that was brand or store in Harajuku?
So it is hard to explain to people, for example when I say I have a friend in Japan who does a motorcycle apparel brand, they would think more pompadour and rockabilly, but I have to
T: Both brand and store. At first there was no office.
T: Yeah it has really dropped. I really don’t think you can live there. Rent is really expensive now. Cat Street was residential. I really don’t want to say it is our fault, but from when we started, Harajuku has really changed dramatically. No one could have imagined a Louis Vuitton in Harajuku.
say that is what they don’t like. Looking at your bikes, there is a definite look. When you start to build bikes, after a while they end up having a certain look. How did you get to that look?
PM: You all lived in Tokyo, but did you travel to America often back then?
PM: The store was called Neighborhood?
T: Yes.
PM: And from before this you were interested in motorcycles and punk rock?
T: Of course. We (TET from WTAPS, Mochan, and others) always rode around on motorcycles and it started from there. At first, t-shirts were the main item. We used to go to outlets in the States and buy bodies like Ralph Lauren’s chambray and did silk screens on them.
RIP: Why did you choose this route?
T: That is a hard question. I really have a loose concept, no matter what scene whether it be biker, military, car, music, or whatever, I feel that I can understand what is considered cool in that scene. Not just what is on the surface, but really understanding it. I try to take in all these apects. Not just being a hardcore biker or car guy, because sometimes you want to eat at a place for example, like Roppongi Hills, I wanted to be able to go as I was. Wearing what I made anywhere.
PM: So back to Harajuku in 1994 what kind of stores were there?
T: Nowhere, Neighborhood, Hectic, Bounty Hunter. I think that was about it. No huge corporations. No Louis Vuitton, Chanel, Dior. Rent was cheap too.
T: We didn’t have money to make our own bodies yet.
PM: So what other kind of stores were there?
RIP: Was there a “team” concept?
T: It is kind of hard to say for Harajuku on the whole but I think it was more residential than commercial.
T: It just happened that we all rode bikes. We all liked many things like punk rock and hippie culture. TET also like skating. It originally wasn’t a biker brand.
RIP: Clothes became the item for your group. Whose idea was it?
PM: So why Harajuku then?
T: Well since I was a kid I really liked punk so it was Harajuku. It was more of a middle class/artistic area.
PM: When did Japanese fashion magazines start getting popular? T: TET already had started 40% Against Rights around a year before Neighborhood started. I was doing the official designs for the record label Major Force. We liked clothes to begin with.
T: I think the magazine that started off “Ura Hara” was Asayan in ’95 or so.
PM: Was that important to spread ideas to other cities in Japan? RIP: So was it like making stickers and putting it on your bikes?
T: Well, we all really liked bikes but honestly...isn’t bike apparel kooky and cheap? We rode around on our bikes, but we really had a lot of stuff we were interested in so many different elements were taken in.
RIP: What kind of people were you trying to reach out to?
T: For example, back then biker fashion was a black T shirt, leather vest, leather pants, and boots…you know.
T: Yes.
T: Yes, because America is the land I have idolized.
PM: How did you gather so much information from here? Was it magazines, books, record covers?
T: Magazines, etc. But Japanese like us (not all Japanese) extensively look stuff up and research. All of it. Whether it be music or about a certain scene.
PM: It’s sort of like what Skate Thing said, where he doesn’t go to America. He doesn’t even want to. It is all what he thinks it is. Is it the same with WTAPS and Neighborhood where these ideas (skateboarding, motorcycles, muscle cars, etc.) have been made into fantasy of your own?
T: In my case I think the “best of what was American” is non-existent in America now, and we are trying to pick up these essences and finding them again. This filtered through us is what is released.
PM: So you have Stussy which is a California brand that the Japanese could relate to where it was like if they can make a brand we can…and now there is Bone Yards which is a fantasy brand inspired by tattoos, motorcycles, etc. But we work with the best artists, go to the best to make clothes, etc. We are serious about it. I think it is kind of the same thing.
T: Yes I think so. It is a really weird feeling to be able to work with a company like Stussy, because I bought Stussy way back in the day and wore it and now, I guess because I am older, I am able to work with them. I really feel honored.
PM: Good brands are good brands. It’s like a band I think. They could get popular and next thing you know they are on MTV, but you can care less if they are a good band. I think it is kind of like that where you can’t really get depressed about “oh the scene is dead” because it is not like we are late comers into it. The same shit since day one. We just really wanted to explain the history because people have no idea.
PM: And then other magazines came like Smart, Popeye?
T: To kind of go back about Harajuku, the generation before us was very creative. This goes to the 70s. They had roads blocked off on Sundays, etc. Comme Des Garcon started off in a one tatami mat sized place. If you didn’t have money but had talent, it was not Shinjuku or Shibuya, it was Harajuku.
T: People always seem confused and say that they really don’t understand the market for us. For example, I listen to punk, hardcore punk, and even techno. I really like bikes, but I also check out Ralph Lauren. I study about military uniforms. It’s all mixed up. I really think that this is Japanese. I think that not just liking it in a fashion sense, but really liking it causes us to dig deep. If it was strictly on a surface level/fashion, I think image will change.
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GROUP 1, JUNE
FEDORA, Black (back)
FEDORA, Black (front)
LOCALS ONLY, Black
LOCALS ONLY, Cyan
PRACTICE TEE, Black (front)
PRACTICE TEE, White (back)
PRACTICE TEE, White (front)
SKULLBOARDS, White
SWORD, Black
SWORD, Cyan
SWORD, White
SABER SHIRT, Black
SABER SHIRT, Red
DOCK SHIRT, L/Sl
PHANTOM SHORT, Black (back)
PHANTOM SHORT, Black (front)
SPECTOR SHORT, Black (back)
SPECTOR SHORT, Black (front)
SPECTOR SHORT, Black (back)
SPECTOR SHORT, Black (front)
BY. RIGID SAVAGE BASIC
BY. WORK PANT, Black (back)
BY. WORK PANT, Brown (back)
BY. WORK PANT, Brown (front)
KEYCHAIN
PINS SET
SKULL MESSENGER
YARD TRUCKER
SHOTGUN SWORD TRUCKER
STRAW FEDORA
STRAW FEDORA 2
BY. NIKE BLAZER, Red
BY. NIKE BLAZER, Blue
BY. NIKE BLAZER, White
EX RAGLAN, Blue
EX RAGLAN, Heather
BEACH, Black (back)
BEACH, Cyan (back)
BEACH, Cyan (front)
NH SCRIPT, Black
NH SCRIPT, Cyan
NH SCRIPT, White
PIRATE BOARD, Black
PIRATE BROAD, White
HOOD RAGLAN, Black
HOOD RAGLAN, Blue
SKULL RAGLAN, Black
SKULL RAGLAN, Heather
BLOCK LETTERING, Black
FEDORA, White (back)
FEDORA, White (front)
KITCHEN SINK, Black (back)
KITCHEN SINK, Black (front)
KITCHEN SINK, White (back)
LOCALS ONLY, White
NH ROSES, Black
NH ROSES, Cyan
NH ROSES, White
PRACTICE TEE BLACK, Black (back)
REAPER, Black
REAPER, Cyan
REAPER, White
SKULLBOARDS, Black
CHAMBRAY WORK SHIRT, Black
CHAMBRAY WORK SHIRT, Blue
DOCK SHIRT, S/Sl
PHANTOM SHORT, Brown (back)
PHANTOM SHORT, Brown (front)
BY. WORK PANT, Black (front)
PUENTE TRUCKER
BLOCK LETTERING, White
KITCHEN SINK, White (front)
HOOD BUCKET
GROUP 2, JULY
BEACH, Black (front)
OWL, White
BEACH, White (back)
PIRATE SKULL, Black
BEACH, White (front)
PIRATE SKULL, White
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GROUP 2, JULY (con’t)
STUSSY LOGO, Black
STUSSY LOGO, Cyan
STUSSY LOGO, White
CORROSION SHIRT, White L/Sl
CORROSION JACKET, Black
CORROSION SHORT, Black (back)
BY. BANDIT
BY. NITE OWL
BY. BELT
CORROSION WALLET
SWORD & SHOTGUN KEYCHAIN
BY. PATCHWORK SHIRT, Black
BY. PATCHWORK SHIRT, Blue
CORROSION SHIRT, Black
CORROSION SHIRT, Brown
CORROSION SHIRT, White
CORROSION SHORT, Black (front)
CORROSION SHORT, Brown (back)
CORROSION SHORT, Brown (front)
PATCH TRUNK, Black (back)
PATCH TRUNK, Black (front)
CORROSION BACKPACK
CORROSION BANDANA
CORROSION DUFFLE
CORROSION 5 PANEL
CORROSION CASTRO
BY. NIKE TERMINATOR, Black
BY. NIKE TERMINATOR, Blue
CORROSION GLASSES CASE
BY. NIKE TERMINATOR, White
CORROSION MULTICASE
BY. NIKE TERMINATOR, Group
GROUP 1, AUGUST
YARD TEE, Black
YARD TEE, White
RIG WORK SHIRT, Black
RIG WORK SHIRT, Blue
RIG WORK SHIRT, Red
YARD HOODIE, Black
YARD HOODIE, Heather
CORROSION M65, Black
HOOD JACKET, Black (back)
HOOD JACKET, Black (front)
HOOD JACKET, Brown (back)
HOOD JACKET, Brown (front)
RIG JACKET, Black
RIG JACKET, Red
SKULL JACKET, Black (back)
SKULL JACKET, Black (front)
HOOD JACKET, Brown (back)
HOOD JACKET, Brown (front)
BY. RIGID SAVAGE BASIC (back)
BY. RIGID SAVAGE BASIC (front)
BY. WASHED NARROW (back)
BY. WASHED NARROW (front)
RIG ADMIRAL, Black
RIG CRUSHER, Blue
RIG CRUSHER, Red
EX NEW ERA 1
EX NEW ERA 2
EX NEW ERA 3
LUMINOX WATCH
CORROSION M65, Brown
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ARTISTS JEREMY CARNAHAN
Like most people born and raised in Southern California in the early 80’s, Jeremy Carnahan grew up with skateboarding & BMX as part of his daily routine. While this may be a common story for many 20 somethings these days, his story is a bit different. The Southern California Jeremy grew up in is off of a two lane highway in the middle of the desert. There were no skate shops, the bike shops sold mountain bikes & their skate spots were few and far between. It is called Joshua Tree and is known by most peoplefor it’s rock climbing. None the less it inspired Jeremy to seek out all things skateboarding & BMX all the more. Though it was a stretch from LA & the coast, Jeremy jumped at the chance of traveling west to more spots, more people and a greater understanding of all things surrounding the culture. It was this same desire and drive that got Jeremy a job working in the print department of Palm Springs Life Magazine under Rob Abeyta Jr. Time would pass and through this same connection he would end up becoming a part of the then expanding art department of Girl Skateboards known as The Art Dump. He managed the creatives for their truck company from 2002-2006 and decided to make a short stint designing for Stussy and is now back at The Art Dump. Throughout all of this, he has been a part of numerous art shows around the world, traveled a fair amount, and decided to settle down in Long Beach, CA where he currently resides. He surfs, (I guess it’s a natural attraction coming from such a dry place) skates & rides his 24” BMX on a regular basis. Find out more about him at www.jeremycarnahan.com
MISTER CARTOON
Born and raised in Los Angeles, Mister Cartoon began his career as a graffiti artist in the 1980s, Cartoon went on to gain notoriety for his unique tattoos, album cover designs, logos, advertisements, and custom lowrider car murals. His richly detailed, hand-rendered designs are inspired by the style of tattoos that originated in the hard streets of 1970s’ Los Angeles. Cartoons Art embodies the true soul of Los Angeles street culture and has taken the fine line of black and grey tattoo culture to the masses. Cartoons unique position within the art world helps bridge the gap between corporate America and hard-core Los Angeles street culture. www.mistercartoon.com
ERIC DRESSEN
A native of Los Angeles, Eric spends his time skateboarding, hanging out at tattoo shops, and being around his friends.The truth is that Eric expresses himself through his skateboard and he does it loudly, fast and in control. Off the board, he’s a quiet, mild mannered guy that would rather not be placed at the center of attention. Eric has been featured in Skateboarder magazine since age ten, turned pro at the age of twelve and years later became the back-to-back World Street Champion in 1987 and 1988. He can skate any type of terrain with confidence; pools, pipes, streets, ditches, parks, ramps, you name it. Just give him the chance and you will be sitting down watching in awe. Eric D. is currently working on a tattoo apprenticeship under Clay Decker at True Tattoo studio and riding for Santa Cruz Skateboards.
JON HALL
Born August 31, 1981. Raised in San Pedro, CA. Resides in Los Angeles,CA. Likes to draw and take pictures. Has a dog named Simon. There is nothing else.
ESTEVAN ORIOL
Estevan began his career in the entertainment industry in the late 1980’s as a club bouncer at Los Angeles’ most popular Hip Hop clubs and infamous Hollywood hangouts. It was there that Estevan first linked up with his Soul Assassin brothers from South Gate, Cypress Hill. Eager to expand his knowledge of the business, Estevan secured a job as tour manager for the rap group, House of Pain, in 1992. Estevan has used his unique photography style to capture the raw essence of street life. His work has been featured in many magazines including: COMPLEX, FHM, GQ, Flaunt, Details, Vibe, The Fader, and Rolling Stone. In 1995, he would begin a partnership with Mr.Cartoon. Their collaborations fostered the creation of Joker Brand Clothing. He has also recently entered the film industry as a director. Partnering with Brian Grazer and his company, Estevan is set to direct three movies of his choice. The first one will be the life story of his partner, Mr. Cartoon, set for release in 2008. In late 2007 and 2008, Estevan Oriol will release three separate publishing book projects that he has been working on for the past decade: Ink, a retrospective of his last ten years with Mister Cartoon, Adidas 1979, a collaboration with Adidas originals chronicling street ball through his lens in an 80 page custom book, and East of Havana, a book about Cuban hip-hop. www.EstevanOriol.com
ARTISTS JUAN PUENTE
Juan Puente, a southern california native, has been a tattoo artist for over 16 years. During that time he has traveled extensively throughout the United States, Japan and Europe. Being able to travel has helped broaden his skills. Along with this he has been able to do his other passion, Photography. In 2005 he published his first book on the famous Japanese tattoo artist, Horiyoshi 3. After many years he has been able to use both tattooing and photography to express himself artistically. Juan presently works at Spotlight Tattoo in Los Angeles, where he continues to learn and grow along with his fellow artists. For a glimpse of what he has done you may check out www.juanpuente.com or www.horiyoshi3.com.
JESUS “CHUEY” QUINTANAR
Chuey is a professional tattoo artist. Born in Mexico City, the 28-year old tattooist came to North Long Beach, CA at a young age. He converted his passion for drawing, painting, tattooing, and the arts into a life-long career. Currently working at Good Time Charlie’s Tattooland (GTC), Chuey specializes in fine-line realistic black and grey, religious tattoos, color, and traditional. In addition, he also works with various genres such as Japanese. Chuey appreciates every opportunity he has to take part in conventions around the world. He has in the process spread his well-renowned ink and won various tattoo awards. His future goal is continue tattooing, designing for companies, traveling, and expanding his love of art in hopes that one day he might create his own company. Contact info: Good Time Charlie’s Tattooland 2641 W. Lincoln Ave. Ananheim, CA 92801 (714) 827-2071 chueytattoo@yahoo.com
JACK RUDY
Jack Rudy is an icon in the field of the tattooing industry. Under the teachings of Charlie Cartwright he came to develop the single needle style. Although few artists have the skills to use a single-needle tattoo machine well; today, Jack continues to rule it. He is also known for his unique style of lettering, stylized portaits, and black & gray work. While Jack can still be found tattooing at the legendary Goodtime Charlie’s Tattooland, he continues to involve himself with various art projects.
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BONEYARDS STORE DIRECTORY AUSTRALIA Stussy QV Shop 26-28 Red Carpet Lane Qv S/C Melbourne, 3000
HONOLULU 1288 Ala Moana Blvd. Honolulu, HI 96814 (808) 591-6546 Fax (808) 591-6547
LOS ANGELES 112 South La Brea Los Angeles, CA 90036 (323) 933-2251 Fax (323) 933-2252
PHILADELPHIA 1509 Walnut St. 2nd Floor Philadlephia, PA 19102 (215) 563-2191 Fax (215) 864-4710
TOKYO Harajuku Chapter Store 4-28-2 Jungumae, Houston Building Shibuya-Ku, Tokyo Japan 03-3479-6432 www.stussy.jp
CHIKASHITSU C/ Duc de la Victoria 5 Basement Barcelona 0034-933-022-356
LAS VEGAS 4480 Paradise Rd. Ste 350 Las Vegas, NV 89109 (702) 693-5400 Fax (702) 693-5405
MILAN C. So Di Porta Ticinese, 103 20123 Milano Milan, Italy 39-02-89427499 www.slamjam.it
SAN FRANCISCO 1409 Haight St. San Francisco, CA 94117 (415) 701-7474 Fax (415) 487- 8972
TORONTO 431 Richmond St. West Toronto, Ontario M5V1X9 (416) 364-3619
COLETTE 213 Rue Saint Honore Paris, France 75001 33-1-55-35-33-90 www.colette.fr
LONDON 19 Earlham St. London, England WC2H9LL 44-171-836-9418 www.stussystore.co.uk
NEW YORK 121 Wooster St. 2nd Floor New York, NY 10012 (212) 274-8787 Fax (212) 274-8997
SEOUL 659-9 1F. Sinsa-Dong Gangnum- Gu Seoul, Korea 02-3444-5487
WASHINGTON D.C 1781 Florida Ave. N.W. Washington, DC. 20009 (202) 265-1155
FIRMAMENT Schroederstrasse 8 Brandenburg, Berlin GR 10115 49-30-49808674 www.am-firmament.com
Stussy Sydney Brisbane St. Darlinghurst Sydney, 2010 Stussy Chadstone Shop B115 Chadstone S/C 1341 Dandendong Rd. Chadstone, 3148 www.stussy.com.au
HONG KONG Shop C & D 121-123 Chatham Rd. Tsim Sha Tsui, Kowloon HK 852-2302-0015 www.stussy.hk
Š BONEYARDS. 1, VOL.1. PROPERTY OF STUSSY, INC. & NEIGHBORHOOD